By William Desmond
Addresses the top of artwork and the duty of metaphysics.
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Extra info for Art, Origins, Otherness: Between Philosophy and Art
The problem here is put in essentially dualistic terms. The eide\ are eternal unities that nevertheless are universal, and relative to which the features of generality we find in temporal things are to be explained. They are defined in terms of a contrast that veers towards an opposition of two discontinuous ontological orders. The problem is the following. The philosopher is concerned to make intelligible sense of what appears, to save the appearances; one of the ways is by understanding the general features that bind a plurality together into a similarity.
We know this from eros: something more fully comes alive in us and also some presentiment of desire for what is 38 Art, Origins, Otherness beyond us also comes alive, as the sense of need or lack relative to which we must seek beyond. Thus the seeming paradoxically character: innerness most aroused, most passionately taken hold of, perhaps even besides itself so overpowering is the energy, and yet more fully itself in this being besides itself; and yet also the soul is most driven out to seek what it is not, besides itself because in itself it cannot be complete but must seek what is besides it, what is more than it, in order to be at home.
What could one love there? The answering silence is revealing. The shadow of an ontological nihilism is cast. The shadow is less dispelled by the light cast from a reason uprooted from the ontological milieu, as it is lengthened the more the light broadcasts itself. Of course, certain thinkers (Kant and post-Kantian) did wrestle in different ways with the senses of otherness, and not least with reference to the ontological significance of art. Their struggles can best be seen as trying to do more justice to the middle, despite the danger of disfiguring its promise.
Art, Origins, Otherness: Between Philosophy and Art by William Desmond