By William Desmond
Addresses the tip of artwork and the duty of metaphysics.
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Extra info for Art, Origins, Otherness: Between Philosophy and Art
I think the situation is more complex, indeed plurivocal. Mimesis, eros, and mania go together, each as different but complementary ways of approaching what is original, and this in both a human and other than human sense. One might even say that eros and mania suggest a second underground, more intimate to the soul than the first Cave, and in which the soul, so to speak, is under-grounded in what exceeds itself, an exceeding that, in turn, incites the soul above itself, beyond itself and the first Cave.
7 One might correlate mimesis with a more correspondence view of truth, in that an other original seems given to which the imitation is to be likened. We have already seen the difficulty of trying to fix a univocal one-toone correspondence between original and imitation: there is openness in the correspondence, giving likeness in unlikeness, unlikeness in likeness. Correspondence points in itself to more that fixed univocal correlation: the dynamic of passing between the two sides of the mimesis, between one and the other.
There must be difference for an imitation to work—you need the unlikeness of the image, as much as the likeness. One could say that the image, to be true, must be false, if truth means univocal correctness. But if the image is true by being false, there must also be a “being true” that takes the equivocity of appearing into account, that does not sidestep this equivocity. I think the premoderns were never so literalist in their univocalizing that no allowance was made for this openness of the mimetic relation.
Art, Origins, Otherness: Between Philosophy and Art by William Desmond