This article proposes a reflection on the meaning of the crisis event that is the war in Ukraine, based on the modes of representation through which it was constituted as an image. Starting from a short essay by Merleau-Ponty written at the end of the Second World War, in which the French philosopher reaffirms that the war took place, I intend to critically juxtapose Merleau-Ponty’s attempt to inherit the crisis as a political task and, above all, a philosophical one, with the processes of hyper-representation highlighted by Jean Baudrillard which, on the contrary, operates a subtraction of the event and the real. The proposal is therefore to analyze the non-taking place of events as the impossibility of inheriting a task and a meaning, by showing how such an impossibility manifests itself precisely in the phenomenal space of our contemporary screens.

The essay intends to revisit certain phenomenological themes present in the theoretical work of Pierre Schaeffer, based on his most important and influential book: the Traité des objets musicaux. A French engineer and composer, Schaeffer was the initiator – from the point of view of its musical practice, and its theoretical analysis – of one of the most important musical avant-gardes of the 20th century, musique concrète. The objective of the article will be to consider Schaeffer’s main reference – the phenomenology of Edmund Husserl – and suggest that Maurice Merleau-Ponty’s phenomenology could be a prism that helps to understand and expand the heterogeneous and incomplete research project the French composer documented extensively in his writings.

The article proposes to sketch an analogy between, on the one hand, linguistic learning and sound dialogue in humanist music therapy and, on the other hand, certain reflections of Maurice Merleau-Ponty: in particular, the centrality of corporeality in the learning, treated in the Phenomenology of Perception and in the courses on the psychology and pedagogy of the child, and the status of inter-corporeality developed through reflections on passivity and the metaphor of flesh. We will trace an analysis of the music therapy of Giulia Cremaschi Trovesi, with reference to the linguistic and musical gesture, through the Merleau-Pontian notion of praktognosia, and of the sound dialogue with reference to institution and intercorporeity. Through an interpretation of music in the terms adopted by Stéphanie Ménasé and in reference to Merleau-Pontian passivity in artistic creation, our objective is to define the musical institution of the vibrating body in music therapy in terms analogous to the institution of the subject according to Merleau-Ponty and, consequently, to find, in the sound dialogue, the intercorporeity which anticipates the individuation of the subject, by describing the communicative authenticity of the musical-therapeutic encounter.