27
" Visible and mobile, my body is a thing among things; it is one of them. It is caught in the fabric of the world, and its cohesion is that of a thing. But because it sees and moves itself, it holds things in a circle around itself. Things are an annex or prolongation of my body; they are incrusted in its flesh, they are part of its full definition; the world is made of the very stuff of the body. These reversals, these antinomies, are different ways of saying that vision is caught or is made in the middle of things, where something visible undertakes to see, becomes visible for itself and through the vision of all things, where the indivision of the sensing and the sensed persists, like the original fluid within the crystal. "
― Maurice Merleau-Ponty , L'Œil et l'Esprit
30
" The word 'image' is in bad repute because we have thoughtlessly believed that a drawing was a tracing, a copy, a second thing, and that the mental image was such a drawing, belonging among our private bric-a-brac. But if in fact it is nothing of the kind, then neither the drawing nor the picture belongs to the in-itself any more than the image does. They are the inside of the outside and the outside of the inside, which the duplicity of sensing makes possible and without which we would never understand the quasi-presence and imminent visibility which make up the whole problem of the imaginary. The picture, the actor's mimicry--these are not extras that I borrow from the real world in order to aim across them at prosaic things in their absence. The imaginary is much nearer to and much farther away from the actual. It is nearer because it is the diagram of the life of the actual in my body, its pulp and carnal obverse exposed to view for the first time...And the imaginary is much further away from the actual because the picture is an analogue only according to the body; because it does not offer to the mind an occasion to rethink the constitutive relations of things, but rather it offers to the gaze traces of the vision of the inside, in order that the gaze may espouse them; it offers to vision that which clothes vision internally, the imaginary texture of the real. "
― Maurice Merleau-Ponty , L'Œil et l'Esprit
![Maurice Merleau-Ponty QUOTES](/image/901688.png)
31
" I am a psychological and historical structure. Along with existence, I received a way of existing, or a style. All of my actions and thoughts are related to this structure, and even a philosopher’s thought is merely a way of making explicit his hold upon the world, which is all he is. And Yet, I am free, not in spite of or beneath these motivations, but rather by their means. For that meaningful life, that particular signification of nature and history that I am, does not restrict my access to the world; it is rather my means of communication with it "
― Maurice Merleau-Ponty , Phenomenology of Perception
32
" Language signifies when instead of copying thought it lets itself be taken apart and put together again by thought. Language bears the sense of thought as a footprint signifies the movement and effort of a body. The empirical use of already established language should be distinguished from its creative use. Empirical language can only be the result of creative language. Speech in the sense of empirical language - that is, the opportune recollection of a preestablished sign – is not speech in respect to an authentic language. It is, as Mallarmé said, the worn coin placed silently in my hand. True speech, on the contrary - speech which signifies, which finally renders "l'absente de tous bouquets" present and frees the sense captive in the thing - is only silence in respect to empirical usage, for it does not go so far as to become a common noun. Language is oblique and autonomous, and if it sometimes signifies a thought or a thing directly, that is only a secondary power derived from its inner life. Like the weaver, the writer works on the wrong side of his material. He has only to do with the language, and it is thus that he suddenly finds himself surrounded by sense. "
― Maurice Merleau-Ponty , Signs
38
" Rien n'est jamais acquis. En "travaillant" l'un de ses bien-aimés problèmes, fût-ce celui du velours ou de la laine, le vrai peintre bouleverse à son insu les données de tous les autres. Même quand elle a l'air d'être partielle, sa recherche est toujours totale. Au moment où il vient d'acquérir un certain savoir-faire, il s'aperçoit qu'il a ouvert un autre champ où tout ce qu'il a pu exprimer auparavant est à redire autrement. De sorte que ce qu'il a trouvé, il ne l'a pas encore, c'est encore à chercher, la trouvaille est ce qui appelle d'autres recherches. L'idée d'une peinture universelle, d'une totalisation de la peinture, d'une peinture toute réalisée est dépourvue de sens. Durerait-il des millions d'années encore, le monde, pour les peintres, s'il en reste, sera encore à peindre, il finira sans avoir été achevé. "
― Maurice Merleau-Ponty , L'Œil et l'Esprit