[-empyre-] (no subject)
muratnn at gmail.com
Mon Nov 12 10:57:09 AEDT 2018
In my most recent poem *Animals of Dawn *(Talisman, 2016) I deal with the
same idea of stasis (its relation to infinity) in terms of Hamlet's delay
in taking revenge --that he does that because he exists in an another
temporal dimension than everyday life. The following passage from Levinas
is a caption to one of the pieces ("fragments") in the book,: ""The idea of
infinity is then not the only one that teaches what we are ignorant of....
It is not a reminiscence. It is experience in the sole radical sense of the
term... without this exteriority being able to be integrate."[i]
[i]Experience eliminates memory and becomes the language of the soul (of
*is*). In the soul, motion exists as idea, as thought tissue in motion. In
this language the non-integrate exterior (the idea of infinity) and the
ineffable interior (the eroding dream) become visible, as joined, for the
duration of an instant (as nutrinos), in the soul's motions towards
forgetting, and dying.
On Sun, Nov 11, 2018 at 4:22 PM Elizabeth Wijaya <ew388 at cornell.edu> wrote:
> ----------empyre- soft-skinned space----------------------
> Stirling Newberry: "The space also has differing viewpoints, as does every
> individual viewer. Art in situ is, too some extent, illusory."
> In his essay, "Reality and its Shadow, " Levinas is suspicious of art as
> monstrously inhuman because it is trapped in the stasis of a "Meanwhile"
> that does not come to pass. He says that "art is the falling movement on
> the hither side of time, into fate." In his reading, the haunted
> temporality of the image—that is neither in the moment, nor has any
> future—is trapped in stasis. Levinas lists non-plastic arts, "music,
> literature, theater and cinema," that too do not escape the shadow of the
> meanwhile. For Levinas, the meanwhile is an "eternal duration of the
> interval" and it is Art that brings about just this duration in the
> interval, where the shadow of reality is immobilized.
> In my rereading of the meanwhile in Levinas's through its shadow, I
> propose that the relation between art and art in remediation as the
> meeting of shadows and shadows. If the shadow is reality's parallel
> possibility where reality's nonexistence is discovered, Levinas's work
> could be read as a philosophy of the shadow that haunts the visible.
> In a chapter of my book project, I read the rhythm in Levinas's oeuvre
> between belief in vertical transcendence and the turns to darkness
> alongside the acts of substitution that link the intervals of reality and
> the shadow of art through the late 1990s textures of the Bangkok alley in
> In the Mood for Love and the remediation of *In the Mood for Love*, by
> Singapore artist Ming Wong in an installation 'In Love for the Mood."
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
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