NATURE AS EXPRESSIVE SYNTHESIS: THE SENSIBLE AWAKENING OF THE TRANSCENDENTAL BETWEEN KANT, HUSSERL AND MERLEAU-PONTY
DON BEITH
University of Maine, Department of Philosophy. 04469 Orono, Maine, USA. E-mail: [email protected]
Abstract: The critical insights of transcendental philosophy and phenomenology evolve out of a tension in the nature of consciousness. On the one hand, consciousness is a synthetic activity or intentional that discloses the horizon in which meanings and objects have conditions of possibility. On the other hand, in perception we find the workings of sense that point to a dynamic, expressive origin prior to the pure activity of consciousness. Our investigation is concerned with explaining how this passivity of consciousness is itself a synthesis that arises out of our expressive bodily nature. There is a clear logical connection between the ways Immanuel Kant, Edmund Husserl, and Maurice Merleau-Ponty conceive of a synthesis within sensibility and bodily affectivity, where each thinker requires us to conceptualize nature as a mode of expressivity, with the implication that transcendental conditions of possibility must, mysteriously, happen within the very intercorporeal and temporal fields that they render possible.
Key words: Phenomenology, transcendental idealism, Kant, Husserl, Merleau-Ponty, consciousness, temporality.
INTRODUCTION
"The critical insights of transcendental philosophy and phenomenology evolve out of a tension in the nature of consciousness. On the one hand, consciousness is a synthetic activity or intentionality that discloses the horizon in which meanings and objects have conditions of possibility. On the other hand, in perception we find the workings of sense that point to a dynamic, expressive origin prior to the pure activity of consciousness. Our investigation concerns how this passivity of consciousness is a synthesis that arises out of our expressive bodily nature. There is a clear logical connection between the ways Immanuel Kant, Edmund Husserl, and Maurice Merleau-Ponty conceive of a synthesis within sensibility and bodily affectivity, where each thinker requires us to conceptualize nature as a mode of expressivity, with the implication that transcendental conditions of possibility must, mysteriously, happen within the very intercorporeal and temporal fields that they render possible.
Kant’s provocative concept of “transcendental affinity” in his 1781
Critique of Pure Reason reveals a level of kinship between our pre-reflective experience of nature and the pre-conceptual association of sensation by the imagination. The primordial associative workings of the imagination resonate with a pre-objective nature that is not yet determined by concepts, but rather prepares itself to be thought. As a bridge between cognition and sensibility, imaginative synthesis as immanent to the field of experience breaks down the logical distinction between a priori and a posteriori. For Husserl, the very form of experience is temporally dynamic, and consciousness as a
necessary condition of experience is manifest in and through an affective awakening.
.Husserl works, like Kant, in his
Analyses Concerning Passive and Active Synthesis [to expose] a level of immanent, flowing synthesis, termed operative intentionality. Consciousness emerges through a call-response structure and is animated by this level of affective bodily synthesis at which the dichotomies of activity and passivity, a priori and a posteriori, self and world, do not hold. For Husserl, transcendental consciousness happens out of an affective, pre-conceptual awakening. In Merleau-Ponty’s
Phenomenology of Perception and
Institution lectures we find a combination of these two problems. Merleau-Ponty explores consciousness, like Husserl, as a temporally emergent and awakening field of sense, but like Kant, Merleau-Ponty finds this imaginative proto-production of sense to be the mark of a deep affinity between consciousness and nature as expressive
institutions.
Kant’s affinity with nature is phenomenologically manifest through the natural generality of the lived body, and the expressive, acquired depth of its natural past. Consciousness must emerge from nature, and must awaken through emotion, and this requires driving the implications of Kant’s critique of the imagination and Husserl’s phenomenology of operative intentionality to their furthest logical conclusions: an overcoming [of] division of dualisms of activity/passivity, fact/essence and contingency/necessity, past/present, by showing nature itself, and its institutions of life and consciousness, to be an expressive movement from nonsense to sense. This way of thinking resituates transcendental conditions of possibility as transformative events within histories of local, divergent forms of life and consciousness. If we drive these philosophical methods to their furthest logical conclusions, transcendental idealism and phenomenology mutually illuminate the radical embeddedness of transcendental conditions of possibility within a generative time of natural expressivity. . . ."
Nature as Expressive Synthesis: The Sensible Awakening of the Transcendental between Kant, Husserl and Merleau-Ponty