By Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David
Rejects Levinas’s argument for the preeminence of ethics in philosophy.
“Imagine listening at a keyhole to a talk with the duty of transcribing it, and the outcome could be a textual content just like the current one.” — from half I: Stagework
In a sequence of meditations responding to writings by way of Emmanuel Levinas, David Appelbaum means that a wrong grammar warrants Levinas to converse of language on the carrier of ethics. it's the nature of functionality that he error. Appelbaum articulates this flaw through acting in writing the act of the philosophical brain at paintings. Incorporating the voices of alternative thinkers—in specific Levinas’s contemporaries Jacques Derrida and Maurice Blanchot—sometimes essentially, occasionally indistinctly, Appelbaum creates on those pages a type of soundstage upon which illustrations seem of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, principles for giving voice—and no longer ethics—as the proper matrix for figuring out the otherness and beyond-being that Levinas seeks in his paintings
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Extra info for A Propos, Levinas
To bring to performance a work that never has nor will ever be performed in the world loosens the joints of discourse, which then speaks, in a strange Levinasian anomaly, less drunken, with more sobriety. But art doesn’t explicitly advocate sobering up unto a vigilance alert to the trace of the other. Art may be mindful when language doesn’t hang together nicely or speak properly or determinately. Possibly, art doesn’t play sides in what transpires, namely, a weakened technology unable to fend off the other’s indiscretions as they grow abusively inaudible.
In a Heideggerian fashion, it would penetrate the body of reality to the heart, there would unsettle the categories of experience, painstakingly established by Aristotle and Kant, and trouble thought with critique. were still an intoxication; as if, all erect in its vigilance as lucidity, the reason that identifies being slept on its feet or walked like a somnambulist, and were still dreaming, as if, in its sobriety, it still slept off the effect of some mysterious wine” (OG, 16). From a dream of an evil genius to intoxication by wine.
The linguisticality is other than the discourse of user‑language (in its manifold varieties) and continues to trouble the making of meaning, contesting concepts, questioning identity, causing syntax to tremble in its cases, conjugations, and punctuations. It is a contestation of presence with absence, one supplementing the other, endlessly alternating. Art has an adverse intelligence. As its work grows more articulate, more of the world destabilizes in meaning. One might wonder whether this is a victory over technology—user technology that grips discourse— or whether this is the logical conclusion of that technology, given the endemic confusion of signs (slippage) in the contemporary world.
A Propos, Levinas by Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David