SUBJECTIVITY
ETTINGER: COPOISESIS
I have named matrixial borderspace the psychic sphere which is trans-subjective on a
sub-subjective partial level. A mental matr
ixial encounter-event transgresses individual
psychic boundaries even if and when its awareness arises in the field of the separate
individual subject, and it evades communication even if and when it operates inside
intersubjective relational field. Subjectivity here is a transgressive encounter between ‘I’
(as partial-subject) and uncognized yet intima
te ‘non-I’ (as partial-
subject or partial-
object). Co-poietic transformational potentiality evolves along aesthetic and ethical
unconscious paths: strings and threads, an
d produces a particular kind of knowledge.
Unconscious transmission and reattunement
as well as resonant copoietic knowledge
don’t depend on verbal communication, inte
ntional organization or inter-subjective
relationships. Aesthetical and ethical proces
ses are impregnated by matrixial copoiesis.
In aesthetical working-through the artist tr
ansforms time and space of an encounter-
event into matrixial screen and gaze, and offers the other via com-passionate hospitality
an occasion for fascinance.
I LOVE THIS ITS HOW ART WORKS IF I DONT STUTTER ON ALL THE PHRASES I LOVE THIS if i stutter i hate it
704 Each psyche is a continuity of the
psyche of the other in the matrixial borderspace.
705-706
to become artistic or generate healing, the
aesthetical transgression of individual borderlines (that occurs in any case with or without our awareness or intention) calls for the awakening of a specific ethical attention and erotic extension: an artistic generosity.
706-707 wit(h)nessing, witnessing while sharing in the distribution and reabsorption of traces of the event and participating in trans-subjective transmission via unconscious strings and threads.
708 Freeing the potentiality of an other while being
transformed by it too is a kind of love – an ethical co-birthing in beauty.
709
Compassionate Eros
and sexual libido are different psychic instances...
By compassionate Eros a non-aggressive thanatos is revealed. Not death, but the
non-life as the not yet emerged, the not yet becoming alive, is accessed and intended.
710 The artist in the matrixial dimension is wit(h)ness in com-passionate
hospitality.
The viewer is challenged by the artwork to join a
specific anonymous intimacy. The potential embracing of the memory of oblivion can’t
be ‘just’ aesthetic. Someone must join in.
What is captured and is given form to at the end of such a
trajectory is what was waiting to be born and to receive almost-impossible articulation,
in a body-psyche-time-space of suspension-anticipation that you can only ‘view’ or
glimpse by joining in.
ETTINGER: FRAGILIZATION
page 1
fascinance compassion and awe
To be a subject without turning the other and the Cosmos into the object–that is the question.
com–passion - felt before birth
3, 'on the same level at which the Freudian Unheimlich– the anxiety of homely strangeness–is "located," primary compassion links the non-strangeness-in-anonymous-intimacy of the other and the Cosmos to the subject. It trembles a string of com-passion.'
again, I love her writing, but I hate it when I try to decipher it, it seems like when I look at it both from further away and more up close at the same time, that it starts to speak. The writing performs on the body as much as on the mind, and if I let the mind spend too much time trying to puzzle it all out, the body gets restless, and if I let it work through my eyes, it becomes something like pleasure, the pleasure of the text, just like that.
wit(h)nessing
transubject and transject
a web, a string, a series of threads that link everything, this is where art speaks from, this is what i respond to when art speaks to me, i speak back through the thread
com-passion, 4 'offer a resistance to the objectifying paranoid self'.
5. The presubjective transjects and transubjects are, to begin with, felt-known with-in a
m/Othernal female corporeality. [A matrixial-feminine as transitive aerial was not articulated in
psychoanalysis and in philosophy even where pregnancy and birth were addressed. It is not the Levinasian
femininity that is sacrificial, and it is not a femininity that participates in the masculine-feminine relations of
opposition or in the phallic structure (like in the early Lacan), and it is not a femininity that is actualized in
fragmentation to a thousand splinters in an anti-Oedipal manner (the Deleuzo-Guattarian femininity), and it
is neither a lack nor a surplus to the phallic arena (like in the late Lacan and in Levinas) - even if it also this.
Let's work this out starting anew from Plato's Diotima, from the Biblical Tamar, Ruth and Hagar, for the
male and female figures of Marguerite Duras in Lol V. Stein and in Hiroshima Mon Amour. Let's work this
out from the light in the paintings of late Monet, the late Max Ernst, and Leonardo da Vinci].
This is terribly exciting stuff.
7. To see is not only to give up the armed eye (Lacan) but also to fragilize
oneself.
re-spect re-spicere - to look back at without shaming.
shaming being the action of bleeding someone in public.
rethinking subjectivity in the light of the matrixial sphere.
what is emoved? from involved? or removed?
10. Beauty, then, is about being born from
and with and not about looking for, or desiring an already beautiful object. Beauty
desires you when you self-relinquish yourself to the process.
11 it would be precise and evocative to think of artworking in terms of
inspiration between transjects rather than in terms of effects and influences
metramorphosis ? was ist das?
look at Lacan on hearing and seeing again and look at what she says about sound and image, she is carrying this forward, too, out of Lacan and out of D&G's regimes...
14 'Art is an aesthetics-in-practice that produces theory.'
17 Entering an
artwork by self-fragilization would allow for experience as initiation, turning it by this
very entrance into an occasion for a transferential encounter-event. Thanatos arises in the
matrixial borderspace when com-passion meets with a phallic split and primary
compassion meets with either abandonment or over-engulfing and devouring environment
in a traumatic and not in a phantasmatic Real.
19 You can't have it both ways: resistance is a working for, not against:
a re-working for trust, again and again. Virtu(re)al openness depends on this re-working,
re-trusting, re-specting. Resistance reaches an ethical level when com-passion becomes a
perspective - a value.
26 Fascinum relates to the arresting power of the phallic objet
a, and fascinance relates to the continual borderlinking and differentiating of a matrixial
link a.
28 The matrixial Eros works through transmissions within each
linkage found in compassionate overtures. You receive and
absorb traces of the Other and the Cosmos within yourself
and you transmit them.
"divine" spiritual
feminine aspects: Shechina,
Hessed, Rakhamim and
Shaddai.
30 Kherem is an expression
of the death-drive. In rekhem
life begins; it is therefore an
expression of nonsexual Eros. I
suggest we understand Shechina
as a revelation of the Eros of
co/in-habit(u)ating in neighbourhood
at the level of the spirit.
from otto rank, mother seen in myth as helping animal, role of mother reduced to that (like the birds in ashputtle, that were in earlier versions the ghost of the dead mother buried in the wall). copulating or nourishing, but she proposes, begetting.
the hero gives birth to him-self, and the mother has to disappear for this to happen.
note the father in Oedipus has to be killed, the mother is a sexual object.
so hero-artist-genius depends on this (lacan's lack, objet petit a, castration anxiety) the dissolution of the mother in order to give birth to male narcissism, so she proposes a new story altogether.
otherwise, women can be artists only if they are Yewa initiates (pre-pubescent or post-menopausal)
psychoanalytic tradition is phallic-only, and she proposes other things within that sphere--nonlife, not-yet-life; a 'certain hybridization' between eros&thanatos(73).
the gaze, which comes from the lack, leaves a phallic ghost on all three realms: S I R and the ruling principle of these realms, because of this construction, is that principle of subject-object, so she is proposing a kind of radical subjectivity/objectivity. based not in the phallus but in the womb, and she goes to length to defend this, because it's dangerous territory, but if we ascribe to her feminist critical principle from the beginning, then it doesn't need defending, it is apparent, and already has a place at the table. or maybe rather it is the table that we have been waiting to eat at.
it's already in us, in our language, the language of the womb is a shared language of subjectivity.
her notion of the Voice, to counter the Gaze, not L's voice, voice of god, that thing that is always about to speak, but the Voice that is both interior and exterior, emerges in a matrixial shared zone (81)
resonance
the gordian knot (r, i, s) for her becomes trans-subjective. it's not separate, it is connected.
Connecting Lacan's concept of Woman to Levinas (Other).
woman as weaver, in Lacan, but as she proposes it, reconceives these orders inside the womb, and this weaving reminds me of penelope, it reminds me of Oshun (most dangerous when she is weaving because she is planning spells, and the weaving sometimes is the spell), and other iterations of weaving in feminist body art (examples? do i have examples? janine antoni, casey jenkins, i know there are many more)...
wit(h)ness to the weaving.
Somasthetics
Dewey: life lived aesthetically, what Bürger locates as the a-g mission of infusing life with the redemptive power of art. For Dewey, it's tied to democracy itself, lived aesthetic experience, lived from inside a body. active not passive, not something removed, like in Kant (inherently contemplative and spectatorial)
with Hannah Arendt's notion of homo faber, human as political performer, this takes on more apparency in performance.
Then Richard Schusterman's notions of the body (somasthetics) tied to philosophy, exercises to get back into the body, yes, yes yes. 'essential to aesthetic experience is pre-discursive corporeal development.' (57) heal the gap between mind and body uh huh
rap and hip-hop examples of this embodiment and of course all the stuff amelia jones writes about. body art. pollockian performative (roots in diogenes of sinope, hows that?)
schneeman responding in part to duchamp, shigeko kubota's 'vagina painting' (response kinda to jackson's dance) and rachel lachowitz' 'red not blue' to yves klein's blue painting and boadwee's 'purple squirt' all of these take Kant's ideas of elevated art and put the work in the realm of the material body, horizonal not vertical structures of being-with.
fully opposed to the elevating
sublimation of the raw body, and explicitly hostile to conventional stan-
dards of heteronormativity. Those who watched these performances or their
video records were thrust into the world of the
informe
— formlessness —
and base materiality celebrated by Georges Bataille, rather than the realm of
art as cultivation of the senses and elevation of the se
'explicitly hostile to conventional standards of heteronormativity' 'thrust into the world of the informe' of Bataille (60)
and then there come the Viennese Actionists - erase the boundaries between interior and exterior - but of course here it's pain and not pleasure. gina pane etc.
Marcuse - repressive desublimation - apparent liberation producing its opposite.
like Nitsch is celebrated and Mendieta is ignored in these discussions (?)
transgressive. life breaks through into art. that is precisely the point of transgressing. it opens up. it creates fissures where more gets through, where the break, the gap, gets wider.
this art, like democracy, is immanent, always becoming.
Claude Lefort and Jean-Luc Nancy, at the center of political realm there is a lack, a void. this art reveals that.
Worst participatory experience
These are great and they remind me of why I hate theatre that has audience participation, I really hate it. thinking about the other readings in that context, it seems to me that it does revolve around the idea of subjectivity, and the phallic order that keeps things in a subject-object relation. The stories in this article are hilarious (I like O Lan, and the story about her is great) but point out the main issue, I think: that the participation is based on a very limited idea of what an audience is allowed to do. in effect, they are an object with a very small range of possibilities, so they would of course go outside of that range. even the last story, the german political theatre, proscribes what choices are set before an audience based on a limited economy. and it's not based in any kind of real relation. we the audience, are the woman in Lacan's 'there is no sexual relationship.'
No comments:
Post a Comment