Handbook Of Inaesthetics
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Whence the thesis of which this book is nothing but a series of variations: faced with such a situation of saturation and closure, we must attempt to propose a new schema, a fourth type of knot between philosophy and art.
Among these “inaesthetic” variations, the reader will encounter a sustained debate with contemporary philosophical uses of the poem, bold articulations of the specificity and prospects of theater, cinema, and dance, along with subtle and provocative readings of Fernando Pessoa, Stéphane Mallarmé, and Samuel Beckett.
momentary being that is accessible only by way of an obliquity, an obliquity that is itself signaled by the enigma. The reader must enter into the enigma in order to reach the momentary point of presence. Otherwise, the poem does not operate. In truth, it is legitimate to speak of hermeticism only when there is a secret or occult science and when in order to understand we require the keys to an interpretation. Mallarme's poem does not ask to be interpreted, nor does it possess any keys. The
subtraction? Precisely in the manner that the "true" dancer must never appear to lenow the dance she dances. Her knowledge (which is technical, immense, and painfully acquired) is traversed, as null, by the pure emergence of her gesture. "The dancer does not dance" means that what one sees is at no point the realization of a pre- existing knowledge, even though knowledge is, through and through, its matter or support. The dancer is the miraculous forgetting of her own knowledge of dance. She
body-will need to be supplemented by the head, so that one will have to count three and not just two. Here the stakes of materialism change. It is now necessaty that the head be maintained in the unity of the place, that it not be made into an other place. The head must never be inscribed into an originary dualism, even though one must go up to three, even though the great temptation of the three (thought) is to count the two elsewhere. Here lies the text's crucial metaphysical tension. These
void-being as retracted from its exposition. But if the void is subtracted from its own exposition, it can no longer be the correlate of the process of worsening, because the process of worsening works only on shades and on their void intervals. So that the void "in itself" cannot be worked upon in accordance with the laws of worsening. You can vary the intervals, but the void as void remains radically unworsenable. Now, if it is radically unworsenable, it means that it cannot even be ill said.
latest. There is a state supernumerary to the last stateprecisely the one that constitutes itself all of a sudden. Having been figurally prepared, an event is what happens so that the latest state of being will not be the last. And what will remain in the end? Well, a saying on a background [fond] of nothing or of night: The saying of the "on," of the "nohow on," the imperative of saying as such. Ultimately, this saying is the terminus of a sort of astral language, floating above its own ruin and