<div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr">You have some very interesting ideas, which by différance cannot never actually be ascertained with finality. Let me then add a couple of minor points:</div><div dir="ltr"><br></div><div dir="ltr">1. Levinas is quite rightly is just did in the statuses of something called art, and in a sense, he, in a Gödelian way, is the opposite side of Foucault. He is interested in shadows where Foucault is interested in light, but they each gravitate towards the opposite nature.</div><div dir="ltr"><br></div><div dir="ltr">2. 花樣年華 is indeed a signature work which explains the vertical transcendence that Levinas is getting, and I would be very much interested in your book project. In 2005 I wrote back a string quartet on the difference and différance of love in the context of the final movie, and the covered and overt movies which could have been made with other selections which were filmed. The man, Chow Mo-wan, thinks of love as an act, while the woman, Su Li-zhen, carries a child, which I would submit is an act in being. The string quartet is and is not named for the film.</div></div></div></div></div></div><br><div class="gmail_quote"><div dir="ltr">On Sun, Nov 11, 2018 at 4:23 PM Elizabeth Wijaya <<a href="mailto:ew388@cornell.edu">ew388@cornell.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<div dir="ltr">Stirling Newberry: "The space also has differing viewpoints, as does every individual viewer. Art in situ is, too some extent, illusory."<br><br>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.<br><br>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.<br><br>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 <i>In the Mood for Love</i>, by Singapore artist Ming Wong in an installation 'In Love for the Mood."</div>
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