Showing posts with label walter benjamin. Show all posts
Showing posts with label walter benjamin. Show all posts

EVERY_MONAD_CONTAINS_ALL_THE_OTHERS


















_THE_IDEA_IS_A_MONAD_THE_BEING_THAT_ENTERS_INTO_IT_WITH_ITS_PAST_AND_SUBSEQUENT_HISTROY_BRINGS—CONCEALED_IN_ITS_OWN_FORM—AN_INDISTINCT_ABBREVIATION_ON_THE_REST_OF_THE_WORLD_OF_IDEAS_JUST_AS_ACCORDING_TO_LIEBNIZ'S_DISCOURSE_ON_METAPHYSICS_(1686)_EVERY_SINGLE_MONAD_CONTAINS—IN_AN_INDISTINCT_WAY—ALL_THE_OTHERS_






Walter Benjamin, from the « Epistemo-Critical Prologue » of Origin of German Tragic Drama, Verso (1998)

GIF BY MARIA ZAHLE @ AKERMAN DALY @ http://akermandaly.com/

the profound fascination of the sick man with the isolated and insignificant; Bürger, Benjamin


As one attempts to analyse the allegory concept into its components, the following schema results: 1. The allegorist pulls one element out of the totality of the life context, isolating it, depriving it of its function. Allegory is therefore essentially fragment and thus the opposite of the organic symbol. "In the field of allegorical intuition, the image is a fragment. a rune. ... The false appearance (Schein) of totality is extinguished" (Origin, p. 176). 2. The allegorist joins the isolated reality fragments and thereby creates meaning. This is posited meaning; it does not derive from the original context of the fragments. Benjamin interprets the activity of the allegorist as the expression of melancholy. "If the object becomes allegorical under the gaze of melancholy, if melancholy causes life to flow out of it and it remains behind dead but eternally secure, then it is exposed to the allegorist, it is unconditionally in his power. That is, it is now quite incapable of emanating any meaning or significance of its own; such significance as it has, it acquires from the allegorist" (Origin, pp. 183-84). The allegorist's traffic with things is subject to a constant alternation of involvement and surfeit: "the profound fascination of the sick man with the isolated and insignificant is succeeded by that disappointed abandonment of the exhausted emblem" (p. 185). Benjamin also addresses the sphere of reception. Allegory, whose essence is fragment, represents history as decline: "in allegory, the observer is confronted with the 'facies hippocratica' (the death mask) of history as a petrified primordial landscape" (p. 166). 

[...]


The second (reception-aesthetic) interpretation of allegory Benjamin advances (and according to which it represents history as natural history, that is, as the fated history of decline) seems to permit application to the art of the avant-garde. If one takes the attitude of the Surrealist self as the prototype of avant-gardiste behaviour, one will note that society is here being reduced to nature. The Surrealist self seeks to recover pristine experience by positing as natural the world man has created. But this means making social reality immune from any idea of possible change. It is not so much that the history man made is transformed into natural history as that it turns into a petrified image of nature. The metropolis is experienced as enigmatic nature in which the Surrealist moves as primitives do in real nature: searching for a meaning that allegedly can be found in what is given. Instead of immersing himself in the secrets of man's making of this second nature, the Surrealist believes he can wrest meaning from the phenomenon itself. The change in function that allegory has passed through since the Baroque is undoubtedly considerable: the Baroque depreciation of the world in favor of the Beyond contrasts with what one can only call an enthusiastic affirmation of the world. But a closer analysis of the artistic methods and procedures shows this affirmation to be imperfect, the expression of a fear of a technique that has become too powerful, and of a social organisation that severely restricts the individual's scope. 







Peter Bürger
Kai Althoff

-The moon, which already, by then, will have begun to rot. -The moon is old, Ofwfq agreed; Fourier & Calvino


Fourier is so prodigal in his invention and his crazy descriptions that Lerminier justifiably compares him to Swedenborg… Fourier, too, was at home in all skies and all planets. After all, he calculated mathematically the transmigration of the soul, and went on to prove that the human soul must assume 810 different forms until it completes the circuit of the planets and returns to earth, and that, in the course of these existences, 720 years must be happy, 45 years favourable, and 45 years unfavourable or unhappy. And has he not described what will happen to the soul after the demise of our planet, and prophesied, in fact, that certain privileged souls will retire to the sun? He reckons further that our souls will come to inhabit all other planets and worlds, after spending 80,000 years on planet Earth. He calculates, in addition, that this termination of the human race will occur only after it has enjoyed the benefits of the boreal light for 70,000 years. He proves that by the influence, not of the boreal light, to be sure, but of the gravitational force of labor,… the climate of Senegal will become as moderate as summers in France are now. He describes how, once the sea has turned to lemonade, men will transport fish from the great ocean to the inland seas, the Caspian, the Aral, and Black Seas, given that the boreal light reacts less potently with these salty seas; and so, in this way, saltwater fish will accustom themselves gradually to the lemonade, until finall they can be restored to the ocean. Fourier also says that, in its eighth ascending period, humanity will acquire the capacity to live like fish in the water and to fly like birds in the air, and that, by then, humans will have reached a height of seven feet and a life span of at least 144 years. Everyone, at that point, will be able to transform himself into an amphibian; for the individual will have the power of opening or closing at will the valve that connects the two chambers of the heart, so as to bring the blood directly to the heart without having it pass through the lungs… Nature will evolve in such fashion, he maintains, that a time will come when oranges blossom in Siberia and the most dangerous animals have been replaced by their opposites. Anti-lions, anti-whales will be at man's service then, and the calm will drive his ships. In this way, according to Fourier, the lion will serve as the best of horses and the shark will be as useful in fishing as the dog is in hunting. New stars will emerge to take place of the moon, which already, by then, will have begun to rot. -Sigmund Engländer on Fourier, 1864; in The Arcades Project, Walter Benjamin



The moon is old, Qfwfq agreed, pitted with holes, worn out. Rolling naked through the skies, it erodes and loses its flesh like a bone that’s been gnawed. This is not the first time that such a thing has happened. I remember moons that were even older and more battered than this one; I’ve seen loads of these moons, seen them being born and running across the sky and dying out, one punctured by hail from shooting stars, another exploding from all its craters, and yet another oozing drops of topaz-colored sweat that evaporated immediately, then being covered by greenish clouds and reduced to a dried-up, spongy shell.

What happens on the earth when a moon dies is not easy to describe; I’ll try to do it by referring to the last instance I can remember. Following a lengthy period of evolution, the earth had more or less reached the point where we are now; in other words, it had entered the phase when cars wear out more quickly than the soles of shoes. Beings that were barely human manufactured and bought and sold things, and cities covered the continents with luminous colour. These cities grew in approximately the same places as our cities do now, however different the shape of the continents was. There was even a New York that in some way resembled the New York familiar to all of you, but was much newer, or, rather, more awash with new products, new toothbrushes, a New York with its own Manhattan that stretched out dense with skyscrapers gleaming like the nylon bristles of a brand-new toothbrush.

In this world where every object was thrown away at the slightest sign of breakage or ageing, at the first dent or stain, and replaced with a new and perfect substitute, there was just one false note, one shadow: the moon. It wandered through the sky naked, corroded, and grey, more and more alien to the world down here, a hangover from a way of being that was now outdated.

Ancient expressions like “full moon,” “half-moon,” “last-quarter-moon” continued to be used but were really only figures of speech: how could we call “full” a shape that was all cracks and holes and that always seemed on the point of crashing down on our heads in a shower of rubble? Not to mention when it was a waning moon! It was reduced to a kind of nibbled cheese rind, and it always disappeared before we expected it to. At each new moon, we wondered whether it would ever appear again (were we hoping that it would simply disappear?), and when it did reappear, looking more and more like a comb that had lost its teeth, we averted our eyes with a shudder.

but doth suffer a sea-change into something rich and strange... Benjamin, Shakespeare, Taiyo Onorato & Nico Krebs

   

    Come unto these yellow sands, 
              And then take hands: 
    Curtsied when you have, and kiss'd 
              The wild waves whist, 
    Foot it featly here and there; 
    And, sweet sprites, the burthen bear. 
              Hark, hark! 
    Bow-wow. 
              The watch-dogs bark. 
    Bow-wow. 
              Hark, hark! I hear 
              The strain of strutting chanticleer 
              Cry, Cock-a-diddle-dow.

    Full fathom five thy father lies; 
              Of his bones are coral made; 
    Those are pearls that were his eyes: 
              Nothing of him that doth fade, 
    But doth suffer a sea-change 
    Into something rich and strange. 
    Sea-nymphs hourly ring his knell: 
                              Ding-dong. 
    Hark! now I hear them—Ding-dong, bell.



And this thinking, fed by the present, works with the "thought fragments" it can wrest from the past and gather about itself. Like a pearl diver who descends to the bottom of the sea, not to excavate the bottom and bring it to light but to pry loose the rich and the strange, the pearls and the coral in the depths and to carry them to the surface, this thinking that delves into the depths of the past - but not in order to resuscitate it the way it was and to contribute to the renewal of extinct ages. What guides this thinking is the conviction that although the living is subject to the ruin of the time, the process of decay is at the same time a process of crystallisation, that in the depth of the sea, into which sinks and is dissolved what once was alive, some things "suffer a sea-change" and survive in new crystallised forms and shapes that remain immune to the elements, as though they waited only for the pearl diver who one day will come down to them and bring them up into a world of the living - as "thought fragments," as something "rich and strange," and perhaps even as everlasting Urphänomene.


Ariel's Song in Shakespeare's Tempest & Hannah Arendt on Walter Benjamin




Other sea-changers, Taiyo Onorato and Nico Krebs