Making Sense: For an Effective Aesthetics (European Connections)
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This volume of texts and images has evolved from papers given at the inaugural Making Sense colloquium, which was held at the University of Cambridge in September 2009. The chapters collected here reflect the multi-dimensional and interdisciplinary sense made at this event, which became something of an artistic installation in itself. The essay ‘Making Sense’ by Jean-Luc Nancy provided the grand finale for the colloquium and is also the culmination of the volume. The collection also includes articles that expound and critique Nancean theory, as well as those that provide challenging manifestos or question the divide between artist and artisan. The volume contrasts works that use texts to make sense of the world with performance pieces that question the sense of theory and seek to make sense through craft, plastic art or painting. By juxtaposing works of pure theory with pieces that incorporate poetry, prose and performance, the book presents the reader with a distillation of the creative act.
Contents Acknowledgements ix List of Illustrations xi Lorna Collins Introduction 1 Part 1 Theoretical Approaches to Making Sense 7 Florian Forestier Sens et composition: quelques remarques sur la pensée du sens et de l’art chez Jean-Luc Nancy 9 Ian James Af fection and Infinity 23 Ryosuke Kakinami Making Sense of the Fragment: A Reading of The Literary Absolute 33 Part 2 Manifestos 49 Christopher Watkin Making Ethical Sense 51 Patricia Ribault Making Makes
infinity. Taking all this together, it should be clear that Nancy’s philosophy emerges not just as an extension and repetition of phenomenology or of existential phenomenology in particular. Specifically extreme care must be taken not to confuse his thinking with, or reduce it to, a Heideggerian thinking of originary finitude. Rather, like the thought of Derrida, Levinas, Blanchot and others, Nancy’s thinking seeks to think at or in excess of the limit of thought and at or in excess of the
subordinated. He frequently admires his great friend and former lover Lou Andreas Salome for her great accomplishment as a listener. The activity of listening, in Rilke’s mind, allows for intimacy, mutual generosity and awe. In those of his poems where listening occurs, these qualities are often found. In ‘Primal Sound’, an evocative description of the experience of listening to oneself (or ourselves) takes place near the start of the essay, 13 14 ‘Primal Sound’, in Rodin and Other Prose
presents her ef forts to make sense from her profession. This piece does not really fit into a specific genre such as theory, literature, poetry or criticism; by expressing and following an imaginative conscious stream of thought trying to make sense of the present, Shyy brings us performance in praxis. This writing as art and creative praxis bleeds into the next grouping of chapters, which express ‘Making Sense as “Event”’. This section is heavily inf luenced by the rhizomatic thinking of
happen to one; it is rather then, what one is made of. Deleuze redefines the experience in terms of ef fects and relations, or better, haecceities, which for Deleuze means that experience is individuating’.52 I experience, therefore I am? I experience, therefore I paint? I paint, therefore I experience? The permutations are endless. Yet there is no time to consider the success or failure of a mark, of a colour choice or of the compositional move. There is no space for manipulation once a gesture