A Propos, Levinas by Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David

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 chain of meditations responding to writings via Emmanuel Levinas, David Appelbaum means that a mistaken grammar warrants Levinas to converse of language on the provider of ethics. it's the nature of functionality that he error. Appelbaum articulates this flaw by means of appearing 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 basically, occasionally indistinctly, Appelbaum creates on those pages a type of soundstage upon which illustrations look of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, ideas for giving voice—and now not ethics—as the right kind matrix for knowing the otherness and beyond-being that Levinas seeks in his paintings

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Emp‑ ty of propositional form or syntactic propriety, proximity puts discourse in question simply through contact—somatically through sensibility. ” (CPP, 125). Contact, caress, proximity: these are articles of an originary speech, a saying that “no doubt precedes the language that communicates propositions and messages; it is a sign given from one to another by proximity about proximity” (CPP, 121). 19 Blanchot picks up the thought of language as an outsider having an 26 À Propos, Levinas anonymous impersonal inarticulation: “The Other speaks to me and is only this exigency of speech.

He is reluctant to desert the Heideggerian scene of the originary, where “the original language (is) a language without words, propositions, pure communication” (CPP, 119). Proximity “is by itself a signification” (CPP, 1160. To teach may not after all require a difference in levels. Emp‑ ty of propositional form or syntactic propriety, proximity puts discourse in question simply through contact—somatically through sensibility. ” (CPP, 125). Contact, caress, proximity: these are articles of an originary speech, a saying that “no doubt precedes the language that communicates propositions and messages; it is a sign given from one to another by proximity about proximity” (CPP, 121).

As artist (artiste), the genius of art contests, not as a doubter but as a parodist, the conviction that this is how the world is. Every so often, it pops up and in Dadaist fashion, fires off a warning shot. Its art is more than strikes the eye. It is the air of magic: performance. Making happenings happen. Ereignis. Something like Heidegger’s idea of poiesis must follow, in how art spe‑ cializes in bursting a linguistically established order by what has not yet appeared nor ever will. The poem is what dares.

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