pillowfight
Get your shit together, Pillowfight.
"All I ever ever really wanted was to get out alive."
The Method of in-between in the Grotesque and the works of Leif Lage
--"This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries...
---The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear."
--"This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries...
---The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear."
---"The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness...
---In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself.6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated."
-Henrik Lubker in Continent
Kant's Critique of Judgement PDF complete
--"All technically-practical rules (i.e., those of art and skill generally, or even of prudence, as a skill in exercising an influence over men and their wills) must, so far as their principles rest upon concepts, be reckoned only as corollaries to theoretical philosophy. For they only touch the possibility of things according to concepts of nature, and this embraces, not alone the means discoverable in nature for the purpose, but even the will itself (as a faculty of desire, and consequently a natural faculty), so far as it is determinable on these rules by natural motives. Still these practical rules are not called laws (like physical laws), but only precepts."
--"All technically-practical rules (i.e., those of art and skill generally, or even of prudence, as a skill in exercising an influence over men and their wills) must, so far as their principles rest upon concepts, be reckoned only as corollaries to theoretical philosophy. For they only touch the possibility of things according to concepts of nature, and this embraces, not alone the means discoverable in nature for the purpose, but even the will itself (as a faculty of desire, and consequently a natural faculty), so far as it is determinable on these rules by natural motives. Still these practical rules are not called laws (like physical laws), but only precepts."
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