The Abyss also gazes into you
Mål og innhald
The tensions which assail the body and its production of desires are both interrupted and eliminated at the extreme of death, yet at the same time the idea and ¿form¿ of death is only conceivable within the domain of desires and consciousness, and the language we have to address the configuration of death. As no system is available for the Being-in (experiencing) while conceptualizing death (i.e. it is only possible to think of death from within life, consciousness of life, and tension/desire in life-production), the position of death becomes one
where the twin polarities of definite knowing and ultimate ignorance collapse entirely into one another. At the edge of meaning death becomes a limiting case of sense melting into the senseless, where certainty becomes infested with uncertainty and vice-versa. In short, the most certain of what is to be as referenced to not-being, ultimately undermining the certainties of a viable, totalizing language.
Language cannot work as the most certain points only to the abyss.
The address of Art, in the grip of this internal dilemma of the obscurity and definiteness of death, and in the absence of adequate signifying systems to define this other side of life, is to enfold the contrary binary as elemental pursuit towards the bound dualities of control and un-control, being and nothingness, understanding and meaninglessness. The directive of the art of death becomes a method to propel the ambiguities of meaning towards the manifold of alternate pathways leading to indefinite multiple understandings; a deconstruction of, both, strict social separations (differences and binaries) and meanings assured. The concept of death depicts a basic non-control to the meters and measures of languages and the institutional controls of what is¿the speakable¿ (meanings), which the artist wishes to confront, question and reap as new directions and questions.
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