Download e-book for iPad: The Historicity of Experience: Modernity, the Avant-Garde, by Krzysztof Ziarek

Download e-book for iPad: The Historicity of Experience: Modernity, the Avant-Garde, by Krzysztof Ziarek

By Krzysztof Ziarek

This paintings asserts the severe significance of the avant-garde for contemporary artwork and for present debates concerning the finish of modernity. the writer rethinks sleek event by means of amassing philosophical evaluations of modernity and avant-garde poetry.

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Download PDF by Krzysztof Ziarek: The Historicity of Experience: Modernity, the Avant-Garde,

This paintings asserts the severe value of the avant-garde for contemporary artwork and for present debates concerning the finish of modernity. the writer rethinks smooth adventure by means of amassing philosophical reviews of modernity and avant-garde poetry.

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Additional info for The Historicity of Experience: Modernity, the Avant-Garde, and the Event (Avant-Garde & Modernism Studies)

Sample text

While the avant-garde is too often unproblematically identified with fascination and uncritical acceptance of technological progress, with the one-sided belief in the emancipatory function of the technological means of reproduction, I suggest that this issue is fraught with tension in avant-garde art. The avant-garde certainly recognizes, and often celebrates, the rapidly intensifying technological determination of modernity, but it also raises the question of the limits of the metaphysical and representational foundations of the modern.

In other words, the work crosses into the unwork; the line between working and unworking becomes increasingly fine, like the corresponding play between concealment and unconcealment. The work of art works precisely when it draws attention to the dynamic field of the rift, its continued reemergence as itself ‘‘an openness opened by itself ’’ (BW, ), rather than a closed form associated with an aesthetic object. The transformation of the ties to the everyday which the work of art is supposed to effect is possible because the Gestalt figures precisely its own recasting—the reforming and the reworking that constitute the riftlike relation between the world and the earth.

To think art nonaesthetically is to recognize its work, that is, to discern how its practices of unworking the boundaries of aesthetics refigure experience and history through the prism of their discursive constitution. The importance of this critique can be seen in the fact that, in order for the hypostasis of art into a totalizing regime of experience to take place, art has to be thought in traditional aesthetic categories, that is, in accordance with the metaphysics of the subject and its categorizations of aesthetic experience.

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