Date: Sat, 05 Sep 1998 09:41:41 -0700
Subject: Re: 




Hi Ari,

Glad to see you made it home safe.  Who's Rick?

With Kierkegaard you (not necessarily you) begin describing the world, and
meanings emerge, less as from any possible description so much as from
constructions or relations between constructions, those that are and those
that are not yet.  Thus completion is disallowed.  Anything and everything
that might be, is, only to the extent that it's emerging.  With no whole to
strive for greater than any intuition of significance there's a perpetual
invitation to smile as the relation of our individual freedom to the givenness
of our situation is perpetually problematized; as the nature of self-identity
swings open; as our (not necessarily our) relation to the dictates of others
is continuously confronted and we awaken wondering after the ontological nuts
and bolts of our relation to any 'pre'.  Its relation to the aufhebungen is
analogous to what the figure of the acephale is to Leonardo and Fludd;  never
a question of any actual stoppage (think Duchamp) of the historical process
nor of an actual cessation of artistic activity, but the appearance of a
history feeding off its end, an Abraham at the top of his mountain, ready to
strike, continually recasting his own death sentence (hope you hear the
anti-idealist tone here).

With a nod beyond chaos:  from the stomach
where chaos and and what's beyond it are both
lost, and in which it is discovered as
beyond itself, as a monstrosity,

maldonado

HTML VERSION:

Glad to see you made it home safe.  Who's Rick?

With Kierkegaard you (not necessarily you) begin describing the world, and meanings emerge, less as from any possible description so much as from constructions or relations between constructions, those that are and those that are not yet.  Thus completion is disallowed.  Anything and everything that might be, is, only to the extent that it's emerging.  With no whole to strive for greater than any intuition of significance there's a perpetual invitation to smile as the relation of our individual freedom to the givenness of our situation is perpetually problematized; as the nature of self-identity swings open; as our (not necessarily our) relation to the dictates of others is continuously confronted and we awaken wondering after the ontological nuts and bolts of our relation to any 'pre'.  Its relation to the aufhebungen is analogous to what the figure of the acephale is to Leonardo and Fludd;  never a question of any actual stoppage (think Duchamp) of the historical process nor of an actual cessation of artistic activity, but the appearance of a history feeding off its end, an Abraham at the top of his mountain, ready to strike, continually recasting his own death sentence (hope you hear the anti-idealist tone here).

With a nod beyond chaos:  from the stomach
where chaos and and what's beyond it are both
lost, and in which it is discovered as
beyond itself, as a monstrosity,

maldonado