This cannot be understood through logic. Shestov rejects any absolute knowledge that comes through rationalism and intellect.
Cinepoems and Others (New York Review Poets)
He reaches the possibility of human freedom and utopia as did Spinoza and Kierkegaard, through the love of god. Shestov, stresses immanent causality, and the importance of a universal substance.
And for Shestov, freedom comes through faith. He also follows certain aspects of Spinoza. The social codes and laws that govern our human experiences emerge from the one substance but are not descriptive of any essential aspect of this essential substance. Outside of this essential aspect is the interplay of proximate causes. Bodies dedicated to faith and the love of god inform systems of proximate causes that ultimately promote more emancipation and less oppression. Both Fascism and Stalinism sacrificed bodies for the greater good.
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Modernist city planner razed blocks for the promise of increased legibility. But Fondane, like Debord and the Situationists, rejected this movement towards objectivist rationality. In a philosophy founded in the impossibility of certain kinds of knowledge, he advocated for systems that recognize the sacred in every body.
Here again, we find parallels with Spinoza, who argued for joy through the dismantling of structures that limit the expression of conatus. Fondane was also heavily influenced by Shestov in matters of aesthetics. Breton himself remained a student throughout his life, never adopting any one single formalism or dogma in aesthetics. People always tell the truth even as they tell multiple truths.
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As an active voice in the Paris avant-garde of the s, his cinepoems imagine unfilmable dream sequences. He was close with the French Surrealists, and collaborated with Argentine Silvina Ocampo on a film project. His pieces defiantly wander and digress, never quite reaching the finish line.
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In his work, there are clear echoes of the Imagists, of Baudelaire, Zukofsky, and Pound. But he avoids the bravura of certain high modernists.
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Reading the digressive Cinepoems , there is a sense of imagist parataxis, the way the imagery morphs in Rubin Vases, sliding through systems of representation. Fondane employs the surrealist imagery of Lautreamont, and some of the hallucinatory effects that he would later disparage:. Something more powerful than me rises within me, invades me, consumes me, leave my most secret plans in disarray, and compels me to use a medley of the most unrelated, and leftover, and disparaged lyric forms to express the confusion of a mind haunted by such a commotion of vows, superstitions, puns, shadows, and pure essences.
The mystical Exodus , framed as a kind of chant through acrostic, cycles through the Hebrew alphabet. And Fondane celebrates the general impossibility of knowing:.
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The group of translators for this collection is a kind of monument in its own right. It includes E. Cioran and Marilyn Hacker. And throughout the collection, there is a genuine sense of commitment and love to the work of Fondane.
https://itlauto.com/wp-includes/invisible/2182-application-espion.php All Introspection. Variations: Landslide June 12, Variations on a Theme: Walls June 5, Ostkreuz August 28, Blue Dunes August 21, An interest in media is an interest in translation, in the capacity for events, subjective states and concepts to be approached through different modes.
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Finding freedom in the averbal outlet of film, he produced a paradoxical response, engaging with it through writing. He wrote several essays on the form, and in , at the behest of Victoria Ocampo, travelled to Argentina to introduce South America to Dadaist and Surrealist film with a series of screenings and lectures.
To his annoyance, his experimentations with the poetic energies of cinema began just at the time talking pictures were making their grand entrance. Silent films demanded an active, imaginative engagement from the audience. Talkies generated passivity and received ideas. In his encounter with Dada, he came to acknowledge the opacity and indeterminacy of words, both the limits of language as communication and its endless possibilities for play.
Music is communication of yet another kind, more or less free of rationalising signifiers. Tararira , produced by Falma Film and shot in Argentina, centred on the burlesque adventures of a group of lutists, played by the celebrated Aguilar quartet.