You are on page 1of 81
Translated by Albeit Toscano Stanford Univerty Pre Sanfod California ais HANDBOOK OF INAESTHETICS Alain Badion WID-L 8 2430 18273 P3813 2005 Sean Uns ‘Sain Ctona nh salon © oor he Band ofr (fhe nd Sele js Uy A ghee, Ngo bak may Be roti or annie in Ty oma ey cra dtc ean ‘pseu nd mcg cin emt or Eipreen em ier ep wes emi oF Siste Uohenn Pee Haddon cy pb a Pacha ‘pte thee mene nga Eo Sesto “hwo pul ps apa fia pin thn ese gor fam he Pench Mini fon ‘iad he Oa Serve red Eb ‘ean So “Thebes cf he Fred May of Galen Cone he Bek, i nse Used Sef Ane once wy ie Uh of Congr Calin able Dass Tie man ieee Fg Endo taser Ae Bt, Ar Tecmo fom Oe) sat toys athe pape) ‘So Stogr sen steees ak pe Se Taran: Tle 1 aidan afr Ca). syoemnt aot seope7 Oj Pig 0 A ae tan iu ow nde aa he pine eee a oe EIT 8 ans Contents Trlr Nowe St Areand Philorophy $2 Wharie a Poen?, Ox Phbaoply and Poeay st the Point ofthe Uanamable 5 A French Philoopher Responds toa Polit Poet 5. APhilropicl Ts To Be Contemporses of Peson 5 APoei Dist: Labi ben Rabi's and Mallat 6 Dance as» Meaphor for Thought 7 Theses on Thee 1 The Fale Movement of Cinema 9 Beng, Exence, Though: Prove and Conept 510 Philosophy of the Fas Seure Mari Troatr Nor ‘Translator’s Note Although Ihave wed co keep etrial nerfeence with the text co + minimm—batrng a hand al of explanatory notes and indications of echer work by Badiou, where concepts found inthe Handbook of “nash ate given their proper docttal formulations te lst 70 ‘chapters ofthis book posed significant challenges that deserve brief ucidacion ‘Chapt 9 “Being Fuisence, Thought: Pose and Conceps.” is 97+ tematic reading st once Bald and meticulous, of Sarmiel Becket ate prose text Ward Ho. recofigured eras 2 or tres on ontop ‘Thetansacon proved paral arduous becuse, uke most of Beck- ‘acs Bagsh prose, Vrs Ho as not wale into French by Beck fethimulf and, moreover what Bad dos with Becket very Aependen on te abrctive capac of Edieh Fourie eandation sd ‘steal pay ao hed the ginal tex. almost ge without ying, that by inverting the dvcion of Badu operation, my euslson of Badu ex ha ad to confont a number of srios challenges, ofen fering eto tet the recurs of te English guage node oan tn the cloteaes of Badious ending and to accommodse the unique manne in which Bese own eminoloy i progres apropiated Ineo Badin prose. Thope that he dance produced by Bas having trnployedFoucnirs ranslation wil prove iluminatng ren when the lscuion of Capa pie i cand ino Engh andthe cations ate now fom Becket ngnl English version, « Tar Neve ‘Chapter 0, "Philosophy fhe Fun" another “monograph” on in- aesets, in this instance concected with oe of Stéphane Mal’ tow famous “Symbols” poems, Lipr-mii da fount In order to Frain the consstency and indesicaly of Badu commentary have been obliged to prodace ay own version ofthe poem which shee “quote int ene: From caing ro having sought any poetics peony ore previo rasations [hav simply aimed 9 matin co the best of my abil the speculative armature ented in Baio’ di tussion while simultaneously endesvrig noc niet oo uch harm “pon Malis language and above all upon his syntax, which Baciow ‘elas the rial opera inthe French poe pracce and chought Mpeflow hers deply indeed tothe warlations by C.F Maclin tn Henry Wein and could ina ene beepded aan amended by brid of the vo. “giimate se nay a fs appt [would maintain tha such “ic crltton peter withthe pes "ea of Cap au pre its Ege shonin rene contonane wit the chims of Bad’ philosophy in general and egies one ofthe mos obvious ets of inaesticdi- ‘ous, Rae han seeing weleome (bat wo absorb) the poem ino the elm of speculative ehinking sn + hermeneutic vein, Badio’s ap- poten is commited both vo deerng the autonomy of ati proce: Utne (ection cinematic or shesre and reginering wha he tals thei incaphlosophia elf” (Se the epiggaph otis volume) eis worth ning ia this epoch the price of tension, while consiuting "an amt invariably duro approximation” (Chape 5 ‘elo neterchdes Futon Bad ims vows with spec e- ‘rencr co Beekestat 4 potene weapon inthe asnal of inet, ppatng the exrcton from che works in question of chose at that Single them outa condition for philosophies ctv. Ia his own at ening of punctonion” of Mallarmé poems, simed ac discerning tele “Jaci becoming”—wbat hein ect dbs thei “ranstion —Ba- founcement af revere he promis ofthe advent ofthe gods a the beh of our dita, andthe eave cation ofthe hizo of bg. While the poe, in the lsh of language, maintains the effced using ofthe Open, ‘We could say shat Hedeyger unfolds the igure ofthe poec hiker as the obvene of Newache’spilsopheraist. But what ire us here Anand Philp A and characterizes the rmancc schema isthatbeweenpiosophy ad ae ei hearth hr cali: The rete of being come a hough a ‘he conoining of the poem an i inerpretatonInepreation ia the end nothingbut the deter of che poem over tthe trembling of nice in which though ives wo endure the eet of tenga ening, Poet and thinker, eng on one another, enbody within the word the open Jing out of i cls (ae des ltr In hires, the poem, stil speaking, cannot be use Paychoanaysis is Arion, absolutely casi. In ode wo be pee= sed ofthis it alice to ead Freud's wing on painting snd La pronouncements os the sent ot poet In Ped sd Lac ron ‘eve as what makes ies hatte object of dete, which beyond ey brization, an subtacvely emerge 2 he very peak ofan ae fsbo ination. Int foemal basing he work ler othe disipacion of the unspeaiable scallion ofthe ast objet. nso doing, ineacably cap tates the gine othe hearing ofthe ane who i exposed te The wore ofa inks up toa wansferenes because i eis, na sigue and com ‘orted configraion, the ockage ofthe smboic bythe Rey the “et macy “ofthe abe pat theese of dee) tthe Ober he ena ‘ofthe symbolic). Thisis why theultimate eet ofa esis imapinay an dhercore conclude a flows This century, which exetally has oc modified the dectnes concerning the ink berween ar and philoso ply has evercees expeenced the sareon of thee dorines Dds tic ie saurated by che sare-bound and historical eee of in he sewice ofthe people Romansicim i saturated by the Semen of ue promise—always brought back to the suppostion of = ser of the {eden Heidegger heovel equipment: sic, Snaly ator Fe bythe sl concoumnear conferedupan iby the complete deploy. tment ofa choy of dee Whence, fone har nara fillen prey 0 the lures oF a applied psychoaaljsis" the ruinous navi tha he ‘eltionshp becween pychoamalyss and arts never anything bt service rendted wo payhoazalas tel Arta fie service “Tha osay the hee chests re staat tends to produce kindof dlseanglement ofthe ems & desperate elon” beeween at ad pllosply together wth the pure and simple claps of what had ics feed beewee them: the pedagogical heme. rom Dadasm to Scuasoniom, the century avantgarde have been nothing bo sor expesiments for comemporry at, and ot the ade ‘ Arvand Philosphy quite deviation ofthe el operation f hia, The role ofthe avant res wast represen ther than ink, Tis Bcase ey were noth Inghut the depente and una earch fora mediating she, for ad Fee ode ter ince crucible of rang so mt give tale ee ‘ence othe rempora disappearance of ce sensible, Tn this see, cis always ue oy cha a poem what Rimbaud, in A Seon in Hel allan lehimie du verb an ‘alchemy ofthe word” Bat thisaldeny, unite dhe che kind, sa thought—a hough of what here is inasmuch athe “thee from this women onward beholden co the poner evacuation and incement that belong langage “The emblem ofthe urprsented and insenuibe malple out of which ‘mathemati mes eth isthe void he empey at “The emblem ofthe cose or open mule whichis held athe edge fis dnpperance and whove rth le in poy, the Earth, th ‘eal and aflame Earth of which Malar declarer Ye Ln sh Eat fr foe igh, Che ain sty precedente? very uth whether bound cali o exzace fam the ag of ‘aural language above all «pour Truth has power ove is ova in ate becoming, Ica provide fragmented ancipaton of univere without cmpleon. Tecan fra a inference about what the anivere Soul be ifthe offs of eu ail underway were iil Tomed unfold wih i “Tiss how. when confonted with 2 new and porent theorem, conse- quences tat an ret though and oblige to underak etry new ‘eres undergo ssesmene Whats Pom? 2 ‘Buc it bo how new methods of poetic thought ae drawn from founding posers new survey ofthe resources of language, and not rerely he dlghe ken in a fash of presence ‘hac Rimbaud ercsims: “Method, we afin declares tithe i “in shary to Gnd the place and the for Inula" Or, for that matter, that Mallarmé eadeaoe to round the poem asascience: oe august dough ence ‘The yn fal as sia Inthe bef my paces, ‘Ai bet at eal” “Though when conceived asthe thought af pesene upon hakggound ‘ dapperance pcr isan media acon, ike ever lr gue of 2 teh, isauos program of though, 2 power ancpzon Fring of language crated by the advent ofan “he” language tat a on ianent and res, ‘Bur at thesame time as ita powe every uth salsa poweessns. Fo what rath has jradition over cannot bes tote “Thac uth and tole ae incompatle i without doubt the dere sive—or post-Hegsian—teaching of modernity. “aaqus Lacan expressed cn 2 Faous aposia fom his Seminar OUI Trt canoor be i “whle” Ie can ony be balsa [edi Bue Mallarmé himsel had teady cxiicaed the Penasians, whom he ‘aid "ake the hing whole and show ic” Wheteby, he add, “they mis he myers” "Whatre3 tush maybe a tut of on cannot dam that i thie ‘hing “ntl” oF tha provides 1s ital expoion. The poets ey latory power turns around an eign, so that marking out the ery point this enigma the poweler Real of the ower the at hiss, try i leer” genuine imperative, When Malin sacs hit “thee muscaays be enigma in poy” he inaugurtes an tie of my ‘ery founded on the respect, by the power of «uth of is own pint of pores” ‘The myery i ey spaking, cat every posi uth less wes cen cen wha it dos tot hae th power to bing ine presence Tna more ger ene, a uth lays encounes—ina poet of what inhas invested the limi tht proves cha itis hi single eth and 0 the seléconsiotes of the Whole a Wes Pome ‘That every th chou it my proce wo infin isequaly bays a singulc procedures ated inthe Rel by leone pin of power estos ras Malarme sy, "rock, fie manor immedi eraporaed in mi he imposed inion nig Avr comes up ans the rock ofits own singulain, and iti only there dart set pote, haa rth eit Te sel his obtace the saab The unvamable ha hing whan naming ent be Fred bya uth, Tha thing whose entrance Ine rah morn ei] eu el enna ane vty rene of erat grounded inthe Real byt own wonamabe lf we now return tthe Platonic opposition beeen the poem ad he inatheme we ca sk the flwing question: Wha direst “athe Resear iin what concer tei respective unnamabler—nathe naa ts rm pete wh? Mathematica lnguge is chara by deductive ei By se ase underand he eapcy tn p amet in uch way dha ther quence constrained, cht he se of eet bid through th procedure wiumphany survives he es of conan. The fet of contain derives fom the loi codng tha ndetes mathe ‘rac onlog. The elec of eonsiteney ise, Wht in fa consent deo? ther ch hater are eran ht tite onibe within A theory consent if there exit let one "or ‘eo sarement nits language that's oe insribable within to chat the doer not admit aver "Hom ths pia of view onsstency atts to the theory angular hough Were any semen whatever tobe admin the tory, there woul be no difrencebeowen "gammatily correc sateen” and 1 here eid aatemere” Thor woul! be nohing Du r= ‘mar and would think aching. “The principle of consistency is what sigs mathematic to an onto~ Jogi sation of cought (ane situadon de de pens what ‘aie othr mathematics nota mete ae le "But we know, ier Gel, that conseny is precy th name pein of meena 10's not posible ora mathematical theory toc lsh che natement oft vn consiency a verde, te now ta o pcr, we an se that what hance is Jtscapaciey co anesthe powers of language fae Every poex bring ower nc ngage, the power of cecal fering the dusppearance of Whar is a Poem? % wha presents Or though the poet eceson ofits appearance ‘he power of producing preece isla ea Neverthe his power of language peisly what the poco cana same Is crate this pomer by dang upoa che tent song of lan tage. epon i infinie sour, upon the novel of asenage- Ba Posty canoe fsa this infinite, precy bec iothe inf of Language that he poem aes lf onder toda the pose ofan age ard she frnton of disappearance "We can therefne sy hac 1 a ifnice power devoted rene rei the unnamable of poe. “The infinite of ngusge the pomeesmes immanent the poems «ff of powe: ‘Malin represents this pint of powereies or ofthe uonambe i sc esc evo wap Fic of al nthe way that de eee of the poem pesues a guarantee that can nee constiute nor peal validate Thi gustan tat ff lnguage undentood as order or aye "Wha inchpin do I het, tid thse cons, forinelighily There must be a guaranise—Sy- tax Within the poem, yo eh tent power in which the eoncast eeen presence an diappearance (bing 2 nothings) can rset i seco he inligle Bursyntaxcanno be pci, however Er may push it dori, I opertes without preening el Malle hen cll iniater hace could neve bea poet ofthe poem, a metpocmn. Thi i the ene sens of the famous “poy” this ie that names nothing che “banned bbelot of sonorous nanny” Dulles the pry woud be the name of what the poem is ape of to bring forth fom language» coming o presence that was previously i Pome Save shat hs same precy nota mame-—i 2 mame that hoe nt same So tha the poe (he Maser of language) cakes this fake ‘me wich im into he grave: (Fo he Mane as gone td es fom te So ‘Wi chissle cet th Nig ain * Insc iloaly crane the infinite of languge the poem tnaing, for he poem ite unnamable. The poem, which has no other tole bs thar of manfeig he power of language, is poweds 0 name this power veidialy. "Thi sb wha: Rimbsud mesne when he ace his own posi en- 36 Whar Pom What it Poon? ” erp of madoes." OF cous, he poem “noes she inespressible” oe wi, a subuction fiom she power ofthe ue. A poine dha i ily "faeneverigoe” Batts madnes 9 beleve that can both seize one taking "unforesble” by he omer af eth, watever this rth may be. agin and mane the profound and general outer of these notations, these nal fom deft tat the inate power of anguage ithe una feng. As an ectve though har cannot name i own pone, he tle of ce poo, philosophy wil esin the conviction that tong 35 poem remains forever unfounded, In Rimbaud eye, this maker = th lcerpetation tay bes che meaning thatthe interpret achieves oon of ophinms "explained my mais opis withthe al tl ace ground the capaci for meaning alin ther word, that ‘sion of wards tgth an nee evel he meaning of meaning, he sere of ese ‘Moveott fiom his very fis woes onward, Rimbaud rematked the ‘ht banished the poor beer be superset poetic though can- presence in the poem, understood subj, of «Fundamental ie tut be he toughe of ought. For au par, we wil welcome the oe ‘ony: The poem akin 0» power tha rene: anguage a esse permits ss ge the chim ha the ingly oF bough {Sey "too bad forthe wood that coven iawn” ot its nos ‘in be repcd by he thinking ofthis hough faethe brass wakes up « bugle” ‘erwern the consistency ofthe meme andthe power othe poem — For Rimbaud, the unnamabl of pes hinking isc his hike sho unnamabler—philsophy renouncs is efor to establish the ing elf conidere i pening out, isis coming, This ea coming, ] use that el up the arc Inti sense—afer the poem andthe thar is ale chat of che Init asi enes ito langage i he form of Imam, 2nd under thei thinking condion plop the ee le song er inthe guise of he spony cha bewiches presence: "I watch sal inking ofthe malic of coughs. ‘ove the opening ou f my thought T wach tens re ith However, pilosphy ci be heen nly fc abs fom ud ty bors thesmpony nein che depehs,o ess suddenly ono the Inge poem, and mos ofl rr dhe wish (nen iis by way oe seine tine borowed rom this oh poet) of imparting ay oll sons ‘We cold shut ay thie the unnarsble proper to she matheme she Ihaed upon ie Mort oen—shiris Row Pato understood philosophy conrinency of langue, wile che one prope fo pou che power af ton othe poem tis means the flowing vo demand the dsolion of gue. the mnynety of he poem 0 delineate fom he out he imi of the lasophy wilin tum place itself under the double conivon of be ower af langage This comes down ro forcing the uname, "Pl poem and the matheme, stems bth of chee power of veracity and oF Tong” against the modern poem, Even gest poet can end up Par ‘hei powerlesnes, ther unnamable Tonizingin thir eee, Lee me pe you 20 example Phlwopy ithe general thecy of being andthe vena cd ogee, bye cht wos a a pln gf bed tent afwhich the name alone romaine =F > Prulosphy vil recognize sit, in summoning the tention of wht appear, ery naming ofan event oF ofthe even presence isin ‘cence pci Tell also recognize thet every flit che even, every work thet takes place near being ad ha guided by = preseripon that nothing an ground, mut demonstrate «rigor whow paaigs is mathematic Fey mus submit ielf to dhe discipline of a consnuous consent Buc fam the fc tht consistency isthe unnarable ofthe mathere plilphy wl rein he impossibly fs eomplte relive founds Hon, togeter with the notion thac every sem possess a beahing $3. A French Philosopher Responds to a Polish Poet, Some years go, when the soci aes were binning ocallaps, poet cam fom the Eas 2 ue pee. Reogazed by his people, Reg ined by the pre that every yes unde the guarantee ofthe Nori ew ‘rly, solemnly dasgats for he world whois Gree Weiter ae, “Thispotwithedt give us fistral eso, Who then, wasthis"an” this "we"? "We" people of che West and in pariclr "we" French, {aed through dhe nui ie hat binds ut out mow recent poets ‘Cosa Milo old eat afer Mallarmé we, andthe Wet with vere tapped ina hopeless etmticim, Thar we bad drained he source ofthe pom. That philosophical absuacton wa like a laciation ofthe ‘entry of poetics. And tha the Fase umed wih it grea sfering the isacan of son ving word, coud led back othe path ofa pocry Sang bya ene penpe He ale sold uy his great Pl that che poy of the West had sve cumbel to dose and an opaciy a whose origin thee lay asubecire ccs a forging f the world and ofthe abst, And hat the poem needed both 10 conserve and to provide a knowledge devoted to the ‘wealth withou rere of what presen ill. Tavieed to let my seatimens be known, I woot his bie wipe, which is devoted othe eatdina poine of che gusto, 2) Hermeticim Is Mallumé «heme poe I would be quite eo deny the existence as A Frc Pipher Responds Poli Pact » fan cigs ft re, Bs wn i gnc tnifiristt be rnay Sng topes” dn rt The pom that dpe noe an pe son orien ted png he wri cons Te fs Spain fhe pon eh nen oro a 1 slots cbc The wolves bape oe th cpr te poe, te wel sac hig wane prac treacle nef poco arng gc operon sepa Tey et esp ret ype penn nd pons oe ep ‘Lice prem cig awe eed toe ai er Sinbetcdy Shc laa as awe pred wth or a ae, screwing wi neni of angst ‘Seamingi espa llr es ep aon” teeth ponte he Nal ofn Sosa he omen te recion pre een a rs prc pT pc tccated on Slo fe aj npr pry eee ‘Strano theme ir on, War rn iene ‘Seman Sningbs the porn emcnay bane smameny Spiess cn yon cg nse ‘Stated bythe eg Th eer men spo Sesame po prone: Ot es dr oocopenee Tsui to eck of ketch nie eis rere ste wenn on tdeand wee ek tun inspection Malet oom acs oso epee ror Sou tyes any ie The posn mane Sein rope {Sn Heeger nts oy donned “There ines nse oen—noin ot aww ian bt le tin at pos Bee pcm on Gaon abo tn ees The pom ses pce The wpe peepee vege eal we ingle Te gay cp oy, ich the sion cs wopunand depen ae ps ne come ps Sepecetoag! TT 0 A French Philp Ron 4 Poli Pet Malar cle this psig of though tas imaneat the poem -vanpostion” : “Tarpon oa a ippeatnce, a ofthe pox: “The pare wo ines eon dpe fe oe ea oe gh nena stn ha ch porn Babjtie TORIEINT ith veryeppsterasetil sony of temabje fhe ar uanaposion pode in the mit of langg is naan objet of any sor barnes Le. The pce species gh (esl sua ofcstcennoe Fh desguaces the paceteble mare of thepooms pete” deve sujet hats hs been liad, ‘ionton cha inthe cody prin aes the eno prec. “fetish Cosalaion te Sea the seo she Tomb ‘Bolly, eanpusion aanga—berween the clcuionay apes anal prs the pression option teh the esos on and ening, ting inepenen in the gat of he eng {hunny them Gas Mallard sy The bur meaning moves Th arange iso chow meshes “remeron mig ah up ine monemenc ofthe pt int arageert ad oC 0 iter tha ths movement opens Beer the eclipse ofthe sje {the dain a hej nd har wha this movement procs on tee Hemet wile tan acu, isthe slogan of piu n= comprehension of ur tims, Ti dopin cones 2 major ave: The found simultane 0 the themes othe bj and he Tajo The oun reat erable bereen though, wich ov ofa ube and proencewhich go Beyood the abe. “Ase th eipmat te poo tc, aol evo sede ‘urdore oan he pean of che poem we ge up ons ee fe se eplld byte obscure inlanon fee, bee rCheee es diftent and suspect wid arp ve the wih 2 Malarne wes so Haun hinge nthe fereound perth, tke sacs eno svete y the pest of the insane” A French Philoapher Repost Poli Pet ” 1) To Whom is the Poem Addressed? ‘The poem x a exemplary wy, dened everyone. Nomore and no los than mata, Thi reel because nee the poem nor the Imam kes pewons ac accoune representing intend a the 0 ex ‘eres o language, he put univers. “There can bes denagogial goer which thinks it address everyone caus borrows i ieament fom the opinions ofthe day. There can alo bea degenerate mathemati the servi ofthe eutent oppor tis prod bybusoes and esnology. Ba hese ate impoveed hes that define oople—the ones ade —in crs of how they ae Aligned with dst creursanen If people ate define, in an egaliztian Stance by hc apc fraught ig the nly sens hata be Aocbed to the rte equali-~cen the operations of te poem an the ‘Saco of mathematic ofr he pradg of what is ares coal. "Mallarmé calls thi egalitarian “al the crowd” and hie mous 2nd achieved Book barns ober dese han hi cowel "The Crd ithe condition for the presence of the peesen. Millar ‘igorouly indies hat is pack is without a present for reasons that ome downto the abence of an ealitatan cow: "Theres no Present, ova preset doesnt eit, Unk the Crowd dee isl" fase sala, at we hve yr so zx~teres toy adieace bee ean Ean and Wes eating the poe resources, i should eeainly fot be asctbed tose, ut het tha, om Leip 0 Bejing. the cro (phage) dedars isl. Tis istorcldelation (r rather, these declartioos) conse a present and modify (perhaps che con tins of the poem, In che naming of 28 event, che operation ofthe poem tan eit ve tency of the cod, The poem then Beams posible as ‘geen con. TF ohe cow doc ot deel, sit id noc inthe West during he sneanchaly ight, and, eqn the te of Mallarmé then the poem {pose only inthe form of what Mallarmé cle "sited action.” Rested ain ano way ales the fc that the poem is addres co he eptasian cod, Bu instead ofthe even, i point of deparare i {Beabwence of th event Iie thar ts malady or bck, and otis declared Jncernent athe ese ofthe crowd, bat the pom tums sto a mate forthe emergence of constellation, Within an impoverished sation, the poet must sls the clement with which o stage the scifi eo ——— 2 A Prec Piluper Responds to Polih Pa ely of moment of genes. Rerticted action demands that the poet soubor tie mow innate deeeons—f his mos inden ces and hi shores joy—s0 ao ansipatethe Ie. Os as Malemé Spel says The wits, within dhe text must nominate himsel—of Ii il of thse dragons Beha pampered or ofa momen of appines— he piri despa ifeodey these pehape a difvencebecween East and Ws its ct tainly nt dowaste a rion dhe dese ofthe poem, which taps and everywhere by right he Crowd Tris upsteam, in dhe cond- ‘Son ofthe ocr, which nthe Eas perhaps authorized o underake {eral action and in the West Forde momen iid eo resticed ae om Thiam prepare o concede o Mile, supposing that his poli preions tro ome ue something thats nt cern “The foregoing dinton affects the Me shan its material. espa: rarer oa he operations ofthe per les than the linguistic dimensions (Gat thse operons involve, Ox, to borow 2 category fom Michel Depa iene mater of knowing wich laon vo wha asec ofthe poem Jecan bes ha hii ike the The ares of execs of hit" fom ‘which the pre notion ie otn rece in the West and posi ge ‘alin he Ear. “Thisis because every diffrence within the poem i etablbe les a Aierence beeen languages than a dlzence within language, be tween dow reiters hat operations ofthe poem are capable of eat Inga given moment nine «) Paul Celan [she fiom the Eat, thi Paul Anche, born in ga in Cerne? Ie om the West, his Pl Clan, avid to Giselle de Lesage ying in {oye in Pai hee be kad lived since 948 Ibe fom Cente Burope, {ha poe ofthe Germas langunge? Oris he fiom elsewhere fom ey she his ew? "Whar does ths pot elu, as dhe ls poet ofan pack ofthe poem whose diane prophes is Heel which begins with Mallarmé ad Rimbdand double incor wii its sonpe Tall, esos, and Man- detent Fist ofall, Celan cls wt cata direction for the chinking of our epoch cannot come fom a8 pen pce, rom a grap of the Whole A French Pipher Responds Polith Poet » ‘Our epoch is disoriened and devoid of pene same The poem (and tere ne id the theme of rested action sai) must Bend itself fora arom passage But for he pom o pat tvough the narownes ofthe time, eu nak and facture thie narownes with something fle and leony Foran Idea amenning ge"), ora presence to ats, ca epoch demnds ‘Be conjunction, within che operaians ofthe poem, ofthe preied at tomes ofa at and of tbe slestory Bg of a ark, Cec ws Kien (0 (Cla in Jon Fesnes eansation From the earower it gi iscoming oo, hha bythe din of ue ‘pean th” (Clan then el stat anasto and peslous a the path maybe, thee ae to sing chat we knw about we ta, conta tothe delartons ofthe modern sphiss, there ln indeed a faed pointe, No everything is caught in the alppage of ln- tug une he mae vaio eeurences. Being aod uth er i now sipped of any gp upon the Whol, have no anise, ‘One wil fd the they ae pecarouly rooted preily at che pont ‘ube she Wher up row nothingnes ws Second, we know we se aor piones ofthe works bonds: Moe c= sen the very dea of binding oration i isl fallacious. A uth ‘unbound; and ics omar thitubound, coward this oa poie where the binding i undone, thatthe poem opertes—in he drecton of pre ‘ets listen wo Clan agin a ell sf what is fed (of ha = rnains and endres) and about te teansporrowar, 0 playing in, the Unbowne “The can aero be, tomorow wil fl be nding where oor so plas oun a Seared Inthe end, and comscqunt with the sign of the unbound, Cel teiches uy hat what a eth ee upon sa eonssency, but icons Py A French Philepler Ragen ta Poo Pet tency. Tes nota quetion of felting conc adgments but rather of producing the murmur af he indiscernible Tn chs production of murmur ofthe indcenible, what idee i the inseition, the writing, of > botow a cegpry dato ean Cade Milne te ete, Only the tes doce noe doar, bu instead fetuses woul add thefllowing, Tete ate ever Ks of lee. There 26, in fc, te sal etre ofthe matheme, bu thee sas che "mystery in keer ofthe poems ter what» ple ales erly (2 le here ae the ler of over “Fhe leer added al, Knowlee cerns tings and onde vison. The ces, which suppor he musmar ofthe indice a {reed wichout division, Every subject an be raved bythe ees hai, every subject an be teased This woud then be my dein ofan plain Fedo ‘within shout: A hough fe nce canserated by the smal ee Tersof the theme, by the mst ters of the por, by the way ia tehich pots takes things Ural a aly by delve lee: Th oter to be fe with regu tote mysey in ees ha he poem continue i enough shat he readr dispose himself or hes ro che ‘penton: of the poem-—lteally The reader muse wil hi o¢ her ow ‘nae “This knot tat ind together inconsistency, te indiscernible, he le ser and the wl s what Calan names i the following ines: Cecping up cle ‘olen totals ro fing apn he sys in ‘esbbibooke| ‘vd ube phi pends In dese lines he poem formulas an imposing dscive for though: chat the ter univenallyaddreed shoal inerap all consistency any forbods so that 2 uth of he wos ay “ase” or “ash up” Poca we can ell one another: "This depends on you.” You, me— summoned othe operations of the poem, welsten co the mura ofthe indiscernible A Frm Philopher Responds Polish Pos as ‘Buc from whence does our recognition of the potm come? Our good fornune, Maliné undetines in 3 ial woet belonging nether co Eas sor Wat, hat an age knoe, acral tata Pet exists" ‘We must concide ha we raf ein allowing shi god frre animate or thinking Withour debs, Mir wa lo pointing co this Allangures have seed hol of thee ova power spain and aa nad ‘mible poems, and ies only to tue that We Fesc, slong assured of fur imperial ft, have often taken ears or evn entries, discover his "Te pay homage othe univer ofthe poem inthe vaio ide ‘ome, wil nowy how Tease 0 gasp the etaowdinary imporanee fof Poreaguese poet and, mach farther bac in me of an Arab oe sil ale show how our thooght and out pilarophy ae compo of ach poss $4 A Philosophical Task: To Be Contemporaries of Pessoa Femande Peso, having died in 135, only came vo be more widely sown in Feance ily ents late too, patie inthis seandalous de fer regalia anda cate we ae dealing wth one ofthe de sive poe ofthe cent parculy we ey 0 hin of im 22 ps be contin fer hiloepiy Tn ec, we can formulate our question as fallows: Has the pilsophy ofthis century (hat of the past decade included) been able o—ha it [nown fw to—put tel under the condion of Pesos poetic enter "pie? Heidegger xeaily sought to plac his own speculative endear finder he thinking consint of Holdin, Rilke, or Tal. Lacoue abate is urea engaged in 2 rein ofthis Heegesian amp, Aevision in which Holden ex sake and Paul Caan functions 284 ‘ruc opertr I mya have expres the dase for a pilosophy that ‘would ally be he contemporary of Malleme’s posi operations. Bat soa? Weshoald soe that Joe Gil hs devoted hima at quite he imersion of pilwophemes shit could weleame ard support Pesous rok, bu a las tothe neranon of a ypoths that Pea work— Iror parca cat ofthe hetronyn Alvaro de Capri compat Ue with some of Dee’ pilwophiclpropostion can se aly Ja dich Bao engage in an eauation ofthe whole of Pesoxs poe in teams ofthe quetion of megs, Bur she cates out this evaluation fom the ideo poo elf acl coin a moerent har woul be ditety Jnecal othe modeling ofthe theses of plsophy. We mas therefore ‘aude tha pilorophyienor—a ear noe yonder the condion of Pesos. conga rot yr wry of Pas s A Philp Task ao Of oun en wil mmeiny ort: Why hl ibe? What isis “worthne? har ete othe Pregl pct hich eqs that cnc pilohy ce ao menting up ott eer by ‘oy oft detour hat ines th eacepor f mode. wl age that {engine though dele Reon ch noe hee tbls gan of palmoplial mole i pb of ling ‘tempor dfiton of pilropbil oder et wake Nie sc spay aap by Bear rts Pon Let the tay nih Recher the Coney ene fl eo be Sd of the Shoe of Pla” ies beyond dub tht eis soan orgies convergence of he di panne sndences win contort plese. Aue ily peng the cmon fr it of alps cena eine cul eof the pio phir of eo of the omer of he via), fom Nisache Na Beka, puting tough Berpon. For chen tikes te onset eat ofthe concep ected ape ne ces mmancnce of i ‘Thectamiyf the eis a mowing vn. cprting each bing fom ‘whe i odhrvie cipal of tbe bao oft eg fenton. tan Palin ue aie nthe opposing ten in of rumor Togsniepbilwophie, hrs aaa appar Ire by themes of Witgenein, Cana, Quine. Acoding Sircaren the Datoicamumpion oa elie exer fees {dof he ned farina nln there eal wl re nonsense Fr tse plosopbis, the tere in general compries Tothing bc eile te epi dimension td i onan {Sn hi wae nj een operte te tts ofknguge he oe dimension). Moroes oc know ta Heleger—oghe with thei hrmen- cate ent invokes his nese the Poni operon, ich ingot ni cof the Lex epon he iki fg a eb Giving of che going of Bang tc ncxpton of vit kira [int whi neg Acfng ota poston, the dolonre cf ‘be mening of Bang ale coved ovine sy the teal supremacy of beings ic iaanged and enamel bya mathemati Sim cfundesantcg, “Orthod Mania theme hd o ape fr Pts, whom the = 8 A Philp Task tionary ofthe Soviet Academy ofthe Sciences paonaingly dep aan ideslogue of save ownership. Fr these Mass, Po wa the originator ofthe elit teodency in phsophy. They mach prefered Arte, ‘ore esie ro experince and beter ipod othe peapate ea natin of plc scieies. Fa hc par, the viulream-Mansi ofthe even and igh, the fellowes of ethical and democratic poli pllooghy she nme _Philsopeie Giucksmanr, regarded Pao Who wishes wo subi de ‘ocr anarcyc the imperative ofthe rascendonce uf the Good vt ‘the despot interpolation af the pilesnpe Lng the very prover ofthe toreaian master hiker “Ths goes o show the ac whatever poi and in whatever dtection ‘modernity may ss ix reeence points, one wil sway within tthe obligatory sigma of he “veruning of Pat ‘Accordingly, our quesion concerning Pears becomes the following Wha happento Phonism in aloft dle scespations, in Pesan pti work? Or. more precisely Istheoxpanzation of poet a form of ‘Bought in aso “nadie pec meta ovum Pas? et us recal ha ne ofthe Fundamentals tha deine Pes. soak poe is thar ic offers the epee wesks not of one pot, bu of foue This the famous device of hetronyny. Under the ames of Al ero Caio, Alvto de Campos Ricardo Ret nd "Pero prion,” ‘we posses fours of poms tat, hough pened bythe sme hand are {0 differen, both in ther dominant hemes and i thst linguist en ‘agent that exc of them coer complete sic coniguron ‘My espnse wil be negative IF Pesia represens a singular caleage Sor philosophy, his modereey ill seed of emaiingn many == specs uneypored cis because his hough pm naar «pat ht ‘menage be ct Plan nor nln Pson poetic defines 4 efor thinking chatty ebracadrom the unanimous logan ofthe ‘ferutnng of Pons. To thi day. pilaeophy het yr ro comprehend ‘hel exec ofthis genre, "ven, an inl examination seems to show dat Pesoa is remaably ceasvenl othe enery ant Pltonie caren having vendor 0 pwede al A Phileophicl Task 2 In che wring ofthe heeronyen Campos and ipecly in the great dese encounter what per tobe an unbridled aia. Iis thi ‘mension of Pesos ocr thar sutoros Gils hypohes The eight: lingo sensation sere be the principal procedure in Campor porte Ini andthe exposition ofthe body to polymorphous dismember sent evokes the vita identity of aie ad ineidon.Avocer ian "ex of Campo ro show tate casi opposition of machin and ‘he anita eosely eltiv, Cammps is the pot of modem machi Jum and of che guest mttopoli oro eomtercal Riancal and indus ‘al actives conctved wr devices of crenon, as analogies of arr Long before Dlewe, Campos thinks chat thee i srt of mechanical lnivciy of dese whore energy the poem must caprae without he sublimating oF idealsing bat lo without dispersing io a hi quocg: The poem ms isead gas the Ras and bcs by reach Inga sore ofr of being ‘Atri the choice ofthe poem az the linguistic vection of thought already on intially am-Parnic on?! Pesos approach i- tall he poem within the proedutee ofa ditended or inverted logic This lege doe ot appear tobe compatible wth the shypes of idealist isecres Ar Roman Jakobion demon Bin rte, sia thi sn tha the sytematic employment ofthe oxymoron unset all eed [eave abutons. How i one to ai dhe Ide thin the poe strong coieence, amos any given term can eee almost ay given prdieate—and in priate prditetha bear only aeatonsip of ountergecment with the tracheal? Silay, Pessoa the lnventor of qu-lbyrntine wage of again ditbuted hroughout ‘he ves such thet there no guaran thatthe negated erm ean eve be (ad We can has 5 chain complete conta tothe rl lei ‘uae of repaton in Millar, dees in Pesca a flsing negation des tine to infect the poem with a constant equvecason between afm ‘om ad negon, or athe that here isa very egal speci fa Fina reizence that climate wouchales thatthe most exlasive neon of a omer of being come ob conroed bythe at i tient enegcaton ofthe abject Peon tery produce poetic sab ‘enion af the principle of monconcadition, But equally, and expel in ‘the porry of esi person,” he challenges the principle ofthe ex hed idle. elec, the poe path is diagoral. What i adeeses it neiher a curin of la nor exe ether the bare ching nor ra A Philnophil Tsk Aeon, neither the diet setng in che Ligh nr the opaciy of 2 win- ‘dowpane, The poet ie heer eet hit “either nt" and #0 suggest thacatitcore hee es yrtomeching that every apposton of he pe "ena feo apr How could thie poet who invent 4 noel! lgi, «negation i Aig diagonal of being and an inseprabily of peices, ever bea Plroni? ‘Whats more, we oul rg hata the same time or nen) as Wit reastela GF whom heb noc abate), essa propa he most adil pos Sle fort ofthe equntion of though wih language games, Whi che Cronymy, then? We must ver forget that he materiality of the heronym ir aoe of he ode ofthe project ofthe de. eis died {lara nthe ming, he ceive diversity oF the pers. A Judie Bako ty hetcrouymy primary ee ota pes btn poems. When allie sid and done, what ely at take isthe production of cape foci ames, ith their on ule and their on inedible intra o erence: Teco eve be argued tha hes rls ae themes bore cde, so dae he heteronymie game would enjoy and of postmodern ‘omporton Ir Cao hel nthe outcome a he gual woek be teen vee abd pros, as ba alieady been desired by Baudelaire? Does {Caio noc write °T make te pre of my vee Ix Campos ode, dhe Tea so: of ike Whitman, jut inthe colonnade ofthe archive Boil there ir fake asumpeion of antiquity. eso ths combination of ie mit imal ote projet of presaibing the poem che ask ofeasping ‘the mathenatic of bing, Or tate e fms che fundamental dey ‘of maternal ruth and of ari esa Ar eae: "Newors bine tia iar besa che Venus de Nilo” When he then as tha he * A Pibsopbial Tak problem sin the fc dat few people low of his identi he inde he poem to the flowing eset Hatonic deve: to lead ignorant ‘hough toward the immanene cerainy of an ontological recprociy be tween the tor and the beni urtherore this explains why che elle projec at the hear of Pessoa poeuy canbe sated fellows: What isa modern metaphysi? Even ifthis project aks on he pandovil forme infin sue ‘detours of which Judith Balto ha expored—of "metaphysis without metaphysics” But ater al cide Pato hums, his quel wih the DreSocatiy, ako dese to build a mephyscs buted fom me ‘Physica thes fom te primacy af hic, of tre? Tonsier Pesos sya tobe he insrument of such projec this poet beneath the images andthe metaphors tt were therein con Sen msc! machinaion whos comply pris dhe hold ase Saton and natural eration fom remaining Sovereign On tis pina ‘Sy cate, Poa rmbles Malm: Ofen, the phase mast be eo ‘ected anderen for the Heat caver and eancend the appt i- fe, Peon wan endow lnguage—ss vai uprising, and se fiver may be—wihasbreranean cata hat will oc esate © delat algebraic On this point, a comparisn can be made tothe alanee within Plt dialogues beeen, onthe one hands gular chars, a entane icerary eduction, and, on the ocean ila argument treerei 1. Even more Platonic ie wha coli bere to athe archery on. cologilbais ofthe aped to the visble This appeal neve allows 0 ‘ignore tha whats uitatly sak ince poe nthe sense i flares demacives, but chor spe, thee rons This poin isd Played ina grandiose fhion ache binning of be Ode maria (Mat ime od one of Campos and dh century) rete poems. when he real and presen pier manifests seas the inns Grea it eis so ‘mnipretnt hrosghou the heteronyms, 5 well ain the prose book of the “semiheteonya” Beratdo Soars, the now widely known Book of ‘isguiI this tex the nthe machine, be we, the shadow ad he parry are poeta tafomed, hough very dives pean nt he Rain the Machine the Trex the Shadow andthe Pasty. Even the sie ofthe atacanit a the end of another famous poem of Campa, "To bacco Shop” aes place only in the ditecon ofan cena Sale. The power of the poet es in never separating hi dtc fom the pes A Pilophia Task » ence—be ca infinitesinlone—that conus i rig. The ai tor separtd from the thingie not ansandent Bat nike i a5 fi Aric,» frm tht precibs and commas a mute. What te ot dela hac hing re idee oth Fe Thi iby te a Ingof the vil scare on a ourey tough anerwork comprising ‘gps of beings—a journey whore guiding tre is yas Justa Pla ‘onic desi Fads one to the pint wher the thought fe thing and ‘he inton ofthe dea re isepble Ss Heeronymy icons «dip fr thinking, ther shan se asubjetive drama, dec the composition on del lace of et in ‘uhich the corelatione and dsjancions af heures evoke the lato ‘hips among the “spreme gna (or kind) in Pato Sophie. If 2s an teal done, we deny Cac with he Fig ofthe Same we nme Ail se that Campos oie athe Sigur of che Other Campos, ‘ean agoized ae in fight Tom isl exposed to dismember nd polymorphism, identified with the formes, or withthe eran ‘uit of he Times, itis cleat why he demands Reis she severe 2 thot of form, I we iden "Pein pero” asthe poet ofequivoc ifthe ime, of whe sei being nce nonbng we an se hy eis che only one not w Bes dsipe of Caer, who inesd reques ffm the poem ch moe rigorous univ. Bali if Cai, the moder preSoctte, ames the reign ofthe nie, becuse Campos wil in {urn allow the energy of he por a init igh. We can thus sy that Inerony ra pate image of then plac, fis eomposiion of ‘hough ough the alcnating ply of own ego “Even Peo pois! progr rxembles the oe et ut by Plc in she Republic Indeed, Pesos wets under teil of Mensagem (Mes tap2acaletion of poem edie othe deny oFPoeoa Ta hee poss, we are no confoated with a progam adjusted the deur antl concene of Poreiguere if, nor with an examination ofthe ge ‘al prinipls of politcal plop. We are deainginsead wich an es ‘econtucin, bed ona ytemae tearment of emblems Just lo ‘esr st down the el oranztion and legacy of «univer thle Grek cig, dererminae, abi nonesnet Peon Wants ie Hie in is pest he pred ides of Portugal ar once singular (hough the etic eaptlcon of is ior) and nivel (hough the dec larson fe idl pai 0 be the name of a"Bf&s Emp). And just, Plo tempers he ie sly of is econszction by indenting 2 “ A Philosophical Tak ‘ishing pin (the comraption of he jus cine since he fo feng of founding Number wll ring soa she demagogia Prematy of gaa oer the tercing of ke ae), Pex, by binding the becoming of his poetic national ides to the unfree chance af the hidden lng eur, cloaks seve enterprise, which i oherwie nchiteconicaly ound in fg and enigma ‘Mast we then conclude roa sort of Pato a Pesos? No more than ‘we need subsume him under che lel of th ener’ et Patonis Pesos modem lin casing doubs onthe pertinence ofthe lson ismlani-Paonism oppoion: Tae wk of che thought poem i rite sllegance 9 Pons bors eves ‘This what we phlorophers ave yet filly undensand, Hence our ‘hougheis coc ye werthy of Poa Tobe worthy of Peso would men seeping the cocwenson ofthe sense and ofthe Men bu conceding othng tthe ranscendence of ee One Think tha there nosh ‘br multiple sngulais bueno to dew fom that ene anything that ‘would eee empties, Tei otis delay vickvis Peso that we owe the very ange eng that overtakes us upon reading hr, the feng hace i site to imal When we car our ase on page of Peas, we apy acquire the coplction chat he wl aay old ur apie, hate le 19 rad other books, da i al here ‘OF cour, one can at st imagine tha the cause ofthis conviction is hetronyny. Rather thi being the ashor of an ove, Pson ha id cout enti erate» Kray coniarason wherein al the oppositions tnd inlet! problems of the entry comet insibe emacs 15 {Bis rapecr, bear rel supa che Malrméan projet ofthe Book. “The weakness of Mair projec ain reanng the sovereignty ofthe (One, of the auehoe—even i this author made himself absent fom the ook eo the pint of becoming anonymous, Malarmésn anonymity re ‘main poner to he tanicendence ofthe author, The hteonyms {Caste Campos, Res, "Pesowinpesion” Sue) are opposed to the nonyious insrach they do not sake a dui ponte One athe Al, barinsead original exablsh the contngecy ef the mull That is why eter tan the Book, they compote a universe For the el uni ‘ee ft once muliple, contingent, nd unable "Yer our meatal cau at the hands of Pesos rl, even more ro- A Philp Task 4s found fom the fcr tha philosophy has yet haus his moder So tha we find outs reading thi poet snd not bing able to wes ‘ules rom i, nding nis work a perc o Which we do noe et knw how so bmi ureter to fellow the pat ha rou, Be eee lao ad the alt, ashen that he poet as opened up {aru verabl pilosophy of the mali, ofthe wed, ofthe infinite Aghileophy she wil arate doje wo chi ward thatthe gods hae forever abandoned § 5A Poetic Dialectic: Labid ben Rabi'a and Mallarmé 1d not ae mich hin compris Bolin he niveat of eat porn even when thy epee th nos imaty dats spp ft ao epee “Com Soe can eve a tf primeval fy orn compton conte apo Arse and oe in Pence 1efoced of upon me one | dared the Abe poet le, muck trois frre whe ay alae, The oe poe ek ts fs poi in though ca wesley mone {adnate by he immensy fhe gap ta pares her. “The enc poem is Malamés Coup de Libel hat ‘ea wines in his oem: Upon anonymous matin iy Slt Mase mocking erin capped ee, ng tla the dow fro ong that terra be eal pb the roel bt dese They Malm oe "Noting te mmore ri when the nt might ave ben accom edn vi ofl all bran awl ae aon lc edn rion pots ou absence) bar the ple, mene oasng boss Ir dpene hemp ac abrupt ta ey hod wl ae Sunde pron thee ndtrmitate ude where ity sen [Nevertheless on the ae page of the poem, there ares in the shy CConselaton, which slike the eesti gue or ips for what (down ee wil have aver been decide. “The poem in Aabicis one of the so-aledpe éamic es a malaga strated to Lab en Rais, This poem os ben in he recognition A Pete Dialie ” of aca alps, From is very fist ei, it proclaims "Eficed he carmpnens of dye pe and days to come” The poem torn onct he rexun ofthe seer to the encampment mess wit nothing bu he resem ofthe desert Hee, 00, the Barenee of he place ems to have ‘allowed upallexstene, wheter al or slic tar wa supped wo have once inhabited i “Venige Al have fed! Empry forsaken, the land the pee sas. And: “lees once fl bare places ringed «dawn! Uses dices, abandoned tv” Bus though very sabe alec wl efi frm eons ings in which che ail ofthe dese ply a ceil metaphor oe the poem will move ova the eulogy of he lineage and che clan, Iwill nd by ein the gue of he mare of choice and of aw, presented = the one for wom the inal eid was dentine, Away wee the acembld lanl pon ‘Oneaf wo as test nd impor vw, Be voucher the igh ofthe om heb, Shanng ot dminshingoraygnenting he thea mee Ofc, Goo. and pig theo. ‘Geren be hare he a of ite. In Mallard, dee i the marr’ impossiile of choosing, he fet hat, athe pon sa: "The Master hesitate, carpe y the em separated fiom the sere whol, ther than ply as hoary rane the ame inthe name ofthe waves Ii from this hesitation thet fe aos he ‘menace he nothing ha ken pice bt the pace, followed bythe sla For Labid ben Rab, one begs fiom the bare plc, fom absence, fiom the desert vanishing. One then dees fom his begining the power tovevoke mater howe vit that ofthe jst choice, of the decsion| thar al cn cep “These wo poems ae sepanted by thirteen centuries. Fr the one, the content i the Bourgeois salons of imperil France, forthe other, she no Imam ofthe hgh cations of the Arabian desert, Tele languages ‘hare no ancetzy, no even dat one The gap betwen chem aloe ‘ovoid of concep “And ye! Ler agree fora moment hat for Malle the Canlaon asiig unpredcably afer the cre shied a aymbo of what he fal the enor rth Let us alo aie thatthe exitence of just mast, a A Partie Diece ‘who, atthe poet es ows how to prondehutans wit secs, how {oeaafr abundance and langeiy upon everyones sare, how “bul Foc ura lay home’—yes, eur indend agen that such a maser i aio ‘wtat people is expec oF when it comes to jue and truth, We cin then se that ee eo poems nad by thi gap without measure, both speak tous of unique and singular question, ro wits Wha athe ea tions becween th plc, teaser and ath? Why mathe place be the phce of abuence (or che bare place, which snothing but the king pice ofthe plc) fr one wo be able to pronounce upon the preci a Susman of justi (or ath) co the destiny ofthe mater tha suai "The poemof the nomad fied with he aboihed encampment andthe poem of the Western man of erscnstrting the chimera of an eer bal die show upon the ocean fl thee mmente gap a they converge on ‘he queston that haunt thom bot The maser of rh ms mere he ‘kfecion of hepa or which, or on the bas of whe heres wath “The pocr mun be wagered in he coset proximity powible tothe b- solute revenge eraced by the indifference of he wives The maser can ‘nfs poti cance upon a eath only athe pine where (pecksp) ‘here nothing bur the drt, noting but the abs. Where ahi has taken or il ake place Thi tantamoune to sig thatthe mater mu ti he poem exactly athe pone where a resore othe poem ses 10 have vanithe This whe he ode of Labid ban Rab aye with ets ‘ondary prekon. ln thio, the vanished encampment is deed cot pede “weg eroded by the aert ofthe stone” Adie ontespon. ‘nce abled Bere the arcs ofthe amp and text wien ‘upon hese ‘Of he camp terrains design bared bythe aes, [eestor moe line th pen enone ‘The post ven dears hat che poste dese a his absence ca nately fd es prope language Whar odie tcl oper A deny wih ae idint ange? Teds heeft ently cer that che ora of absence and of he bare plic i a the se de that oF probable efficement ofthe eto he oem Sand snd sia wil save and delete exeyhing A Poe Diese ” Tver similar tems, Malaé voles “hese tudes ofindecmiate veer in which ll eal delves” and since tsa question ofthe mas tench ca cerang of shipwreck perainingo men wicour vl 30 ‘mater where ain™ ‘Our doshleedged question thus gains in preison: Ifthe defection of the plc isthe sume things the dleion of language, what isthe pce ‘dvi experience that link this defection to the pete coupe of the mater and rate "We pons ve versions or atculatony, of ths question, one in che French poom the athe inthe Arabic oe For Labi ben Rabi the desert expetienceof he abolished encamp- ment, gether with the impotence of ange eds oa resation of the maser—we could almost sa this invocation eds this in 0 stage Fis, in.4-nosalge moment supported by the Figure of the ‘Wornan—dhe ole rvere tha can meu p bth absence and wo the ce that dhe and sd hea face ike tea Your oma pin sete were ving, ‘Tae pulanguin cot cere ct Fenny these i wince On he woden cae the dome ern. “Then in a socnd momen, we wires long econitation ofeneg, ping through the evocaion ofthe nomad racing beasts (ae oF ‘aca wel at ofthe wid rents they resemble (ons and wave). Isas though the ibs coat fame were tobe drawn upon the bani oF | this vole ence Juice and the maser wil ome to dwell a the het ofthis coat of sma, The poi path of thinking goes rome the wid to desing noral- {8 fom deste othe energy of movement, Fom energy tothe coat of| Sms, and from che cost of tim to the muster In ee binning, this ‘inking sates wihin dhe Open the eat of al tings: Buc hee ‘pens the eta ie. This boc because things, vole in ther 2b sence, poses an unpreedensd pose enegy, and Beau the maser ‘Somes to tmp biel upon thi bead energy. Tat heer Wha 1 desi is apale of asereing, onc i at inhabited and confronted the tise of dinppearince. Malm’ poem aiulste the qerion otherwise. Theempy pce it nance bythe ences of a sipwoet, ad she mar himself has lead © A Pei Dias. been half swallowed up. Ualike in che ode, the mane isnot «wine leoking upon abence, Instead be sake upo al by dnapearance, [As Thavesleay aod be maser bets to thow the dice secs ‘meu gout with nongerue lichen ha Truth arse like an ded ice thew inscibed in che octal ay We boul doubles the fl leving is the ree ofall things incdig the Maze, that comes it. For the Open wo came, the retest mut be sch hat to ct 8 not 2 10 throw ono (0 thow the dic, amount ro equalen seangement “hiss othing short ofthe aboion ofall mae, for, the odes in an cxemplary manner mattis one who ithe ae mater af choc, For Malariag he Fanton of the matter ec make choice and non: choice equivalent In his way, the maser apport tebe of peo the very end And uth ass, in oa anon, ove de deed pce “To sum up, we ould daw che ellowng rovsonl conchns 1. There no posible sath ave unde the condition of croning of the lace of th, coated here a3 nl asete, and dered place Every rut simple bythe pose hehe may be nothing Be sides the indifference, the rand he inthe cen, the ays. 2 The subject of poaticsaying the sabe ofthis ordo pes. 3. The suber can be either the wines othe abolition —she one who rein wher aha appeated—o i astry meine 1 lth sbja ithe wines ofthe abit, be wl face anguge to comealveon th bts the oid—that x onthe bs ofthe impotence of anguage—unt it arouses he intense gue ofthe maser cht be wl thereby have become 5: If he sabjece the rarvivor ofthe sbolicon, be will endavor 0 make ies that acon and nonstion ar undesdsbleo tht, within the subj, being becomes suzy identical wo nonbeing Only then wl the Ides come, anonyme 6. Thus thee appear tobe ro posible expanse aur question con- ‘ering he nk beoween de pac, the master, and rth Truth ess rom the fact hat the lace ordeal of absence and ‘vidi nowy and chen actively aoe the Bain of mater ‘thu would be capable of ath, "Truth tests fiom the diapperance of the maser into the anonymity ofthe empry place. ln bs the maser as marie hima fecha rah maybe, A Pete Dileic s Inthe fect, the od oft place nd he expec of sey ates conjncion of he mater an ah Inher cr hr dof he place» duction erween bent ad uth Te forme open in e e {earn bean hcl lngenonal ties at we he i de Rnd ha the fe fhe cond pa ha of Mal ex iy ineprang ch om ay pert sea o he ma ice, atite pychonne south wir sence. ‘Bath themde snd wes A subjese wens ee wea dein Wiha daca ofc sie Al hing one the aser remains» Chesian on. He Inu dapenso car rth ey oe, But Bacal manera rire wi onli wea, bene imately dhe ate wo age, ve gir of eng Ther the scan sya nde pee hoc the mae pre meted. And hen above hehe aby Inch he Conse which Male igh perp sara plac ca eth the bjond” Inder wor, Mile mamas sh onl usin, ope ith somecing in ws Pon conse oe “Tring tego of Lad ben Rabo, we Bnd is philic sepa wens Gabredinacompy ae “The eat atengih of ht poem es ou ainning in plot tree The ae pe of ine, ing Rese of econ fae pct cone ring fom de oid fins Tea ay of wflding h orn weting est we nt tej ur raakend" which empeencedy he pot pon ei ing the tendon’ encampment We wl ve exon ge Another pif ig Well act pons stander een ‘Ake pum sys ren he mar one of be do ot ie Bjond, feet Malar Conlin. Des he mares bv eet scl rp Chan one On te oy beste ine jus mst of erties He i tendon a cenengy. Even tees, he regu te of a” {Her betsaneo ht doo Bec inane ema tcrimotd bye fs sesh eso acest fate 2 A Poa Diese: But he dic is thc rth remains cave othe figure ofthe mas terand cannot be separtd fom ie The happines of truth none and he she thing tthe obeience to che maser A the poem ay: "Be happy ‘ih he good dee of che sovereign nae” But ean we be happy ih wha shred our eo sin acorance with overeigny? In any es, ath Temans inked hereto. transference unto she master "We have Bnally touched a the core of our prablem. Ate we summoned to make + radi chocebenten evo ovienatont of thoughe The one, digjoinng uth end msery, would demand enn scendence and sci, Within thi oreninn, we could wit or rth ‘without ving the maser, bu this wish would sve o inser sl be Yonu th Ea, ia. place indeed by death The oe oxentason would ‘ernand ofus ether sactifce nor eanscendence, bt tthe cos ofan in ‘acabc conjunction beeen tut and mastery In chi olenaton, we ‘oul lve uth wtb lenvng the Earth and without conceding ty thing co death Bur we would have o love the mater, uncondionally ‘cs precisely ths ceice, and it impos hat ell moderne (On the one hand, we have the universe of sence—not nit thinking singular inthe power exerted hy is ects snd ane eran ‘don, This universes ou an anonymous wth thats aogether ep tate fom ay personal gute ofthe maser, Save that ath associa organined by modern capitalism, demande she scrife of the Earth or the mas of eonscincs thistru ened alien and exert Everyone Isaqunined with its effects, bur no ope conuols its source. Ins api Jncc and techicalopniatin, sence isa ansenden power 0 which both ime and pace mus be cried. ‘Ofcourse the technical and Rnanclorenzaton of incre accom panied by moder democracy. Bue whats modem democracy? Simply ‘hefollowing Noone blige love amar Ie isnot mandatory fr trample, hat ove Cite of api. In uth o one lve ther, ery body moc and deride them publi. Thats democracy. Bu, om the thes hand ust absolutely obey che apis an echnical ora bacon of ence, The awe ofthe male andi god the we ofthe ‘lation of expt. aren impersonal power that eave you mo rep specie, no genuine choice. Ther is aly one plies ot, a they 3), “theres no altemative" Like Malar’ maser mus scifice all ma «ery of choice o that sientifc eth ints technicl and capitalise lation, wl allow iy eanacendent course. A Pete Dileie 8 On the other hand, wherever ti sient, capil nd democrs- sic moderiy jected there mu bes ase, andi wile mandatory (love hin This x what ay she are of the peat Manse and ex ‘muni emerpie, I wanted to rh the apt organi fo ce, Ir waned scenic eh be immanent, contol bya, shred in popular power, waned truco be ene! eesti and notre {ule the ere of choices I wanted men wo chose cence ands pro Arete oranizaton, instead of bing chore and determined by i Com- rnin nthe ea of cllectve marry of tach But what happeted ‘Seryhere tha she ge of mane reed ts head because th was no longer eprate fom matey. In the end, clove and want sath wat tantamount f loving and wantings mae And if one fed to love the Imus hee was alway error t emind you of you ebligition 1 lave ‘Weave yer ro more on. Wears may a beeen Mallarmé and the malaga, On he one band deanery which id ef he love of| the maser but abject o the sole transcendence ofthe lw of the trae hey eliminating every mastery ove our colecive desig any ‘ely in pli choice. On the ate, the desire for an immanent and willed collie destiny, fora bresk wt he auomatioe of eapital But tre chen have veo derpoi, ogee withthe obligatory lowe of hemanet, Modern” means not blag ale o choose easonbly in what cone eens he lation between mastery an eth Tra djoined from the ‘rater Ifo, we ave democracy Bu eben wth iene obscure. eis ‘he tascendent machiration of echnical and capitalistic organization. Is {ruth conjoined ot aster? Buin hte, becomes aoe of i {anent erg an implieble coe raafrence, a immobile sion hat Join sbjeaive embling zsh ses police power In any cae whether the mareris src oan anonymous power or wheter it demands We tncice ounce fo the love ofits te polity of choice that ‘aie, Tele shought must kes sep back. A step toward what Mallarmé andthe pre-ldamic ode hae in coro, ro we the dee, che 2, the be plc, de vid, We mas recompore, or ou tne, hiking of teu that would be atlted onthe vad withoupusing hrogh the Figure ofthe mates Nether tzough the maser ciel nor through ‘he maser invoke ‘Or agua: To lay the Foundation ors doctrine of choice and dei- * A Ponte Dias sion tht would no bea the inital form of «mastery upon choice and ‘econ “Tpit ie ncn Tete no authentic rth ae under the con- ion hat ath maybe chosen. Tha aes atin. oder ithe tenon why philosophy, eer snc its incepin, has inked uh and fee dom. Heidenger himself proposed thatthe esence of eruth is noting ‘ther dha edo, Thi But dors the choice of wah neiably ake the om of mastery? Lab and Malar both answer "yes" In onde sustain he ode of the empry place and of dpe ts conctisin, «master nce “The maser ofthe Artic ode chooser + naurl and diibuive rth ‘Mallarmé: master shows thet choice tel mast he scricd, tht we ‘must experiment wih the equivalence of choice and noncoice.Oaly ‘hen will an impersonal rath are. Oo sisson in odaysdemeoray i cacy the sue: To choos such and sch president sequen choosing him. This is because, eae ofthe choice, pls wl man the sme, commanded as it by the tansendence ofthe apitlist. rpaniution of cence, om he one hand, and the slexoy fe of he ‘market onthe other Bar in both cares there ean intl mater who mules he dcion shout he nate of the choice believe dhe principal chalege faced by contemporary dhought ihe following To discover a thinking of choice and ofthe deco tht would fom the void to th without pain through the Figur ofthe mas {ey that i thou ihe ving or escng the mater. rom the Aibicode we must resin the conviction that uth sain immanent othe place: Truth is nox exernal tis ota dansendent and Inpperonal force. But me most not invokes mame “rom the Fench poem, we must retain the conviction tha eth is anonymous that cases om the vod and is sepa om the maser ‘Ba the maser must neither be made abun noe atic, "The ene question an be eformulated a Flows: How can eth be hough at one and te same dine, a anonymous (or impersonal and ‘nevertheless immanent and teresa? In oter weeds, how cn one ‘hin shat ruth maybe cheser—in che inl ode of che void and the bare place—without eter having become dhe master ofthis choice oF ncustng the choice o 2 master? ‘My philosophy. which astres the poem as on of condos, wes A Poetic Dias to anawer thee gvetion. Le me now indicate some thames whose com ‘ideation I thik necesazy i we are wo resolve our problem 2) The uth docs oc exis, onl trathe—the plural reac, One wil therefore aut the ire mally of rat 1b) Eich rth proces and noe a judgment ora ste offs This process de ur infinite, o uscompletble 1) One wll ell "subj frat every Site moment with te ae finite proces of chi eth. The mean thatthe subject has no mastery over trichand ra the ame ie imeanent tit "2 Every procs of rth Begins with sm cent An even unpre sisable and inealulible—ss ina supplement of he sein. Every uth, tnd therefore every subject depend upon 28 event energence A ruth tnd subject feat do noe deriv fom what ther i Bu from wht appease strong ens of the em “happens.” ‘Thc event revel she void ofthe station. This because es ‘hac what there new wat previously devoid of wath, Triton the basi oft vid thar the sbject const ela rage ment ofthe poets of eh, this od ha seperate it rr he st ‘ono th place and ners ie within an unprecedented eject. Ie It theeove tet ay tht the ore of the void the pce «void unas he sbject ofa wth, bu this ordeal doesnot generat ny kind cofmastery Arte very mow, we cans nan aboluely ene bion, ‘hac asubjecis the militar ofa euch. 1) The cole that binds the subject 2a ruth she choc fconina- ng obey co he event, idly che vid. “The sbjecr what chooses persevere in tiseldsance aroused by the eatin of che vod. The vid that the ey beng of the place "Weare shu back a our stating poe, For rath away epi by ating the wid, by voicing dhe poem ofthe absadnel place. Lab ben abs ells rt wn subject thf ‘Under anisole ep high on he eg (Ofte dans tht be wed ets to ds ‘Thecrening tts ino ond fen a “Thi aloo what Malar ll “The Aleta, ped fri, brah an nine deere lane on {wing owe le ack in avinee or bing abe ode igh 6 A Poetic Dishes ‘A tnthbego wit poem of the eid comin hgh the che ofcondming 0 ome sn end ota he cao i own Bri No nein manes bt creo cn cme einer hin i Braye an sy eN terse Tec wat agp of wt perce and nota he eer” Feratece’ The poem. roe nib and yng el som he beget im ergy rn atte theo er re ig ‘Nees coshe fy fhe vn ale cpp ‘has ain he becoming he rected fm Foul the mate href my and fhe ja once? Wht awe {Saya dac of tae mae bods tot tengo ome fo euingol ova wens What we neyo ena, Dar Swng fhe snemge? Wha ste ne 9 of hese in which, Ihrer ogi pes ple ses fet a spe me pe ofwicon days vee ach ther Smeg wl ei’ em ead hat hese iene ‘ype ofa emf, bth ore fii ond more an han sem: Morcnes are Se laptl por, te coaturos or ‘onl poy cool wah ase so pb page Intalio mel con orate eat §6 Dance as a Metaphor for Thought ‘Why does dance dawn 0 Nieuache a 2 compullory meaghor for thought Ics bene dance i what eppons to Neche Zara ted greateneany. an enemy he designates asthe Spi of Gay Dance ise and fremont she image of though subtracted from every spit of heaviness important to ester te ote image of thie uberae tion, forthe inscribe dence io cl nek, Take the bird, fr example. As Zarathustra declares "And especial bike i ‘hae Tam enemy tothe Spr of Grainy" Thi provides ut with = fe rmerphorcal coonecion between dance and the bind Let us say chat there isa geminata, ora dancing bit, of what we could cl he bied within che body. More general, hee is in Nezsche the image of igh Zarathustra lio sye"He who will one day tach ten oy wl ave ‘moved all boundary-scones all boundary-stones wl demseles fy ato the att him, he wll bape che exch anew —at ‘the weigh leis" Te ‘would realy bes very betel ad ior deition of dance xy that ic isa new name given tothe eth. Thete ene the hl. The chil "is innocence and forgetfulness anew begining a sport asl pro peng wel a iw motion, cred You"? This the tind metamon hos, found a the beginning of TB Spoke Zerthutre—ater the ‘aml whichis the oppose of dance andthe on, too vile to be bbl of ming aight the earth that has begun stew, Ie should be otd the dance, which beh bird and igh, ao everyching et he infant designates. Dance is innocence, because i is body before the body is forging tease isa body tha Forges is eer its weight Ter new beginning, Beaute the dancing gesture mat ana be me 7 * Dance at « Meaphr fr Thought thing ke the inversion of is own beginning, And i sab play of suse, bese dance fies the body frm ll socal miner. om all fav and conformiey-A whee ha curs ise This coal provide a ‘er don Seinen for dance, Dance eke a cede in space, but ace ‘eta its own pnp re thre mor dawn from the oud, be rather den ell Dance ide prime mor Bry ges ad eer) line of dance must present itself not as «consequence, but the very source of mobili And Fall dence simple afemation, because 1 ‘make the nea Sody-—the shameful body radian aca ‘Lat, Nitche wl ab pel of fountain, il within the quence of linge ha dase the pn of hessnes, "My soli leaping foun tan," and, ofcourse, the dancing body is abways leaping, out ofthe fend, ou of al "aly cere i the ais the ania element summing all up. Dance is hallows the earch ame flat" Ia dance the etd i ehought fale were endowed with = eon airing, Dance ives the bet, ‘he repiation ofthe eat This is because the cenal question of dance isthaof the relation bere vera and aration. Vera and at tweton enter the dancing body and alow ie 0 manifest a peradonicl powibigy that che eth aed the ae may exchange chee postions he fe pting aco he oe. i forall of shee reason tha hough Bde itsmeaphoin dance which recpiculites the series oftheir the oan “thin, the cil, andthe intangible air OF coun, this stes can appeat ‘zy inocent, ios mais, ike acids ale in which nohing may beassered or assed any longer But iis necesary to understand that ‘hi eer ire by Nise dance—in treo elation co {power and ge: Dance bh on ofthe en ofthe sre andthe ‘iene aver of the whole series Zarchua wll sy of himself that he fas "dancngmad fee” ‘Dance nage othe evel of innocence by power. rman the sere veulence of what initally append as Func bid, child hood In actual at, what juss the ideieation of dance asthe mex hor fr thought Niesache's conviction dhe though ian ind "im. Thit convconispsmary opposed othe thesis acoding to which taught i principle whove mode of velzacon i cereal For Nie sche thought is noc efeteted anywhere ele than whet itis inet hough eect ity ewe (Fone may spa ia tis manne?) Intend upon sol ot agai, its the movement of is own intensity. Dance as 2 Mesphor for Thole 9 Bas then che image of dance isa nacualone: Dance visibly cansmits the Ides of cought sn insmanent ntnsfcaton. Or ether we could speak her of eran vision of dace. In fc the erage works ony swe put aside very representation of dance tht depicts ie ar an external Conse imposed upon a rpple dy or athe gymnastics of dancing ‘body conuoled fro she eutsde. In Niche the oppoiton beeen dance and gyms ofthis type is nothing shor of slur al, ‘one could imagine that dane exposes an obedient and masced body fur ga, x body simultaneous capable and submited. In ober words ‘regime ofthe body in which he body i exerted forthe sae of esate ‘ono choreography But fr Nicnache sucha body the oppo ofthe dancing body ofthe body tha inal exchanges the cath wth cheat ‘What, Niessch' yes, the opposite of dance? Te the German, shebad German, whom he defines slows: "Obetience ad long ep. ‘The essence of this bad Gecmany ithe mit pared the aiged and hammering body the seve and soncous body. The body of sen c= dence Dance instead ithe aerial and broken body, the vera body. Not tral che hammering body, bu the body "on pins," the body a picks the loo as 3s one woul punctate cloud. Above alli the sent body Stains he dy that pesnibs the thunder of own est srk the body of tema pra, Pally, dane for Nwache pins toa erie shough, a though aerching omar popes height Tas ‘emidratin i evo linked othe theme of afcrmatoncapeued by the image of the “eat Noon,” the hour when the sun a enh Dance isthe body devo vo its 2enith Bu perhaps, and even more po ound what Nerce sesin dance—both as an image of though and 8 the Real of bdy—isthe theme of obliga isl Fated 9 isla moby tht sno iseibed within a eral determination. bot insend moves without detaching itself fiom is own cenec. This mo ily is not imposed, nfl ar ft were a expansion of center ‘Of cous dance conespond tothe Newchesn sda of ough a ac- ‘ivebecoming, as active power. Buc his becoming such that win ie sniqeafrative imran ie ele, Monement ie nih pac ‘nent noes tansfomation, buts eoune tae twee and sian he tema uniquenes ofan afcmacon. Consequently, dance designates the ‘pac of bodily impale not o much ob projected onto a Space out Sid of lal, but ater tobe caght wp in an afte atrction sh ‘emi This paps Niewsche mos mportan igh Beyond he 6 Dance aa Mazapher fr Thought eaibicion of movements or the quichnes oftheir external designs dance ‘The ess to he ores oes a the hear ofthese vee, (Ofcourse his foc of real wl be sane only in movement, bt wha cous he poten ely ofthe saint. Tn dances concrved, movement fins it estence in whet a mot uben plac nat hes sind ithe ineectve o strained within smovenen ial ‘Bose tis would provide ye anther way af nepal approaching she ideo dance For he uneurined impule—he bol enceay that isimmedaly obeyed and saniexed—is preci what Niewsche cls pri, Niece wit taal alga detves rom he ineapacy to res ameneay. Or that wily sin che fc that we are constrained toa "dat we obey ry impale.” Accordingly dance is defines the movement of «body subeaced from al vel, ‘Dane isin no way te iberaed bodily mp, he wld ney ofthe tbody On the conta tithe Bodily maifeacion of the diedieneto th impulse Dance shows how the impute can be rendered inefictne ‘wie movement in sch aay that would bea question of rests Taher han obedience, We re als aay fom any doin of dance 23 primitive csay ce she Fngel ulin of te body Dance offers a ‘ephor fo liga sub hough peciely beast tows thee Slat immanent to movemene and thereby oppor il tthe pont coe varia he body. “We can sow adeqnelysknk wha expressed inthe theme of dance lightness es, dance oppored ro he spit of gain Ys, ii what {ves the ents new name (ie lighe one") —but inthe end what Fines To sy thar ce abrence of weight doc noe gx us rey fa By "ighnes we mut undertand ke capacity of body o man. selfas an ancommnned God or ata body ot constrained by tel fa ‘tice wor boty int sate of drobedience vis-bvs ts own im pulses This dsbeyed inpulte opposes il to Germany (Obedience End long kgs) ut above al e demands « principe of downes. The CSseee of bes Lis in capac co manifest the xt slownes of the tive This is indet why dane provide te Ens image of ighnes, ‘Themovement of dance can cern manifes an exreme quicknes but aly othe exept tha iis inhabied by ts tee slownes, bythe ate Imaive power of wei Neh pocims hati wil ms ean 0 fe dow sad mists" Dane coal then be defined as de expansion Dane ata Mephr fr Though o ofslowness andthe mies ofthe dought-body In tis sent, the dance points or inthe direction of wht che wl capable of lasing, Te biouly allows rom chi observation tht the exence of dance it seal ater chan seen! movement: Val movement a the tet slowness of ecal movement Or mote preci Dance in tr mac er ‘were and visorc quickness, exhibit his hidenslownes that makes so that wha aes place i indicenble rom its own rentaint. A the summit of ita, dance woud therfore demonstrat the range equ lence nt only beaween quickness and lownes, but ao between gesture tnd nongerureTevul indie tha, ve thong moverent ha aes place, ths aking lace indstngishable rom vil nonpace Dance 's composed of gestues that, haunted by thie own reais in some ene undecided, Turing tomy owe thought—so my doccne—this Niche exe spss sugges the folowing pine: Dane would provide he metaphor fo theft ha every genie thought depends upon aa erent. Am eve i presely wht remain undecided berwen the aking pice id the oa Pace—in she gb afan emergence that iinditeribl omits own dit {appearance The event ads elf ono what thee but as 3 his ‘Supplement is pointed out the shee elas ists, ying bald of | erehing. Obvious ony way of ing an erent give a nar, to inscribe ie within the there ssa supernumerary name The event “hel” never anything besides own dappenanc. Neel 0 Jnsrption may detain the era at the gids edge of es. The ane Isat decides up the basing taken paces Dance would then point 0 vara though a even, bu fo it tag breed names the face edge of veriable dinppearance ins vanishing, without dhe Shelter ofthe mame. Dance would mimic «thought tae had remained Undecided, something ke a ative (rund) thought Yes in dance, we vould find che meaphor fr de unfixed Te woud thereby become cles tha he tof dance is o ply ine wichin ace. Av ete eases asagular ime onthe base of nom inal ration, Sine its eed, named, ad sce the event oss in the stanton —in the “there i—both before and am afer A ine eat to ate But if dance is a metaphor forthe even “befor” the rae i reverts canoe partake inti tine that only the me hrvgh it ent, cam insure, Dance is subracted from the vemporl deci. [n Ghincs, there ie therefore something that is prior to cme, something o Dance « Metaphor for Thohe prorerporl rishi pretemporal element hat willbe ple oun space Dance isha suspend ie hin space. In The Sal end Dance, Vly, avesng hts co dhe dance, ls he: “How exetsordinary you ate in your imminenc!” Indeed, we could say shat dance is the boy bee by imminene Bu what imminent Prcinlythevime befor the neta wil eame tbe: Dane, asthe spe Tiaon of imminence would thus be the metaphor for what every thinking grounds and ognize. In other words, dane ply ue the event before te een nomination Ie flows tht, for dace the place of the ames ken by ailence Dance mares the sence before the name e ely inthe se way die consies the space before time ‘The immediae objection ebviouy concerns the role of muse. How ‘an we peak of lence, when all dance coms so strongly subjected the jutubtion of musi? Granted, thee exits conception of dance hat de Scribes asthe body best by music an, more rei 2 he bod be ‘es by eit, Bu hi conception ir yer again that of “obeence 2nd Tong lps” that of cur bea Germany, even obdiencercopins m- Seto bets master Lec us not estate ogy that all dance that obs m= Sse—even if this music be thar of Chopin oc Boules—immediy tans ieingo miiary musica the same ne at metamorphose in bad Geemny ‘Whatee she paride, we mast ee the allowing: When comet to dance the ony busine of mre ro mark sence. Mics thle Indupennble, since sence muse be matked in order w manifest iso sien the tence of wha? Asthe sence fhe name, Ft ie het ‘ance piv the naming oF the even inthe ence of ee are, he place ‘ofthis ence snd by mune This gute atta: You cane io ‘eat the funding sllene of dance excep wth the mos eteme con ‘entation ofsound And te mom exer concenason of ound im ‘Ite nce tose tht inspite of ll appesences—apperances thet ‘woul like he "long ep of dance to obey the pesciption of music—ie Is realy dance that commands musi, inasmuch as music marks the founding silence wherein dance presents native shoughe in she alestory and vanshing economy ofthe me. Gripe at the metaphor forthe ‘renal danension af al hough, dances ioe wo the musi on which ic ies From these preliminaries we can dra 240 many conequencs, whet, 1 willeallebe pins of dence. Nota dance thought on ts own ems, Davee sa Masphorfr Thee 6 ‘on che basso its story and vechnige, bu of dance such a eis ven ‘welcome and ster by philosophy. These ec ae prey clea inthe ro rec that Mallarmé de- voted dance, ex profound a they are short which [rear ade rive” Tdcern sc ofthese principal of which watt the ink Bewees dance and though, and ll of which se governed by a nel comm pation bcweendanceand thee ere ithe i 2. The obligation of space. The anonymity of the body 5. The effaced omnipresence dhe sexs. 4 The beacon fom sl 5 Nakedne The belie ge Lexus dus them node Fie te dha dance ply tine within space, tha suppose the pace ofimminenes then ther ifor dance an obligation of pace Mal in ies this slows "Dance alone seems me 9 needa rea pce"! Dance lone, mind you. Dance thecal ne among the ar that con sane to spice. In partial, his isnot the se with he cheater AT tai, dance de even before aming Teste, om he conta, Doth ing bu the consequence of playing out an a of saming. Once here it text once the name hasbeen given the demand tha of ine no pce ‘Thetercan const in someone reading fom behind able. Of couse, vee ca provide him wi a ea dcr but lof this, or Malate ‘mane nent Space ino an inn obit of thet Dance i ‘ea ices pacino is exerci the ony gut of hough odo “hi so ther we ould argue hat dance symbole the very spacing of though ‘What dos tis mean? Once agi, we aed to seente the event o- tn of any instance of hough, An even is ays locale in the situs Hon, se ncterafecs ata wholes There er what Ihave ele an tena site? Before ning cables she time in which the event “works” through uation athe uth of cha sation, hee the ite ‘And since doce i showing ofthe fore-oame [Fava i mus de poy isl the survey of ste. Ofa purest Tere in drnce—theek & Dance at « Metaphor for Thought prion is Malem" vie of the ste” And he adds: “an une ‘tered of virginity ofthe site" What does undreamed-of” mest? Incas thc de evetal ite doesnot know what to do with he imagine tons of a désor Désoris forthe thee, oc for dance: Dance nthe sie 1 bch, devil of Spuntie omament. Ie demande space, o spacing and thing ee. Tas al for he Si rinse "A for che seconde anonymity ofthe body—oe rediscover within isthe absence of any term the e-ame, The dancing bod, asc comes tothe ste snd ese in immineroe, 3 ehough body. The dancing body is neve somone, About these bode, Mallarmé declares hat hey tbe hve oer than an emblem, neve someone." An emblem is above “opposed o imitation. The dncing body does ae imitate a charac ‘rt nul edepie lfige) noing, The body of the seater i> Steadalmayscughtup ia imation, sz by thecal. No ole esa che ‘ancig bods which the emblem of pur emergence. But an emblem tho apposed tev farm of expesion, The dancing body doc not er prewany kind ef itecriy ave on the suc, a visibly estined Incr fine Nether inition nor exresion the dan {tbody isan emblem of vio nthe virgin of the site. comes 0 SB Gi pce onde mani hate though—te ee ‘hought—tlat hangs upon the evra dsapparance she induction in imperona sje The impersonal ofthe sabjec ofa shought (tof ‘Tec devves fom she fc that sch asbjecr does no resis he em tha authorizes i Thee i thar no aus o grasp tis subject a “omeone” forthe dancing boy wl signify doughs naugual char acter haiti leaf body. The dancing body i anonymous because itis tom unde: ou very eer ae body. Likewise, the subject ofa uth ie fovea adrance—however mach emay have advanced—the someone” Saree “Turning now othe hid princple—the eal omnipresence ofthe sexes ie can exact fom the apparndy contadicnry deciraionsof Malham. Ii chicontadiin das given i be oppstion shat am Cabling beoren “onmnipcsence” and “fcr.” We could sey that ‘Eine univecally mais tht thee are swe seal positions (whose armen mas” Aad "woran’) and theta the same Ge, iat or ‘ae tis duligg On the one hand, Male aes ths every dance i thing bu the myers sod sae interpreta” ofthe is At the cee of dance thre thu a conjunc ofthe sens, and i's hi Dance aa Metaphor fr Though 6 ta we mt cl he mnt Dance it nid compote ofthe Conjunaon and junction af ed pottns. lft moremenes Stn chr ens within paths or ec rion nid ‘hence pons of ant end women But on the ter tind, Malasné ds oes fate dancer “noes woman” How fone hal dence rut the terreno the ae of ie one Fntion ofthe es and, unt peatng, of he el stand {rts tha te fed ance ch cot be named “woman” ay trove hn th mle dace canbe ned n't benz cer ‘in ont pre frm fom emnton, deta lve deform tor poe thetipyeh ofthe cour the entangemen, snd he sepa inn dance teehee crn a vechall Coed (The de ary Conideaby ura saps at work) A choopphy ori the Tali ofthe ses erm Ba matey tei hat corpse the (omnes the congestion ato he pal ofa ime rei ca ear tl no deniatin, Tcl, the onnpracns ofthe diftence ence ce mae and the fel dence and rough the" omnipresence ofl i {ec handed ony te ono the clan bowen ancl Aina pation ouch ay tha he couple me dane ele dice canst te onal sopeinposed ono th coupe man woman ‘ithe el of he dp wha lyn she sbigutou sion fhe ‘ex theconelion wen ng and dipping bene i fla and shelton olan thar daw Te rept cope {ding om the easter, he eningenens and he pation. “The djncive emery fr which seson pve the cde mae topare cr manphor be the erent sch ¢ menphe froting hee ete tingle dppearnce. Tht why the omlpearee of {etal flere cicero able tae dne lls rove eprentave Cod ance st rhe formal ttn energy wb ene san Ios with pc, che cae er gindpe cumber four sinensis adit w turn oan shogeber bare semen by Malan "The ner dot to dace" We ve jena thiol ener nots wo, tom op ofthis she nx eens "dsr we undead by his fomeone who eat ance Lets conpae he water abet ne: Dance Milarme tl us" por fe faye apa {stn Tis ond eens at prea the Te 66 ence at « Meaphr fr Though dancer de not donc sic the poem iby dion a a in ‘Sipion epee Malnrtan neon. Cosco the our eis fay sit para pei the ported Sih pom he pone fo the dane ho does tude de href dance ‘Dncis hen pcm nine or anes Ad ance aes dance mat dea anes unc. Whar is aed hve the be {hain dimensone ooghe Eey gene tance ikings ‘ced fom te Kalin wie icone. Danse mee or hep pecans by mene of ey Bact nthe om fe eel ug obra Fom ey preretof nme ii cow dcp ois brace Pein che manne at thea dnc rover pea Pow he dane he anes: er Iovlg ich tte en, nd pil ace stock uly he pure cegece fe gre Te dancer ee Toesne” bes hat hacer sm plese eaon a pr {Ting kl cen sgh rule og nd ou 1 Sauer appre dace mncuou ageing ot het om Towle nc Sedona he ac, is eee ime rman he snc nah the dance l- Shere lnoen dns bce she es rb Fee = Send tne pc a ance body abered om ee ‘Wg st body dc ee “Oro ay one wil erly yes he Sh pile thticimaled Ou, emacs Biremprly 0 The body {dance nen se Jaco dance ia son of the pre te Id thet oe rc: her ei ne He woe thedrcing body nica bough body nthe gif the eet ‘Sree we or scone (eet hie oor 0) Ths ads ‘Feil Wha dbs hme nyt He syst dane “fe ou the tokens fu comepo Ainge wil sey owe ou Ton Naklne seeds flo Dance svamer fig oun gh to dd of lin ang ie hn fie li ots cence Drs king ie Seccon the inking ht ae motogp ating We cl alo ny tthe pre coat of git She spuds a hogs obi omamens Where the Dance at 2 Mespor for Thughe & thar dance is (or tends tbe) the exhibition of ohare oakednes, he rakes peor any cenames, dhe nakedness that does no derive From the divermen of ornaments but ison the conta, aie given before Lormament—ar the event given “before the name. ‘The sth and lat principle no longer concerns the dancer, oF even ance elf bathe specace Whats pecator of dance Mallarmé an: ser his question in a paréculaly demanding manace. Just a che ‘dncer—who isan elem —is never someones the spect of dance ‘must be igrouty impenonal The spear of dance cannot in 9 ay Lethe singularity ofthe one whc watching Inded, if someone watches datce, he neitbly ers ino its voyeut This pine derives fom the principles of dance fom is sence (feed “ompresene af th sexes, akednes, anonymity ofthe body ce) These Principle cannot Boor efleiveualew the peter enoutees very thing in his ge hac may be ether singular desing, Every ober pee tale (nd abore all the heatr) demands hac che spectator inves he ‘Scene wid iow date. inthis regud ance coe a pect. ei noe 2 specacle because ie cannot wera the desing ze, which, once there is dince,can only bea voyeurs gaze, 2 gaz in whic he dancing abuse tions sappes themselves Whats nese x what Mallarmé cl“ i pevionaoflguaneabslte gaze” A ic conrine is 202i fe that commands the ese makes ofthe dances, boc mal 2nd Female ‘We have just spoken fhe “impersonal.” If dance iso provide a figure for native thought, it can aly do soi accordance witha univer ad dros. Dance doc oars il othe singly of dese whose time, besides, as yer consiue, Rather, dance i whe exposes the akednes of concept. The gue ofthe spectator ut thereby cst seek, upon the bodies of the dancer, he abject of ts own desie—an operation that would eer us back oan ornament ofthc naked nes. To atin the nakedness of concepts demands a gaze that—eived of every deiinginguiy ico the bjs or whch he wolga?” body (a [Niteehe would) functions as spportmacher he innocent 2nd pe ‘mowllthoughebady, he invented o diclsed body. Bat sucha gue be longs ono one. “Fulgurant: The gee ofthe spectator of dance mst apprehend the r- Iason of big to dsppearing stan never besusiedwith mere seo tale. Beside dancer sway aera does ox porsche sed “ Dances « Maspor for Thongs uration of spect, bu isinstead the permanen showing ofan event ln igh caught in the undecided equivalence beeen i Being ard is rothngnes. Only the ish of he gree appropeias her, ad nots le fled stention| “Abele The though that find ts Figure in dance mut he consid- ceeds an cena acquisition. Dance, precy bees iis an absolutely phemel are—beeus tipper soon aes place harbors the nonpes charge af trait. Beaty does nat consi in “remaining nei” orn duration. Een is preci what watches over disappear nce When s"ulgurne negate a waishing peur, anne but Ice ic pre. ouside of any empl! memory. Thee no oter way of afesaring wae dppenes than to watch ever i tinal. Keeping ‘etch over wha doesnot disappear means exposing it he ersen of the watch Burda, when sized bya gemsine spectator, cannot be wed ‘ps pecily Because i aathing but the ephemeral asst of ise Tein chiens hatter ian bluenes ofthe pte dicted Spon dance, ‘Now if we examin the sprig of dance we can exablish het she rel oppotiteof dance theater OF couse, thee aio the military p= ‘ude but thas mecelyanegaive opps. The het the postin op- pie of dance ‘We have aleady speed, om «Few counts, how the theater counters thes principles, We ave indicated in psig ha becuse he ext pos tens the fucson of eaming within teri inte sheer 90 con- fein of the pure sit, and the acre i everthing but an snoaymout brody Te woud be ey show thet in the theater tere Is soo om iptsenaof the sae but, quite the contay dha what we find tbe typo rl ply of eation Tat ther pay fa rom cout Ing suburcion, isin exes of ise While che dancer may noe dance, the sco i oblige eo act, ply out the ac at wel a all eof shes ‘There i bo no nakedness ih the thett. What we have instead is + snandacory costume—aakedres being tela costume and one ofthe ‘ow gash that Aeforthe chester spec che sole and agurane Impersonal ie i ot requted of him, ince what i appropriate to his role the excitement ofa intelligence that Bods self etangled it che dhraon of deste. “There i thar an eset cach berwen dance and shen. [Nikrache aproaches dis cls in the sme of way: hough a ab Danse aa Mepr fr Thong 6 thecal aesthetic. spel inthe last Niethe, and inthe comet of is eotal rupere with Wagne, th viable slogan of moder ar com ‘mands that you sabeac yourself fom the depsable and decadent grip sf tke ths (in ivr ofthe metaphor of dance, a= new ame ved theanh) "Nienche cl the submison ofthe arto he thea fet is- nics.” Once agin, weencourter the enemy ofall dance, valgaiy. To fave dove wid WagrianKtionis iso oppo the lgheen of dance 10 the vulgar mendacty of theater The name "Bizet serves opt he lof ancng” masc apie Wagner thecal use which it ‘mute debased by the fae hiner of making he enc of dene it astenty undeins the hevins of he ply. ‘As the rrainder of this book sould amply prove, Ido not share che iden azn co whic thence ithe vey principle of ee corup tion of al he ats This is also aoe Mallar idea. Mallarmé sates the ‘complet oppor of thisidea when ewe that he texters superior fr He sees very ely that dee ia contadiction beeen the pio Pes of dance and those ofthe theater. Bu fr fom endorsing the hist nic inky ofthe theater he undies tari supremacy without ‘herby ftcing dance to forfeits own conceptual puri "ow is his posible In order to understand, we mus uc forward 2 provocative, but necuary statement Dance ots a. Nieoache {orl inthe bel that thee exes a common mente beeen dance And thera measure co be Found in heir asc ints. Ta is owe vey. Niche continues to arange theater and dance within achssica- on of the art: Mallarmé, onthe contrary, when declaring that the the- teria superior at, does Hot n ny Sense wish afr the sapsoriy ‘oF theater over dance. OF couse, Mallarmé does nosy that dance not nar bur we can ay cin hpi, once we penetrate the geuite mean ing of hes principe of dance ances noc an a, because tithe sign af the pale of ara in seb in the body ‘Allow me provide a bref explanation of this maxim. Spinowe sys that we sek co now wh sinking i while we donk even now what 2 teody is capsbleof. Til ay that dances preci what sows ur thatthe body i cepble of are. It prods us wih the exact dee vo which at ren moment, its apa oft. Buty thar he bay is capable of art oes not meun making an “zt of the bod.” Dance igaltowand this 7 Dane a a Meaphor fr Thong ani capac ofthe ody wthou thereby defining singular art To sy thac che body, qua body i capable of aris co exhibit a a shoughe body: Noe a choughe caughe in a body, bu a body tha chink. Thi isthe function of dance: the though bay showing elf under the an ‘ahing sign of apc fora. The verity eo dance posse by ach and everyone of ts comes fom che fac thar dance anes, fers owe fasion, pinta gustan: Whac ie ody auch capable oP cic ble of ar tari, ican be echidied ative though. Hove ae we 0 ame the emation thc ans ws at his poiae—as litle ewe oueer ‘maybe capaie of an ssa and imperial grange wll ame thi emotion ex emerge Teisa vero because the infinite appear nia tee within the ii ‘ude of he vs bebo IFthe capaci a the body, i the ise ofthe ca pcg fora, ahi nse hough, thi epacy fora infinite, nd sis the dancing by ie nen che tant of aerial race ‘Whac we are dealing with hee, which aly vernon hein itd capaci of an execs of dh body, but the inte apa of oF alla ies rooted in he erent hat chance prescribe, [Nevertes ths vertigo i erce Th eevee itethe = sssned pression thar coont that esis forthe aii is he sere Townes, and oot dhe ifr vrwosig Titian exec o ile "ie pteision tha concerns the reation henween geste and nongete Tris hus har the yetigo ofthe infie pve inthe most enduring cect Ieseams tome thc chs hisy of dane governed bythe per petal ene afhe elaon berween veri and etude, What wil feria ial we willbe canned, and precy how ie he rexeing ping lie the infinite! Thee are the hutoral problems of dance “These inventions ae inventions of thought. But sine dance not na, bbutony aig of he apa of the dy frat ths nection allow the ene hstay of wah Yery easly ineloding the history of thoxe ‘outs tught by he as proper ‘Whither a history of dance «hsoy of de exc of vertigo? Becuue search doer not ext If sh chest, here would be a de five ecstatic dance ayia incantation of the even. Doubles hit isthe conviction of the whiding dersh. Bue wha there ate need ae dlaparate rth, an alexcory mull of events of thou Dance spp: tes this muipciy wiehin ory. This presuppores conan eda tribution ofthe readonship between vertigo and exciude eis aes arse sa Meaphor fr Thought ” sary to prove ime and me gun tac dy body icapabeof hong ial a thought body. However, today” never anything apate oae the new uth: Dance will dance he native snd event theme of thse true A new vertigo and a new xacide “Thus we must ream co where we ba. Ye, dance i indeed—each and evry ime—anew nae that the boy gives tothe eth But no new fame i the las. Asche boy presentation of he forename of tthe, dance nessa renames the eth Tn this epet tify the eves of cheat, whic has nothing ‘edo with theca, wth ts ame or ven wih whit the body capable Of The cheater a ch, n part of polis and he sain prt of the dzalaon of deste beeen the ex The bata on of Pali and Free Aewe wil net forth-—ainmtily wap cacy ps $7 Theses on Theater 1. To caublh-—ar we mus fo every at—that tea inks, What should we understand here by “hese”? Contrary to dance, whos sole fale shee aboy be apble of exchanging theca wih he ean fot nbc even musics neste, hese ian asemblage Tis the as emblae of excemelydnprse components, both racer and ideal ‘thon only exaene is inde performance in the ae of then ep reeration. Ths components a rex, plc, sme bods, wits, co fumes, Legs pulic ar gathered oper in an ren the peri nance pnt, whore pein, night ate ight does notin any Sense incest fc ht each and every ine, the performance een ta hari single, We wl therefore oun hati event when i telly cheney thea ofthe heer vet thought. Tis mesns thatthe ssemblageofeompnents ect produces ideas hile dance Instead produce the ides dat the body tthe baer of iden). These “ens sd hsp in rial ave seteridea, Tai mens he > rot be produced in any other pliceo by anyother means Tels means that nape ofthe components ken spats capabl of producing the Urotides not even the et, The Kew aie nan by the pefoance, through the ato theatcl representation. The ea ieducily the tal aad does oc prec before eal Tom stage” 2A thenterides i in ofl kind of lurincon (die). Antoine ‘ics wed vo sy hat the sim of theater ito cay our sinaton 0 0 ovate in history and if, He wrote that he theaters to ender the in ‘exible ial Theater isan at fea snl obtained vias 9 The on Tester a felatack Thi simply isl aughe wp i the lamination of the vi tal entanglement, These ian expriment—simuleneodytextal and ‘marin implies, Ther separates what ismized and confuse, shi spustion uid he eth of whch hae i capable However, ‘te shouldbe wary fling tha brining simply imple Imatet. In mathematics, the simplicaon of» problem ora demonses- tion fen an expression ofthe mos condensed intellectual art Likewise, [nthe cheater, 0 separate and ply the inextricable ie demande he ‘mos ved and forbidding of artiste mean. The tested, pubic ‘mination of hiseory and He emerges oly athe apex of. The inex feis een vo things: the dei ha ccs betwen the sts and the gues ther eked or mozsiing) o> Gland plc pos, ison chibi tha ete have exited, dtl te, eapedy and comedy. Tragedy ithe play of Great Power and of he lps of dese Comey ithe ply ofthe small powers, of tere of power and af the hale reulstion of deze Inti. eapedy thinks he ‘de af dese within esac. Comedy inten, chins the fail or eal ery gene thi as eam tan intermediary postion berween heen elder eat the Fal Fiera ate (Sender en Pi tandello or the sae asic wees fly or couple (Cadel) ‘When alli sid and done, thet thinks, i the space opened becween life and deat, the kot ths binds rogeber desire and poli. Ie chinks ‘hislnot nthe fr of 2 een, tht the form ofthe ng oe he cacarophe {Inthe ex othe poor the theres i mop, Tir ibocae le held thre ina oof erty Bat along a fein in ermal foun, he theatersiden i preciely no erie The sends comer orton the (tie ime of ts pefocmance, Fics represetaon. The st ofthe thenter dob che ony ae that mas endenoro complet fn ectnity by means of the insanancouses lcs. The tester poet From ecrnity odie, not the oer way around Leis therfore imperative ‘0 understand tar te thea epesenarion that governs he compo ens ofthe theater (as far as tea, snc these ae extremely hewerone ‘seni nota interpretation, si commonly believed. The there fcc a singulr complementation ofthe tener ide. Every pefcranc ‘representation is thus 2 possible completion of this ide. Bodies, vies, ™ Thee on Theater lights all theselemenc server complete the des (or ifthe heater it lcking for nll to make iceven more ncamplere eh twat in he tex). The phere element within thers note be oct diecy in the face that a psormaace begins, nds end ltt leaves nothing, bc obs tacs Instead tis tobe sought inthe following conviction: ‘The theater isan eternal and incomplete ide aught in he insane ordeal ofits own complete, 5. The ordeal of emporaiy harbors a strong element of chance. The these ir alvys che complementation ofan eer idea by mens of = paely governed hance. Thar production, or mise en ce, of fen areaone rl of chances, This eso whether thee chances fisciely compli theides orinsend mc ie The ar ofthe heerlen a chien, Stone very informed and lind (consider the working methods ofthe ‘eat deta, betwen, onthe one hand, the chance adn scenic con [gations tha complete the (eral idea by means ofthe insta watt Jacks, and on the her. the often very sucie configurations tht nee ttle remain externa to and aggravate the incompleteness ofthe ies. “Truth mst be gate othe flowing anor: A heal epesentaton wll neve abla cance. 61a chance, she public mus be counted. The pubic i par of whet completes che idea. Who can igo che fet hae depending which public ove isplayingt, the theatrical at dos or does ot deliver he the- feria, des o does ror complement i Bat fhe public i pare ofthe hance dha at wor the heater stil es py to chance 2 pombe, We mu protease any conception of the publi thc would epic ita community. substance, ora consent set Te pblicrep reser humancy in its ery inconsistency, ns init aie. The move eis nied Vocal stony, cv.) tbe es sell for the ‘complementation of he de, these supports i tine, he eri and nivel ofthe ies, Only 2.gnericpblic chance public, i worth anything al 7 Cecio itesponsibe for watching oer the chances ofthe pub- lic estas sto ad the theater de, just asi indi for Beer or worse toward the absent andthe anonymous. Ciicsm summons people to ‘come inhi en to complement the dea, Akerntvely chink that Thos on Tater * hse, having. on such and such a day, chanced upon the expesience ‘hac complere i, doe not deserve to be honored by the chance the 8 puble brows Thereby, cian oo, works toward the plymorpous Presentation of theres Te alows one wo pas (oa fom the "pe Iie” wo these oter remit thse athe iss tha follow. Obvi- uly Ferien adres oo rece, commnal, or scly mated (bectase de newapupr i ofthe Rip, othe Left o era interes only 2 cersin “cultural goup, et) i someties works agains the {rer eing ofthe public We wl therefore count on he mulipliciy— "el pey to chance—of exis and publications, What etic mast ese apna ie noe om partiality which requied, bu nthe fc fo cnsiousnes, the copy, thesia chtchae, the habia "ying to he winner rescue as well athe tendency ro serve anal to comma a ince Tn tis spect we must reengize tha 2 god cte—whe ia the service ofthe puble, cnccved a2 gure of dance isa epic and unpedeabe ri Regus ofthe ste ulfesng hi weting ray inc, We wll oc ab he rico be just but he be alexned ep reenatie of public chance. If being above the empeatins of them ee aly mistaken about dhe emergence of theter dense Wil Ageac ct However ics wel to demand from a eomponion— fom this one no more than fom any ocher—to inci ine its char he lipion of parent 81 do ot bere the min question fou ime to be tha of hoeos, suffering, destiny, or deriction. We are stud by thee novon, and buds ther fagmenttion int chester dest tly incessant. On ll sides, we ae sutounded by 2 choral and compassionate cheer. Out ‘qeton instead is tha of femacive courage of loa energy To sie « point and olde Conequent our questions ks concened with the Bechet—vwhose dente when "ompleed” core svar wellawte of hi, The fice tharwe donot knowhow to fev Ari ‘hanes or Plauus is wore disquieting than ici earning owe that fre have once aun breathed life into Acs. Our te eer ir ‘evi that weld, upos the stage the vielen fds vo the les ‘oF small ocl powers, An invention the would communist, through theater ides, everyting af which people scence capable We wan theater of expec. nc of incpaciy. 6 Thos on Theater 9. The bial inthe ph of comtemporary comedic ecry isthe consensil ef o all ypifcaion, Consens emacac is hoifed by every ypoogy ofthe rbjeciecngories chat campos Just Hy 0 cakes pope, gies eds Fendy doco she igo some humana [an insaion, othe head of 2 nue uaion, and make thew squirm Sponthe se bury them in iia! We pases infinitely mor boos than the Grek i eines ie yt o Break them. The dy ofthe ther ist eompose upon the sage aw ving stustons, atic tte on the basis of sore eset pes To fer our own me che txpuvlene of he soce and domes of ancien comedy—ecleded aed lave people wh, all of sudden, by the fc af he heater de, body pen the wage inligene and foe, eve td mastery. 10 Incr epoch the genera ify tat bss he sheers is = lain tthe ete. The theater ha aay led on che state What he modern form of this dependence! This ia mater tat egies delicate ‘Srimaion We mat sberactouelvr fom a poemial vison eh ‘would etn the theater int a aleried profesional others 2 grum> Wing setor of publi opinion, a clara cui ervce But we mus aso ‘uberis ous om a concr wit he simple co the prince, Who esta bis of courtesans within he reate athe serie follower oF political cation, To do this, we ned» general dex More ofr than ot thie ian idea tht maker we ofthe disons and ambalences ‘within che sae (ita that» courtier comedian ike Melee can play the orchees apt dhe audience of noble, sabs, &devores wih he mpi of king, who hah ovm cress ia i ead tnd eric entourage like, Vite the Camas could be ppoinced, ‘othe Chloe tener by Michal Gey because the mnie le of ‘he man of te fated the “modem” of Gisard fang, te) eis ‘ave tac an ovratching ies (deena, pope dente, “la foreveryone" ete) inneeded fone to maintain the sates bel in he neces of he redaction of eae das In our ova tine this hing idea isto ine, which ephins our morose when it comes to relleting upon the tester, The tear mac think up is owe dea ‘Our only gid sin the conviction dat, today re chan ever, aid 0 the extent haiti, the thence isa eleatl but an aise tum, The public det ao oc the teter tobe cltted The bbc tenor ding iris nr the teachers pt Una pen cho, ow chown Thess om Tear ” ‘ou. The thst fills under dhe category af ested action, and every ‘eafontton wth the etings wil prove fal. The public comes to the thever tobe smack Suck by theses. I does or lee she theater ‘ulated, bur ned ged chughe ing), pensive. Een inthe louder lpi is bar nee encountered any ection, Ks encoun teed iden how existence thither did noe suec, Maybe hs windings the hee fm cn, who aluly flapper be tpedl bees toy reo md flow, ips cetme, eter», bar shoe aL sor, the onble band) nt eae exlcty—ler pyc {jeson of tencounter of tnd wer nea ea has ‘Rattan abr io ang) ees quein ofthe pgs of he Hen, or prove afte phaam, mee §8 The False Movements of Cinema Ais operates trough wha witha om the ibe The image is firs eat from the ible Movenes i eld up, sspendes, inverted a ‘exed. Casting lemon enn than presence ony ehrough he Fe of ein. bur led fem ee ae, both By Framing ad bythe contd purge of he vibe Tei of senate importance tha the ow fr cinema daplye (fn one of Visco sequences) be Mallaméan flower, that they be sent rom every bouguct|have een them, hese Awe, butte presse modal of thei eapeaty ode cur beings for, indivily, bos thi singly and hi ely weer ti oe by veri hese Hewes tha the de is grounded in how but thr by being sen the. Here es the etre difence be fven cinema ad palting, Cnem ran arf the peretal pst in the fens ch eines the pst Fhe ps [le pa Ciera i isan: “The dea of wz wil ave snot had linge 0 eo he very exten tha pues To engaize within the vale the cae poered by the page the i, hii the operon of cinema ach and every tine, the pos bili of ier is rinvened by the opeasons proper os parc att “in cinema, movement must therfore be though in ere diferent sways in iat the ea tothe paraxial erent of passage, of ‘station, There a stein Pris caled the "Pazageof the Vistar! — Icould be clled "Cinema Suet” Whar iss stake here cinema 52 aba movement. Second, movement is what by means of complex op trations subiracs the image om sell. es what makes itso that albeit inserted, de image unpresented. erin movement thatthe eles of the out besome ineatnate Even fan, as we can see with teu espe- a” The Fee Movement of Cinema 9 ally, when ei the apparent aes of local movement thar exhibits the “mpeying ou th vile, Or iin Murna, when the progress of am ‘orgie te segmented sopology of shady suburb. We coud ay a ‘whore have bere ae the ser of local movement. Thiel aad fly, Tnovement th impute iulton chat abains within the creat ‘compris the the artistic races. Moremeat insite tea within a ‘onatingallason (whic elf esr) acts ha re wrested from thar proper destination eis effecnly impose vo thick cinema ouside of wometing ikea ener space in which we could gap is conneton tothe ater a Cinemas he seventh ain avery pata sere I doesnt adil to he other sx wile maining on the same evel a thr, Rates, i plies them—shnems fhe plueone” of th art repens on the exer fic ing them tring pit, na moerment eae sabes cham from themselves Le ua cure, for example, what Win Wenders Fe Move esto Goethe's Will Mar, We ate dling ete wth «Sen and novel We must indeed agie that them would noe exist of would not ave exited, without the novel. Bu what isthe meaning of chi condi ‘dn’ More preci: Under what conditions pruning ode hema i his moves condtoning a lm posible Ths isaac, even oe ‘urous question. cis clear dha wo operators ate called fr tha thee be {ory ote shadow of sory and tha there be characte, othe al Sion of charac, For example, someting In Wenders lm operates a Cinematic echo ofthe character of Mignon, However the Resdom of nov tls prose ies inno having fo put bodies on espe, bodies who vs [ein evade even the Bnew of deeripcon. Heri he aces fer the ody but “acres isa word ofthe toate, word of ete ‘entation Herth lenis aleady inthe procs of parang the nevel- ‘tc rom ise by someshing tht we could refer o aa procedure of he frie sampling lei evident that the Rimi ea of Mignon isis, fn pare preiely hugh dhs extacton. The ide i placed Beene he these and che nove, but also ina zoe thai the one na he tthe” All of Wenders aries in Being bl ennai this passe TFL now aswhst Vicontis Death x Vez esto Thomas Man, 1 sm suddenly eanportd in the dein of muse The tempociy of the psageisdlctated fr ess by Mana prosodic hh than by the adapo ‘Of Mahler Ff Spmplon. We eed only real the opening sequence to The Fale Movemens of Cinema ‘Lees suppose dain this instance, chee isthe ink becween amorous _meanchaly the gris ofthe pas, nd dent. Visconti strange (oro ie) he ison of his den nde space witha the ve at opened tp by mlody. This tke plc o che detriment of poe sine here nod ing wl besa, nothing textual Movement suber che novelist mn language, keeping con the moving edge bxeween mic and place. But msc and place exchenge chown values in ars dha he music tule by picts sions while every pital sail conversely Aisle into music These eaafrences and disoacons ae the very ‘hing tha wil eve ime consuted the Rea of theese page "We could al the link beeen thee thee acepations ofthe word “movement the "poetics of cine” The ete ele of his poetics s © allow te dest Vs the senile Lins on thet sha he de no incarnated in the verible. Cinema bles the ial des acon 0 ‘which at ithe ecb ura ofthe Len, The vation of the ease by ‘held does ot endow de ae with body. The dei nor seprable— ‘exis onl for cinema in its passage. The Hea it ivan, ecu provide an example fe sepnde what happens in Fee Hosen when prominent character at long st eads is poeta poem whose er ence he ad snounced ime and time agin Tf we refer tothe global movement, we wil ay dae thi ending in something ike acon osc of he sari pat the wanderings of | the entre group. The ocr is exablhed asthe idea ofthe poem by 2 Imugin effect an eft of ineeupion. Tis how the idea pases 2 ‘ondng which eer poem iran interruption of guage, conceived 3 4 mere tol fr communication. The poem sa aes of language upon Jes See that inthis instanceof couse, languages inca noth Jing ba the ce the pursuit. «kind of wild bree. IF we refer inset the local movement, we wil observe tha the Be wlermene ad visi ofthe ender show that ei rey thie slabo- Ition i the exe. o che anonymity tat he becomes. Poem and pot ec procly suppress one another. What remains i sore of wonder = {siting 4 wonder a oxsing thai pethape here aba ehi ln. nally, we rant the impure movement of hex, we scethat the poste ofthe Sin ely 1 be sought i the manoes that che poetics "ppoued o undelete poem i weed from ile What count ie pre ley that an actor—hinself an “impuricaon’ ofthe nveiic as pest—rede a poem thet isnot «poem, ht che panage ofan ene The Fate Movements of Cinema a other ide ay bese up (or edited”: the dex chain pt of Bound Jes dst this character wil nt wil neve be aie wo tach hie o the others and consti, on the base ofthis atachmen, a sabi ‘ihn hs ws ng Au fen the cain theft Weer —beloe dhe ng may puri ei way the wonder axing the copii tment, the one that, bee from a et distance, dere that German ‘no, in all enquiy, sree and lnk up with other Gamane—for ‘ean he (plc posiy that, day, one can peak of ing Ger ‘mar inan ently ensparent manne, Therefore inthe like of he ‘bree movernent the pot of fm the pasage ofan ha ot ‘elFsimple Ache cinema ain Plat, genre idee ate mires Bry septa univocal the defer of the poetic: In ur xp, thi teadng ofthe po allows the appetance oc pause othe de fink tong ideas: Theses (pope Geena) ink between che being of he poem, the wonder texting, and national uncer. Ths heen (hat ve she sequence in quadon. The likage of the sre movements ie eeded so thatthe mined aad complex natu ofthe ides may tn eco ‘wat wll eve summoned sco cought. The tice movements at: (0) the global movement, whereby the ies is never anything buts passage (0) the local movement, whereby the idx i aso other than wha ‘other tan ts image and) the impure moverent, whereby the dea in sells il inte moving borders berwen deserted asic upposions. Ju as poetry ian are upon language, an fet ofthe ended acce ollinguitic manipulations the novernenes woven bythe poetic of cin fem ae indeed fuse movements, ‘Global movement i fle Seate no measire it adequte for The ‘ecniainfrantucture gore + dere and wniform snwindng, che tte ar of which es ln never cpg count. The units of extn Be the shot or the sequence, ate ulinatly compoved not though aime ‘measrement, but accordance with ripe of posi, ec i Snence, or rupture The rea hiking of hie principe iin» rpology father than ins movement. As hough Ht bythe omposinal pace ‘hac is present as soon as fing begs, fe movement a whi he ‘desi ven only as psa, imposes ill We col say tha cher a fea becuse theres 2 compositional space, an tha heres passage Be Cause his pce oer o expe tela global time. In Fake Moroes, for instance, we can thin ofthe sequence were the vain ae each ther and gow dian as meronymy forthe entire spce of composi am The Bake Mavemons of Cem tion. The movement of hi sequence ithe pure exposition ofa sie in sthich subjesveproximiy and dancing se indicerible- hii Feely the ndes af love is Wenders. The al movements othing but the peudoneeve distension ofthis “The eel movement ile bene noching bute ech fl lows upor the subzaction ofan image or equally of spect fom sal “ire, ton, thre isn original movement, no maverent in uel. What ‘het sinstend isa consid vb that, no beag te ssproducion of anyting eal ecb said in passing hat cinema he least mimetic ofthe ane) cater the empl ee of josney On tisha, i fn ay in tar be teed eo “fF crea” Uhrig si war eed to by thought a thinking, for example, ofthe scene fom Orson lee Toh of Bilin which theft and cepa op pare vit 0 Marlene Dietich. The lc tie is elicited ere only bese rely [Marke Desi that Wel i ting and case eden dos nota all cxincide wth the lage, which shouldbe that of op being ene ‘ined by an aping whore: The sow, most cexemonial pce ofthe mee. Ing desnes fom the fc that thir apparent image mast be eaves’ by though upto the placa which eau an ive of ftina value sve te ding with Marlene Dietrich and Orson Welles, and ao with & ‘cp anda whore. The image is thereby wrested fom ils sto be ‘ved tthe Rel of cinema, Besides loa mavement ened hee vwtd impure movement. The ie, that of gestation af ans coming, to anend, esablsbesiselFhee ache border beween ln afl, om he ‘ne band and fm as configuration ora on the eher—at the bode [eewen nama snd iaelfor between cinemas efecivents and cine sa thing of the pat. nal che impure movement the es of sem ll for there tally Joo way ofopeaing the movement from ane att another Te arate el: No pairing wll ever become music no dance wil ever rn to poem. All ict aempts of this sore aria vain Nevertheless, era i ‘ecvely the onguniation of thse imposible movements. Yet his ‘once gain othingbueaeburaction. Theale quotation ofthe oxer ‘which ir conmitutive of cinema, wre hee a3 rom them: faves, What emai preiely the breached ate where an en wl Fave pated an idea whose visacon the cinema, and it lone allows, “This why era a5 exis in lls, ke knoe hat es together The ae Movement of Com % thre fle moremencs. eis rough tis plicae gue that cinema de- livers the el pus and admire chat ee ura preps. ‘Cinema ian impure art Taded the “plu-one ofthe art bok parc and inconsene Buc force at a cotenporary ats precy In ruring™fr the drain of pasage (sase—she impurity of every “des into an idea in on ght ‘Bu does is impurig, ike tha ofthe Ten, at oblige us—if we wish simply to speak ofa fimo undewae some seange detours, hese me “Tong detours” whose nec lao eablished long ago! Is cer that Sl ric i Forever suspended becwen te chee of empathy, he fone hand, snd histovil technical, on the ober. Unie a= ‘queso ofrcouning the plot tefl novels impuse or of singing. the actor’ prases (he then input) Ist ely easy co peak abouts fle? “Thee sais way of aking about fm dha consis ia saying hinge ike “ike i “edd gi me-"Tis tne is indisins,snce the ral of liking” lever ie norm hidden. With ference to what expect ion isjdgment pase? Acme novel ean be Uke o ot Uke. Kean be pod or bad. These questions donot een tha cme novela a master Piece of the ar oferta They simpy desigacethe quay oF tna Sf the show tie spent in company Aer we ar overtaken By ah indietenelos of memory. Let el his phase of reece indie tine judgmenc® Ie concerns the indspeanble exchange of opiaions, which ike all of he weather, is mos ofen abou win i promises ot Wide by way of pletane o precarious moments “Thera second way ofall abou ln, which ie precely eo de- fend ie nga the indistinct judgment T sow which already gues thecrinence of ome aguments—eha the fm in question ents ply be placed inthe spice bermeen pease and forging Is no jut hacia good fle good in ie gaue—buc that some Ides can be ed, for at least fresen, im its eg: One of the supericial sigs of his Change of pert the autor of theft mentioned tan autor (On dhe comraryindtines judgment ie priory ro mentions of these toe ofthe eles, ofa skin scene of ofthe nerd plo. The cond ‘Species of judgment sins to designate singly whose emblem ie he hor. This singly s wha rests che indie udgment. ees 0 Seperate il from whet ald of he Bim within the general movement of opinion. This eparation i alo the one that soles 2 spectator, Who 4 The abe Movements of Cinema bas oth pecived and named the singly om te mas fhe pub- Ue Let el thisjudgrnene “the dari jdgmen" Ie argues for the Cnuideraion of fm al, Ser what stands opposed tthe indi Since Linking the ye to the autor, the dati judgment propos that someshing be uagel om cinema, dar cncme nr be consigned to the fougednes of plexus That some names some Bre ofthe cn- ‘ema be noted in ime “The dict judgment i relly nothing other than the eg nega tio of the indincjagrnert Expeence demonsrats har it sages the sles than che reper are fhe sur, he ac of ina ess than some dpere sic clement am eempted say thatthe dix ‘cia judgment stands authors ee same atin hat the inns Judgmenesunds co actor ar the index of a temporary remembrance, ‘When alt eid and doe, he ica judgment defines a sophie or Aiferenal form opin, Ie devgnate or consis “ua” nema But inthe lang run the hitory of "gunty cinema doesnot race the ‘contours fey atte conBigraon. Rathe i utes the (consent Sesing) history offline. Thi i bees, i all epochs ii tii tht provides he reference pont fo discal jodgment. But in so doing i emaie fr too india Are infinitely rae han even the eit cts could exer suspect. This is alreadycvious if we read Some bygone liecary cst, 07 Sune Bev. The vision ofthe enwacyoeed by thi undeniable sens of quality and by tei dace ‘align absrd "ctu fit a second forgeting eneope the effects of daca jndgnentin duration tht ceranly diferent fom tac ofthe Fong ting proeked by indiincsodgmen, but ulimarey js as peemp- tony." Quay” thar author? graveyard, dsgts es the aro an epoch than ie ric ideologyTeolgy, whichis what true art has always perce hole in tis therefeneceaty eo imagine hed way ofalkng abou 3 fi, nethes indies nor dicts see spsesing wo external ats at of leis inderene vo judgment. Every efenve positon has teen fren, That hein is goods har was Hed, cha sould noe [ecommensuable vo he cect of indiine judgment, that mast be Setapar lof this ecitypresumed by he ery facet weal ing about it In no way doer epresea the soughtafer goal Ishi not pres she rule that we apply to the essed aus wors of the The Fake Movement of Gnome 8s pa Are we Brazen enough think thatthe it ha Aeschylus Ores fr Balaacs lamas Comedy were "well Uke ga all igaican®? Tae "frankly cheyte noc bad? In these stances, inditine Judgment be ‘comes diaous. Bur he dss judgment sno beer We recor taal ae obliped to bend ore backward vo prove tha he ee of Mal hannd is superior wo dae of Sully Padnomme—who in hie day incidentally pase fra water of the highest quali, We wil dherefore speak of mon the bass ofan unconditional commitment, of an atic {otviction not in order eo cuablh tatu a a,b fo daw otal of is consequenes. We could ay shat we hereby pas fom the normative judgment—whetber indisine (ifs good") or diciieal Cet supe Yie?)—to an axiomatic aad hac ass what ae he fs for thought oF auch and wich Lect then speak of axiomatic jadgnen IF ici trae chat cinema crea he Lea ine gute of vation ra posage and that dies 0 inthe element ofan incurable impuiy 0 Speak abou a Ble siomacealy comer down to examining the conse ‘quenars ofthe proper mode in which an Tai ead thas by i pat ‘eur film, Fnmal cosideraions—oFcuting. sot, global or local ‘moverent, cob, corporeal agents, sound, and on—mu be refered (© only nach they coneibute othe "auc ofthe lea and he ‘Spear of ative imp. ‘Asan example ake the stein of shoe in Murnaus Noa hae sna he approach ro the st of he pine ofthe undeat. Overexposure ofthe mendows, panicking honey, thenderout ets, gether wna he ea of couch fimminence, of an anicipated vistation of the day by the night of «no man’s land beween lie and death. But here so something mized and impure nti vision, omehing 00 maifly poe suspense chat carer ison of tod ming and dst in Stead of lowing usw see the wstatin in ts dfn eontoura Our thinkingis nor conempaie here, sis wanspred, aveingi he ‘company ofthe Idea, rather thn being able o ake possesion of i. The “ansequence shat we da rm his precely that i ple the thoughpoem tht eves am exes a= cu than aan spe: bension though ls ‘Speaking Sim wil fen mean showing how ic summons ut to such anu a Lex eough che force oft lo, a oppned t paiting for ts The Fab Movemens of Cinema example, whichis po excelled ar of he eas meticulous a in- cepally gen "This cones rings me vo what leat asthe main dil facing ny saimatie dco of ln, Thi ifclry ietha of peaking about ie qua fl, When che Bi ely does o-ganie te visitation ofan des hich what we presuppose when me all abou tig ayy inaaub- {ctv (or dee) mation to one or several among the he ar To ‘Bainain the movement of defection, rather than the lenicude of ssup- or isthe most delete mates. Especially when the formal path, Shick lead owuppovdy pure” mic operation, present us with an Fnspaue Let ees: n iems,athig is pre. Cinemas incernaly integrally contamioated by i stuaon asthe “plone of aes For example, consider once spin the long croning ofthe cana che bepnning of Vinconels Dent n Venice Te ides ht pss here—and ‘hatte ea ofthe ln bah cue and cancels—i that of man who ‘id what he ad odo in i exience and who consequent pense, awaiting ether an end or another lif This idea i organiza hough the diparste convergence ofa ures of ingredients: Thee i the fee of the actor Dik Bogarde, the price quality of opacity and lmmecogation cei by this feat rely doe long the a ofthe aor whether we lke oe noe. Thee ae einer ae hoes of the Venetian syle all of which arin fat connected 10 the ‘heme of what ised, sled, etre fom hstory—pictrial themes already present in Gua o Canalo, herr themes fom Rosse 0 Prout For win thi pe of aitor to hegre European pales hee aseecioe ofthe ile unearths woven into de betes of Henry ‘ames for example. Bally, in Mable muse sees alo the diended and exiperted achievement, marked by an allencompasing mel ‘hoy thar belongs 0 che tonal symphony and esse of mbve there rep tered by the rng alone). Moreover, one cn easy show how thee Ingredients both amply and corode one another in orto decompo sithon by exes that precy serves to pozent the ea at both pasage nd puri. But what re evict opeaking, the ln? "Aral, Goema ic othing but take aod editing, Theres nothing ee ‘What T mean i his There is nothing ele that would consiute “he Sle I's therefore necessary to argue that, viewed from the vantage poincof he ssomaticudgrent,a lm what expos the passage of he ‘lenin acondance wih the tke and heeding. How doc the ea come The Fale Movement of Cinna ® ‘01s ake [pri how sic overcken (pr And how siete a senbled? Bat, aboeall che quston i she llowing, Wha singly i revealed in the fc of Bing taken an eed inthe dip “pita” fhe arts that we could ne previous chink or know about he ee? In the example af Vicon isles het ake and oiing on spite to esash duration. An ercexive duration tha homogenots ‘withthe emp pepenation of Venice andthe sagnation of Mable agi, aswel as wit the pecormance ofan imupobile an inate actor ‘of whom only the ae, neceminbly, eid. Consent inter ofthe ides fs man whose being (or dente) nin 2 ate of sxpenion, ‘wha his capes sha on his, sch man indeed mode The ancient resources have dried up. The new posses ae absent. The Fle drsion—compesed fem an auorment of ever ar conigned to their shortcomings the vistaion of asubjetive mmobiy Tie ‘hata mans when es given ove tothe whim of an encouner Ama, 1 Saree Bechet would my, "immobile inthe dark ne the incl Le dalight of histone his new desi, comes upon him indeed iedoes come "Now he fic shat itis he immobile side of he en that Brought Socward here i preciely what make fo page. One oul show eat she oter at cher deliver ther ideas 4 donstion (tthe ric of ‘hese as stands pining) or invents pure ine ofthe dea, exploring ‘he configurations tit dhe infunce of thinking may dope a he smitof thse ars sands muse) By means ofthe posi hai proper (0 tof amalgamating the other art, through aes and montage wth ft preening them—cinena can and must, organize the pasage of he ‘ramotile. ‘Boe cinema mr leo organi the immobiliy of passage We could «asl show tis through he elon tat sme of Seal sox enerin wi he erat ext with its canson and its pogrson. Altematvey tee could ent the dst etablihed a he beining of Tai Pla "ime been the movement of crowd and the vac of what could Be termed ia atomic composition. Thats bow Ta west spce a3 cond tin forthe paseo the imsmobile, Speaking af Sm aromatic wil slays be prenallydeepive since wl avay be exposed wo he ik Of ening the fm in quetion ino nothing more tana chet vl of the pimordial ara, Bat we ca sil Bold op eo the thread of our agi men. Theimpeaive remains that of demonsaig how sparc Bin 8 The abe Mesemons of Cinema les uta wth 3 partial idea in such 2 way that we might discover ‘what nothing ee could lend uso discover dos Plt already thought the impurity ofthe Idea alway te othe pasing ofa mmobliy ot tothe mmobly of page, Which i why we forget ide. Agtineforpeting, Pat inves the myth a fst ison and tem slscence T peak of ln always to speak of reminiscence: What ‘ecutence—whatreminitence-—is given ies capable of capable of {for uo Ths the pine rested by erry true fil, one ides at a ime ‘Cinema aca he ie hat bind wogethet movement and ee ogetng {nd ceminacne, the impute Not mich what we know ar wae we ‘an kno Tose of Bm i let pk ofthe esos of ought than of ie posites chat i, once ts resources, inthe guise ofthe ‘other at, te guaranen, To indicate wha there could be, Beyond what there Or agtn ow the “impuriatio” ofthe re less he path focother pais, "That ithow cinema invert the terry imperative, which can be x= pred afl: To make io thatthe puttcon of impure language ‘ls the path for unpredictable impurities. The rks involved are abo ‘opposite ones. Cine, hi great imprie” alvays ks eng Uke toomuchand thar boing Bgure of absemet elitr, Which ia igrous pula rks exaggeration by a proxi the concept in which dhe let ofa i exhasted and prose (or the oem) ured (0 philospty. Same Becker, who had = preat love of aca and who alo wrote secede very Platonic il of which Fln—ah Fi, that) Towed ogra athe odes ofthe pei to which al high erature exposes ial no longer produce ueardof impart, but 0 wallow i the apparent purty fee concep Inshore plsopize. And therefore {ove rth, eater han producing the, OF his wandering a the edges, Worn semaine ce moe scomplished wits. $9 Being, Existence, Thought: Prose and Concept 4) The Beeween-Languages and the Shorthand of Being Samuel Beckett wrote Wired Hein 192 and publied icin 98! I is together with iin Sul a estamenal ex. Becker di wot eansete icine French so chat Word Ho express the Rel ofthe Eglsh n- [gage a Samac! Beckers mother tongue To my knowldge al of his tex writen in reach were taped by Becket himself into Eaglsh? ‘There ae inszad some exe wien in English that he did no wana ince French thay, for this etcepsonal ast of the Prech language, are shin che remnant of meting more orginary within Englsh Nev feds, is said that Samuel Becket considered chs ex “unease able" Wecan cheer say thar vs Ho's edt the English n- tage ia such »singale manner that Iinuinic migration proves parsulryanduous. ‘Since in thi esay we wll tedy the French vein ofthe text, we ca not consider itn tes of eral poetics. The French ext we oe deal Ingwith, which i sogetherremarable, ot eacy by Samuel Beck tte Te belong is pat to Bath Fournier, the eranitor We cannot Immediately proach the sigan ofthis et by way of ts ete fe ‘evel isa alton Tn Beck’, se problem of eranslaton i complex, ince he hin sel war tuted atthe interval of to languages The question of know Ing which ex ernst which ian soe undeciable one. Neverthe les Becker aby called the passage fom one lnguage ro another 2 » 2 % Being, Exitene, Thowgh “tration ven if gon closer ingestion chee ae significa difer aces beeseen the French and English rian differences bering ot ‘only 0 the posi of language, but ca ts philosophical tone. There ia ind of moous pragma inthe Engl at that is excl pre sent n the French and theres concep sincerity. the Preach ext that sofeed and someimes, in my ve, usa bicwateral down in the English. In Woven Ho, we have an absolutly Engh et, with 00 ‘rend aan, on the one hand, anda wansain athe sul sense, on ‘he otc. Hence th obligicion of finding suppor for ox argumens in ‘he meaning athe than he lee: “Aveo dificaly derives fom the face shat hs ex sina ab- soluly conscious fiom —asecaptlrory text, chat i oe ha kes stock f the whol of Same! Becker neler enepri. T acy thoroughly it would be necessary to show how itis wore ou of x dense eto of alluions to prio text aswel of turns w thee theoreti Iypotheest0 be eaximined,posibly conuadiced or mote, and fined—and, moreover, hw ic functions sa sor of le hough which the multiple of Becker writings i made ops thereby reducing Becker’ wort i fundamen bypothedal system Hing sid ths if we compound these cwo dials, itis ently pose to tke Wonrad Hose shor piorpbial weave a3 eat nent in shorthand of the queon of beng, Unie he ear et i not gered by sr latent poo. I hots ext a penetrates into the ingslary and power of comparison tat belong olanguage—Hke ‘Stel Sid fo extol. Iemintsne a ey debate and abace dy nex, which offer, epeclly in he Engl cig, by an extreme at fenton to thyshm. We could hus say chats a ext ends offer op the ‘ythm of tought, tther thon its configuration whl for I Ser I ‘Sei, he opposite is re. Thi i why we an approach Wontar He conceeuly without thereby betraying Siac allows usw put to ther abl of contents fo the emir of Bele’ wor, eis ently "ppt oeat hi tet aie were, sboe all nerwork of thooghe of ‘orthnd of the qucason of bring, What we wil oe inthis operation — wha ale the "yh the gure of carson hein og ‘pens are generally cxemly bi ase wor) thai the sten0- {paphic gure belonging co the ext which in English i matched by 2 ind of pton within che lngunge that akogeter unique Being, Eistonce, Toot ox ) Saying, Being, Thought Cap a prea aaneae French wansaion for the te of Wonwerd 1) presents us with an exemely dense lo, oganized— Ike in all he later Becker—int paragraphs. is reading shows us tha eis plc de slop fur central concep theme int tee eapecie questions ( ‘ilerpain ins moment what must be undeanod by “queiod) “The fist theme is the impersiveofaying Thi ia very ok Bek Jan sherme the ost egal, btn certain ears al the most n- ‘ecogrsed of fis themes The impeatine of ying he prsipson of (he again undentood ache inp ofthe ween et ad deeming ivasa concinuaton, In Becket, to commence i alvaps wo "eontinue” [Nothing commences tha snot alendy under the prescription af the aygia oF af rcommoncing, unde he supposition of a commencement ‘at islf never commenced. We can thus Sy tha the texts cicum- sctibed by the mperative of ying. x begin with (On Sey on Besson, Somehow on (9) ‘And ends wit Sid now 0.8 ‘Thus, we can aso summatiae Word Ho bythe passage fom "Be ssi nt co“ how a,” The tre presets the puso the "no won sa fundamental aeration of then" The negation Caobow”) stent the Fc that cher no more “m.” Bat in ath, give the “be ‘ithe “rohow on isa variant ofthe “on” andreas contained by ‘he imperasve of ying. “The econd theme ime nd mandatory cove ofthe ine throughout Beckers works tha of pare beng of the thee as such “The impernive of ying ie mmodatiycotelted tha about which therein somerhing niin cher word the there il se the facta there the imperative of ying, hee isthe "there." “The "hee i” or pure being, has ewo names and pot stone “the void andthe im.” This isa problem of consdeble porte Lets ‘owe at once tat wih espet eo these te names—vold and dere “Bier, ort least appear to dice, subordination: The oi ie abot ated tothe dim i th exe of disappear, which consis he ‘sential teing ground of Wonsnnoe Fe, The masim is che following oo Being, Beene Though ‘ei cana go Saved go- Then lg. 7) (Once i is obi eo prove oe through the ericson of dap prance, the aid has a autonomy eis dependet onthe daappearance ofthe all whichis as such, ce dsappenance ofthe dim. thea go"— thar che thee thought a nothingnese—i name bythe dit he uid s necesrly = subordinate nminson. Ie scape tat the "thete [sis wha therein the ordeal offs own nothing he fac cha da sppearance subordinated to the dsappeaance ofthe dim makes “in? {penamire inc the einen name of being “The thd chemi wha could beefed to "he insribed inbeing” “Thise a question of what proposed fon the sedge of being ‘prin de Po agi, a gueston about wha appets inthe dim The {teenbe swath din ad aang within he ode of pearance Taunt "dint the eminent name of being. the inscribed what 3p pats inthe dim, But one ca a say that es what gen in a ine ‘al ofthe vod. This because chins wll be pronounced upon according tothe wo posable nse of the "theres" On the one hand there i what pee in he dim what te dim allows to appear at + shade—a the Sade inthe in (ob dans epoca the ater, there ws rakes the wid appear aan interval in the ap of ha appear, and con sequently aa corrption ofthe oid—i the oi i determine as being nothing bu diference or sparition. This explains how Becket could fume che univer, ha, the evry of what appeas as flows: A vid infeed byshadet- Thi manner tht the vod bas of being infeed by shades mean hati edaced being the Re ofan intra among, ‘heh, But eu ne forget tha ei ier among ce shade i imately ating but the dm what returns us co the dim a the ach ‘ofgnal exposition of bing. ‘We can sy that he ince in being shades is what allows ie ote counted, The wience of mumber—f the number of sader isa fandamenal theme a Becket What ino being 8 such, bn seca propose or inscibed in being is what les self be counted, what eras plurality what cf the onder of number Number abou Dotan aterbute ofthe oid o he dim: Void and dim do ot let her Selves be counted. Insead, tis the issbe in being hates isl be ‘ounted. Aad it les il be counted primardly 3 5 “A ls variant The ised in being what can worsen "Wersen- eng, Bsn, Thole % ing’'—an esental heme in Woruard fo, where worseaingis oe ofthe ‘ena opesians—mese, among ake thingy at above lobe ie said than Sai eal [eps mal gue di. ‘Under this mult of aibues—what i apparent ia the dim, ‘what contr an interval with eet to che wo what kl be counted, what i sscepible ro wotening orto being let sid than ‘id—here che generic name: “the shades” We can ay tha the hades sae what exposed in the dm. The shades ae che exposed pl of ee "herein" which ane here uncer the name oF din In Wirnownd Ho, she presentation of shader wil be mnnimal: The count wil go upc thee. We shal ser why an goo lower Cage Alone you coune wha sisi be counted, you mus set count 0 thee, "Theis shade is she andi sade, which area one Tn ety Is he one. The standing shade wilao be found “kaelng™—thee me ‘morphosts should lice no surpise—or “bowed.” These ae diferent ‘ames. They ae nan mich ste asnames. OF shisha ha counts one iis sid~from page 0809 that ian old womsrs Nothing show» womar and yea woah And Becket immediacy adds (his wl be lied ltr orl om fering sche word wor “Thee ae the fandamentlstcibute ofthe ane: The one ie he kneel ingshadeand ics «woman. "Then eer ithe pai which coun a smo. The pir isthe sole sade har counts evo. Becket wll sy: "Two fee ano ar one™—one shade, And once hepa s named, cs established thatthe shades that ‘onstute ae a old man anda cid et or remark he the oe not called wor unl mach ae wile the eo is are ld anand child” ripe say What wl be sid ates, insead, is dha nothing has proven that we were indeed dealing with an tld man and child In all hee nstancer—with gard othe question ofthe dtrinations "man" " woman," “chik” nothing pond proof tau ye iis the ease. Simpy pt the modal of eying mothe nme forthe one-woman and forthe cwo-man-chid, Of the foe ino ld tans much ner he iti an olf oma, whl the compotion ofthe 4 Being Eisen, Though pee nomeditlydelatd (old ranch the crucial statement {uns Nothing proves cha, and ye This indicates tha the mascline 5: ted postion seven and tat he impos of proving ici i= tlt toundentend. On hc contrary snc the feminine rerted positon leno evden, the impos of proving Inthe pais obvouly a question ofthe other, of theaneand-the- oes” “The oher here designated by its internal dpi, byte fc hate ls ewo, esa eo that ade me Ie fet we sy apn: “Two fe {shade} and wo a ne” Bat, contri eis he one that te ito ‘wo: the ld mn andthe child, We mus suppose tha ld nan and child sre the ame man qua shade, ha tomy, humane qua shade it ex leeme ofintancy ands eteme of ld ae ren a warps iin evo ia che un ofthe pu ha eis qua keri ote Tn he end, we en sy thatthe inscribed in beng vibe ani: woman ar one and wincioation, man ar double inthe ny of number. “The pertinent age ae de exteme os a aay the cain Becket: fant and old can. The adler aloe an gnc eto, at ivigni jean category. ‘Baal the fourth theme i thought—as is eo be expected. In and by tough the configuroos of able humanity aed he imperative of Ingesi simuleneousi “Thought isthe recllection ofthe fst and eh themes: Teri the lingers of saying theres the nerbed in being, ad hs ioe” and “nt ehough. Lexus note ight away hat Beckers question the fal owing: Knowing cha thought (he fourth theme) she foal pine or the eolletion of dhe imperative frying (he it theme) a0 ofthe ssrangemert of vibe hmanigy—tha of thechades (thie heme)— shar eaa thought say abou the second theme, dats abou the question oF being? This provides he broadest posible organ forthe wea at {whole The plasopicalcosraction ofthe quertion wil go ike thi: ‘What can be pronounced about the there a” qua there fom santage point of though, in which dhe imperative of saying and the roifcaton ofthe shades (ie the culation af vibe uray) ae ven simsaneousy? Tn the Burl reir of Wonsward Ho, chug i epeesentd by 2 ‘bead. One wll speak of cheno le sal The bead is repeately Cle hess and ger ofl" I ieee rin hwy, i bernie Being, Eisen, Though % both dhe imperative of saying and the shades exist forthe ead, andi is inthe hea tha he question of being aks place. ‘What ihe composiion of though? If reduced co abc pi ‘mori conritunts—sccording othe procedure of implication tht ‘ontztes Beckers onpanic metod—ibere she vibe and there ithe imperative of saying. There s'il ea il si” This is though “il een I ui” ellos fom eis thar the presentation ofthe ead wl be es sentially rece toi jes, onthe one had, and tot ean, cing, ‘words onthe ke: To hokes ona bin this chought Hence wo eaten themes That ofthe eyes and tha a th xing of words, mhore source ithe of mater of he bran. Thi the materi Fue of pie Tet us be more pec. el ene tht che eyes ate “clenched saring" The “moverent of saving is een to Word Ho Te designates sexing mach This "denchedssicg’—obvioly an shrug jtoporiion desig pee iy theeshem of thi en. Seeing is lay anil sng and conse quently the eye of sexing clenched searing” “As for words—the second aribue of thought afer sing one wil say “womehow fom same sofe mind they oot Test eno maxims the ‘entece of “lenched suing eye" andthe fice hae words "somehow from some sft mind. cone” determine the Fourth theme, ha ‘hough in the modi of exience represented by tek Tet of capital importance eo note thatthe sl ia supplementary shade. The sal makes thre, beside the one of eine incration and the oxen the guise of the pair—of the old man and che chil “Thought alway come the On pag 98, wend an enn esptl tion of thee hemes: ‘rm noon rte keting os Asm nw frei, The one pling cin. A rom now the fr thee. ‘When Beck counts the pl, he does indeed not that falls under ‘he we, but hati noc evo is sh. The pit ithe ovo, but aed tothe ont doer not make three By adding the psro she one, yout Ive oo, the wo ofthe oter afte the anes Only the ead ake hee ‘The ce thought 96 Being, Essence, Though «) The Indispensable Thiee-Thought ‘We mu note hat Becket ext fen functions by means of taal a tempt tha sein ur nounced by Becket fom within he rex sel Teich chet the he i ajoined—hat i comer in hid place afer materi atempr odo wihour an atempe where dere would be nothing bus the place andthe boy. “Ar he very begining, Becket sas: place, a ody. °No mind. Whese sone, That at lest” Avifto sy: "tacr something, ayy” One wil act ts ifeething happened within a space of legal macrialiy. Buc dis "tempe wl In the end, ne forced oad tebe which in Beck ‘rs vary means that thete ate vay erin of rind. These ae pci he clenched sting eyes onthe one hand and the en of he ‘cuing of word fom the of mater ofthe rain, oa he abe. "Tha reminder of mind chat Gods ts igure inthe head wil be the supe plement egitel bythe One and the Two of shades. Bele deduces he Incluabie Tie. Butte head coun fr the, emus cele in he dim, Tet no ute the dim. One ofthe tex ser urs poses tha ‘he pure materi tempt—that cere i aothing but the place and the Body-—wvill eed wo be supplemented by the head, 0 that one will fave to count thre and nor just two. Here the sales of maces change. ei now necery th the end be maine athe unity fhe ples thir itno be made into an ether lace. Thee mst never be in ‘ibe into an oiginaty dualism, even though one mst go upc the ‘en though the great empation ofthe tre hough) to count he two aioe Here ies the ter cacal means tension, "These poles ar enumerated scr cies by Becket inthe text lf, ‘whi make byrecapitaaions or example, on page 104 Wha the mode i ee sy. Wht the ssl vid Thesnai im. “These aden The wd wand gem ofa. “Weare prsored ere with the emery ofthe consutiv thematic of Worsand Ho. There What here, "what. be words secretes say under the inperive of saying the question of being: the os ‘ld and the so-aid din' the question of the "thee? inher i” tr the question of spentnce "The soa hades" Filly "he esd ‘ext and germ ofl the question of the head o ll he question of hough Being Eisen, Though ” "Together these questions make up what Becket considers asthe i smal pontiac er acoure—s "var [og}—fo te "on of ying ‘The minal dpa the lee dip thatthe "won dai or 2 quotion wo tae plce (we will that the les nd the worst amount tothe same), for thee tobe an ininiesimal or nnimal sense for any guestion whatever 4) The Question and Its Conditions ‘Whose queion? A quetion wha es he “sd fr heen of saying One wlll "qui the as ht the rg hh td And his -wad wl be the wonead ho, he dein ofthe Toner ht heb «quetion a worm hy hie st tes minimal dipesifconscuned pec bythe cen dat we hare jim enunerted rom hi oie few Moore Hsia nie tole tex tates the clemency mace pronblequetion in secotace wha method of rae futon. ea {Grrr actin any ceo permanent a ‘ning hepsi of qos. “The fin condionncded vo hte nial dips a quction ‘an eke pla without dubs that the be pre bo. aco by ‘Singer mime dhe wid Butts ao neceary ha heb be pe ‘ono bing, tha ot oly being gua being, ut Bing expe ‘rding ion being ofthe phenomenal othe phenomenon. In ‘rer wo ened te pony tat mtg sper tu benp Ths pssbloys nt conteued byte vod wich ited the mame of being qa bing Te ame of bing qua possi of 3p panei “The dn being i he nee haa quon canbe mated 0 she ing of being tha othe extent tha eg i epeedo the qu can qua ere of bing for sparc, "Tse here tbe wo umes id nd din and oj one For qt ete: bing mt ee ore me Helge ee thi Inhueoncepu of Seinand Senda ‘seers “Te second conion fr queson is thc here be thought. kale though lean le Sl shught a i seg anda i ying or ‘Senthe tsing ye sod cosinor Dats si poi ac of Being, site, Though athe shll-hought i inefexpose his ox subuacted fim the expo- Sion ofbeing Ie isnotsimpy deinableas thar which there being— Fe paricipaes in being a ich, ix caught in ir expontion In Becket ocabulary one wil ay thatthe hed cet and terminus ofl) othe ‘al ein he dn. Or that sell-hought is the hid shade. Ox again, ‘har the sal-dough es itself be couned i the uncountable di ‘Doe hit noe lene exposed oan infinite eres fought as uch obelong with being, whee i the though ofthis cobelongng? From rhe cid thatthe headin the dim? Te seems cht we ate onthe ig ofthe eseiny—iFone can heard hit exprenion —of meahead (One masz count four and then five and soon ify "The rotocl of donure given by dhe cop Irie nectry vo amit thatthe hed is counted by de ead, or tha he head ses il shed (Orsi, that forthe slenched warng eye hat shee i= clenched saving oye Here ler the Careian ted running through Becizes though Becket never denied his thread, which preset rom the be finning ofhis work Buin Wermund Hoitisienied as aking of al Ingle tha slone lows that for which hee isthe dim also eo bein the dim nally and sll remaining within che coger ofthe minimal cond- tions fora question, cere mast be—besides he "thre i aed che ll ‘hovghe—imerption of hae inthe dim, ‘Shade are red by she rations Fist, hat of the ane the wo, ot fhe same andthe oe In the terms the lain ofthe kneeling one and the walling pa taker, ike Maton categorie as igues ofthese nd the other Second hit of the exrmes of age, ify, and sete ‘ince, eazemes that alo male ao chat che pit oe. Thi the le Yon ofthe sexes woman aod man "These he consti lation of shades tha populate he dim and inf the vid “A parethesie"Thre splat nly alluded to in Worm which ‘is eterteles crucial 1c that, as We have Sen, che sexe are without ‘roe. Moe spl they are the nly hing to Be without roo. The fresh thi shade rr out obra old wor oa old man thi sway without proof while neverthles being ceraia This acs that fo Becket the derentiation ofthe seas ia one and che same ime ab- selueycerain ae abolutcly beyond pron. This why Ian cll ica pte dination, Being Eistmce, Though » ‘Why a pure disjunction? Ici cerain that hee is "woman and there is “oan” —in this cae the old woman andthe old man but hs ening doce oot ete be deduced o infers on the bai of any patel predictive icine pinging in the ene that ie an be said, be chat his saying does noc in rum hae any ober saying issoure Iisa is saying. One can sy that thera woman and man, buat ne de ean one ine th rom another tying and input ‘otto a detiptive ot empiial ying ©) Being and Existence ‘Under thes elations—of the one and che we, of he exemes of age and ofthe ere—the shader tert not o Being but evinence, Wha i ivence, and wht distnguthes om being? xine he generic acute of what capable of worsening, What an worsen ert *Wsening isthe ative modality ony expan to the seeing ofthe clenched sarin ee and othe oosing of words. This ex Potion i exinence Or perhap st amor fundamental eve, what xs {what es elf be eacouee Being exe when isin te gute of he Nether void aor dim designate somedhing that can be encountee be- cause every encounter tuner eno conditions on the ane hand, that there be posible interval of the void wo scion off whats encountered ‘on the other, ha there be he dim, che exposition of everthing that ex pores le The shades se whales tel be encountered, To let osself Feencountere and co wowes ae one and the same thing and ie hi that devine the exinene of shade. Void and dime names of be ing—do noc xis. "Therefor, the minimal pail alo be refered 2 fllows be- ing, though, extnce When ane possess the igure of being, ought, and eitence,o the words for his dps og a5 Becker would ay, che ‘word il ay mia" it—thar when ne poses the misma nd expeimentl diporifo ying one can constrict question, one (ans the od £) The Axiom of Saying “The et wil dhusonpnie if by vay of hypothe concerning che 100 Being, Eine, Though ard, that ice dreton of thought. These hypotess wil concern wha bind, wnbind, or face the wad of dim beng shade exstence Ind salbthoughe. Wormwend He will et the tad bengexinencel ‘hough under he ceri ofthe oi, ofthe sme and he ether, ofthe thre, nd ofthe seengsying complex. Bele Srmulting any hypothe, one mist seck suppor in acer umber of axons ar exablih the rimay binding or unbindings, A nos the oly axiom of Wortwod Ha which moreore greatest sold om of Becker es by 0 mean invented hte and pechape een ‘Gouri one of his cet era. xo oc: To ay ly Trisnecsary to undestand fly da "Yo yi" eas a «senda ideny The exence of ying iil ying Il saying is noc fa te of ayng burt preci the coneray Al ayn in sey exten saying anil eying. “Il saying is implicily opposed co “wel ying What swell ay ing’? “Wel saying” hypothe ofsdequation: The ying i adequate to thesia, Bur Becket Randarentl thei chat the saying shat ace (quate the sid spree ying. Saying i ce ying, nd in pce [Eran arsic saying, ony tthe eter tat it does oe coalesce wih the said tothe een he iis ot subject ote authors of the id Saying. [under de imperative fying i under he miperative ofthe "o,” tnd iw contained bythe id theres no adequaton, if the saying is nox pescibd by “wha is ssc,” but governed only by saying. then il saying is the ree esence of ‘ayingor she sfimtion of the precip autonomy of sang, Onesie nord wily The apex of ing—which is poeticoratsticsying is chen preci she conte epulaton of i saying, what brings the Prescriptive aconomy of saying re culmination ‘When redogin Becket terms sich "ilayng” "le," snds0on, itis acer keep ll ofthis wel in mind. Wee we dealing wid an empiric doctine of lingaage according ro which langage sticks to things with various depres of adherence his would arouse no interest. Moreover the trie would be impouible. The ext fancies only fiom the mortene tha one hea inthe exprenions io "miny”the seafimation of the pecipion of saying as ovemed by its own rue Bese leary indicate this fom the a Say fr bei. Mis From om sor be isi) Being Bsisce, Thought ot 1) The Tempeation ‘The tict consequence ofall hii tht the norm of yng i called i ue” Ofeoure, eit hare provides the oem oF ying arouses 3 flows hope witha the subject atope dat Becket identes pest ‘the hope ofa maximal flr, of an absolte ule that would hae he ‘mere of raring you of bok ngage and saying once an for al This Isthe shameful tmpeation, the temptation of subeacting oneal for the imperative of yng. The cempation to hve done with then," no Tonge sf the intolerable precision ofl ying ‘Ste wel ying simple, che ony hope i in betrayal To ata a fare so comple ie would lies al abesdonient of the peel sion el a elingushmen of saying and of language. This would mein the return fo the void—tobe vid or emptied. emp fal pesto, In dhe end, the empeatin sto eet cat ia onder to bef his oem offalue one ess othe vid pre being This is what we oud ll ‘he mye empation, nthe see in which ppt in Wien, inthe at propstion of he Tac To rach the pint which, ice ‘eisimposibl to speak, one anon rerai lem To seach the pit at “which the awareness hat ic isimpossble tsa "it tht the amaeness (hat "eas ill sia, Sey paces you under he ry ofa pete tht is ao loge he imperte of ning, but he imperative of lence Tn Becker's vocabulary thisis lle going * Going where? Wel going aay from humanity In eruth, Uke Rimbaud, Becker thinks hat one ‘ever leave. He recogni blutely the empeaon of leaving human ig the vempraton of faling both language and saying to che pant of ds- {gst To eae exence once and for alto rear bing, Bat Beckett ‘comets and imately ejects his posi. Here isa ext in which he evokes the hypothesis of an aces wo going and the void by means ap exces of fare, an excess of fae thet ‘would be indinguishabl fom the absolute suc of ying: “iy ain Pal sn, Seer agin. Or beer wor, Fl wows again Sit sone sin Talc pod: Tho por pond Capos: Whar (her fox gwd. Good a.) ‘This isthe empaion: ro go wher all shades gone, where aathingis any longer expored tothe imperive of ying or eng, sien, Toh ‘Bar in namerous psseges Farther on in the tx this tempat wil bechalenged, rnold, prbibted. For example on page 0, where the ‘leaf the beer worse mot” deled wo be incomes: Back unay bee worse by nose more Iori es igh then bet ‘er wore more dim Una then beer wore By no seh more. Beer ross ney nok han abe ore Beer mos wh? Thea The i? ‘ein Same ating Se al bar athing, ‘The Fundamental poli cat the “how up fr good, good and al" does notes beens ery “same nothings ely sual but nth lng" The hypothesis of rai depart tha wold subrace ue rom the humariey ofthe impertive—the event temper at workin he prcetption of slence—cannot succeed for ontlogia! reasons, The fame nohing’ sce away «smell but othng” ome smo nothing” but avers "ame noching” a such. Thus, thee ace never su ‘ene pound for mbacting ene rom he impetigo expog ba the ‘ame ether ofthe advent a's put “noting” ora blue faue 1) The Laws of Worsening From thi poins oar he andamentl lw tha governs he ei that the worth language capable of che worsening never le ialFbe ‘apraed bythe nathing. One ilvay in these ll bu thing” bat fevers the pint ofthe go fo good,” where a apr by the noching, ‘would ake pie. This wotld be 5 nothing thats nite void nor dm bueche pare and imple abolition of the prescription oF yg. ‘We mut therefore mainain dhe falling Language partakes exclu sively ofthe capaci ofthe eae Ie dos not partake ofthe pai ofthe othing, [thas as Becket wil lenin wor. One as word that Teaser and thee words tht lsten ate those hans whic one can ho wo the worsvard ho, thai che diection ofa entering of fale ‘Becween Mala’ ‘illus, never dee word” and Becket’ least ‘ning word she Baton iscvidene. To approach the thing eat iso be Sai inthe avernee that ie cannot be eid under the puarante of ey ing—or ofthe ching leas vo a radial astogomization of che prescip- tion of ayng Ths fe saying can never be det, according Becke ‘etevocsbulary tina ying that etens hat wares Te ater wetds, langusge can expect the minimum ofthe bese woe, Boing, Bien, Thought 195 ‘bur note abolicon, Heri the een tex, she one in which dhe ex reson lstening wor” alo spent ‘Wore et By no svech more Wine fr wan of bexerle La bt No Nahe ber. Ber wore: No, Nat be worse Nip not bes wos. Les Terrmone No Lem, Let bet won, Let vet be mshi, Never ugh be bagi Now by mug be led UnnliloatSay sae ‘roe, Wi eterng wor la bs wore, For wana woe or. Unless lt best wore G8) “Let never to be naught isthe aw of worsening. “Say that best, ‘wore he "unulleblelese” The “lessenale leas es wos” ca never be confused with abolicon pure and simple o wth the nothing ‘This means tht ‘one mas resin sen” in Wages sens, practiable, We mast hal te wosstward ho. Winwaed He The ie i a imperive and nat smply + dsrption. “Theimpetaveof ying thus aks the guise of constant erst be- loage othe regime ofthe sep, ffl, of werk. The book il wll tryrowonen evrything tha les ial up to hosing of words. A on- ‘irae amoune oh ext devoed to what could be led experts in ‘wonening” Wore Hois «protocol of wonenlg, proved 34 figure ofthe sdf airmation ofthe peocion of eying Wowsening i sovergn pocedae of naming inthe ees flue eis the same rousing though by "never diet llusive word” and ces with ie the ‘ave impasnble proximity 10 nohingns as Mallee’ poe. ‘Wonening, which ste exes of ngage in its ast tenson cakes, plc hough wo comedian operations What in are worsening? Te Te the extee ofthe svesgny of saying with spect 16 the shes “Therefor, iri boh ying more abou them and sting Whats ad ‘This in why the operations are contaictory. Worsening is saying more abou leas, More wordeo beter etn ‘Whence the prsdorical pect af worsening, which s ely the sob- cance ofthe ten In oer to ten what” hat ead ‘othe purging [uration] —fulure may become more mari it wil be neces to incre new words, Thee words ae not adios one doesnot add one doer no ake sums-—bat one must sa mote in ore to lessen, and dus one mus sy more inorder 0 subsact. Her is he Ceocatnutve operation of ngage To woren iro advance he "rying, ‘more in ode ete, 104 Being, Essence, Thoaghe |) Exercises in Worsening ‘The sex aisly mubplies worseaing excises oer he etre phenome al el of shades, over the configuration of gene humaniy. These can bebe categorized a allows: "= Wenning the neo, worening the eng womae; ‘Worsening the ewe worsening the par of she old man and che chil Werening the hea, or worsening the cys, the osing bi, and besa “Thee ae the thee hades that const the phenomenal deeming sos of had, "Worening the one This ithe exerci that occpis pape 99: Fc ne Fat fil Bees one Something there dy ot wong Neh fs itiiisgoebad The ofa. The no band ba. The 20 nou ‘A por on bed Mere bad. Wy for wore, Pedig wore sl. st woe ere wove Feding Wome stl Ald «Add? Neve, Baw i dow. Beit ‘wel down Deep dow. Head in at pons Moe back gone Cracareut ‘if highe Nuthin om pei donn, Noting br bowed ba Toles les inane Dim lack. On sen Ene nh i oi. Baer ose 2 ening wore al. “The deployment of nates tht maths ou hit fir shde wth great umber of uberactve abuts ix athe same cme, seni o Action, I relucion eo what’ Wel, co whatshould be named a mark of ‘heone [an it da mask hat would give the shade with nohing ee Ibid The words demanded for th mar are “bowed back” Asem uve Nothing bu cure, ch would be he ideality ofthe worse ell” owing tha more word ate needed inode to make such a cue aise, ‘because words lone operat the lestening, Ths, an operation oF nomi tal overabundance—overabandance aways Being wel ia Becker Sine hee aan ene lene. “Thi the lw of worsening: One cus the las the ead, the conto causal har one ca, but each ccis in ruth eaeed onthe avent—by ‘ray of supplementary subsacive deral—ofs pure marke One must ‘Rpplement so a0 purge thet mar of Be. “And ow the worcing exerci ofthe 10: ‘Nex ova. rom bdo wonen. Ty wasn. rom merely bl, Ad. Ad? Being, Etec, Though 105 New The bas Beer wore aes, Bae Now the ight Now ‘he two at Leight et ight on, Bar unresing on, ever woce ‘Nise eter woe han ating (0) ‘The boot—there arent many names like oot inthis pice whose texte i entremaly asta When there ae sah names, 2 sue sig ‘hac we ate dealing witha isk operation. Ina moment we will ei with sconce and sen word, the eeopion af camer” Never hele the Boot which appeal fs sudden, is here cali ode 0 becrosed out, esl: "The boos Baer worse boots.” ‘A pte of things sony gen 03 fl tobe coed ue Icomes to the sce ofthe tt only 02 tbe sabre, Herel the contac tary mato he operation, The age of woreng, which she lage of the sovereign af language equates addon and sibuaction, Malamé Aid no proce exerwise. Mallarmé fr whos the very ac of he poem ‘ni in ringing about he erence ofa bj (a sa se) ‘object whos arta imposes ite wn cersnation, Bde "bor ithe sipporerermof ech an set Foal, worsening he Read. This panige concerns hee (cil cha ‘hell composed of eye on a bin ‘The ye Time to try women. Sm ty woe, Unceach, Saying pen All hie a pup Di whee Whe? No AI pupil. Die Wack ne: Uneven ange thy so id Wi worse word Flom oo" 15. Bae ta nahin beet forthe woe) “Thelogc ofthe wrtingin thi page aogehee pial Om the ba sir ofthe ynagm ‘clenched staring” whos meaning Te aay dis ‘stsed—we hve the atempt at an opening, We wll ps om “cenched ting? to "acing open," which 3 semantic bomogeneous datum, Oper lin erm pve white, ad whew be erminateds ving us bas Tiree immediate cain. We pas fom clenched to open, Hom open to white, and den whit is crosed ou in favor of Back. The out ome of se operston--the operation of worsening that in place of "clenched sarng” we wil hee “blak hale” and that, fom row on, bent wl ba question fees, wil aa longer even ben erm of he rod “eyes'—Becket will imply mecion eo blak ols ‘Note ha he open zn the blac emerge ly within the seguence of ‘he operation in dere pas om ees to Black hols and hat hi ope on of worsening seat idling sof the word "ee—to0 dsp, 106 Being, Eien, Thoahe too empitcaly and too sigur a 0 led us, by way of disor -worzng and dein, the simple acceptance of Black oles a bind seat of viiy. The eye ar sch I aboliie From this point onary ‘heres onya pure sexing linked oa lean his pursing inked 0 ‘holes conaructed by mean ofthe aboliion ofthe ee wth the ape plementary and exemplary) maliation of che open andthe white, }) Holding Worstward ‘Wonnng its laoeaninvnve ad sow fron of imp shea yng, Bago foe oligo the wena! be demands "Where dc he org of efi come re hin hii ery im pra gus be sn rc ce usin ming ne {Sarge hog my poet of cones om: Te qusian ime filling Whe dost ow oth come Forres, te out of uth caunov ome fom eta ve wl repaid by sec by auc cocdene wb asc ‘Wehine we sitsealy Thr wil ero emia ty d- ‘ext ofthe eid arch The nano be ei Sov dsr ogee or ec cour come fom theft hat words eh nde ing Aneateme ton sch peru consttes Bees sono ite a fm he esthaouge persion aio vada oye inwonening Ther methgike an ott a spondence n word from whch asc we dew ove beak wih carpe enc hat thd woe “Theo fe say dwn agin town enon. Lugar cal ieee The cout econo of

You might also like