Merleau-Ponty and Nishida: Artistic Expression as Motor-Perceptual Faith

Contents
List of Illustrations
Acknowledgments
Introduction Faith, Flesh, and Basho
	Nishida between Religion and Philosophy
	Merleau-Ponty between Philosophy and Religion
	Artistic Expression East and West
	Ambiguity, Negation, and Faith
Chapter 1 Ontology, Ambiguity, and Negation
	Motor-Perceptual Fabric: Faith and Transitivity
	Nishida and Phenomenology
	Substance and Relation: Separation and Non-Obstruction
	Nishida’s “Absolute Negation”
	Negation: Chiasm, “Continuity of Discontinuity”
	Merleau-Ponty Counter Sartre’s Nullité Absolue
	Nishida: “Absolute Negation” and the “I-Thou” Relation
	Representation and Perceptual Negation: From Non-Subject to Non-Object
Chapter 2 Perceptual Fabric: Space, Time, and Light
	Vision and Multi-Perspectivalism: Seeing-Seen
		Representation, Ocularcentrism, and Multi-Perspectivalism
		Multi-Perspectival Perception
		The Three Graces
		Guo Xi: Angle of Totality
		“Dragon Veins”: The Visible and Invisible in Daoism
		Merleau-Ponty: Multi-Perspectivalism and “Depth”
		Time and Negation I: Ecstatic Temporality
		Nishida: “Eternal Now” and “Internal-qua-External Perception”
		Skin and Bones in Rodin and Taiga
		Multi-perspectivalism Creation and Obstruction
	The Expanded Body: Vision and Touch
		Tool as Non-Objective Bodily Extension
		Space: Distance and Proximity
		“Distanceless Distance”
		Light, Tools, and the Aesthetics of Transparent Mediality
		Molyneux’s Problem: Obstruction and Light
		Nishida: Full Reversibility and Expression
		Everything Touching or Nothing at All
Chapter 3 Motor-Perceptual Fabric: Time and Motion
	Sesshū Tōyō: Zen, Vision, and Motion
	Cézanne’s “Germinations” with the Landscape
	Time: From Perception to Motor-Perception
	Motion: Volitional Character of the World
		Activity-Passivity
		Ontologies of Expression
		Motor-Background: “Solicitations” and “Unity of Act and Act”
	Body and Expression in Time
		Nishida’s “Historical Body” and “Historical World”
		Time and Negation II: “Deep Present” and “Absolute Present”
		From Multi-Perspectival to Multi-Volitional
		“Optimal Grip” and the Force of Tradition
	New Art: Creating the Visible
		Copy and Original
		“New Art”: Objectivity and Faith
		Tradition as Historical-Volitional Ecstasis
		New Solicitations, New Continuity of Act, and Act
	From Creating the Conditions of Visibility to Creating the Conditions of Motor-Visibility
		Vision as Motion
		Motion as Vision
		“Acting-Intuition”
	Color(lessness) and Motion(lessness)
		Motor-Chromaticity
		The Color of Negation
Chapter 4 Expression as “Motor-Perceptual Faith”
	“Seeing without a Seer” and Moving without a Mover
		Motor-Perceptual “Blind Spot” as Dynamic Obstruction
		Nishida: “Seeing Without a Seer”
		Mirroring, Mapping, and Seeing
	History of Motor-Visibility
		Klee: “End-Forms” and “Formative Forces”
		The Invisibility of the Self as “Style” and the Temporality of Risk
		Coherent Deformation and the Force of Tradition
	Overcoming Reflection, Embracing Risk
		Holography, Infinity, and Risk
		Reflection and Faith
	Spontaneity and Non-Willing
		The Materiality of Spontaneous Expression: Bernard Leach and Pottery as Throwing-Thrown
		The Fallacy of Motor-Perceptual Neutrality and Uni-Directional Expression
		Spontaneity and the Temporality of Risk
		The Limits of Reflection and Doubt: The Pre-Reflective and the Necessity of Faith
	Faith, Negation, and Volition in the Pre-Reflective
	Conclusion: Motor-Perceptual Faith between Philosophy, Religion, and Art
		Secularizing the Spiritual: Nishida’s “Inverse Polarity” and “Interexpression”
		Spiritualizing the Secular: Merleau-Ponty and “Anatheism”
Works Cited and Bibliography
Index