suppressive ideas of origins and the Oriental stereotype.
However, their love crashes against reality, because it collides with her open
views on sexuality in the third section of the story, as already shown.
This ironic subversion of that dream of Arabia is even more powerful as it
is corroborated by an ironic juxtaposing in opposition that is contained in the
third phase. That is to say, Özdamar juxtaposes the exotic sensuality of the Ori-
ental body in the second phase to the brutal reality of tortured and dead bodies
in the third (and first) phases. She does it
suggests otherwise. Much
like the challenge that aesthesis presents to mathesis, Luigi Russolo advanced
synesthesia as a promising method for disrupting the increasing rationalization
of human experience (Chessa 2012). By calling upon and privileging a disori-
ented or spectral order of sensuality, the sensorium divorced from the direct
excitations of experience, the artists interviewed effectively named the nameless
Figure 5: Sterling Crispin, Data Masks (2013-Ongoing).
Interpreting an Improper Materialism 125
(digital materiality – the submedial) through a sense
return to Heidegger’s philosophy. The metaphor of an
oscillation between two static poles, no matter how irregular the movement
between them is imagined, betrays Gumbrecht’s indebtedness to a form of
thinking he initially sets out to overcome: as oscillation, the dynamics between
presence and meaning remains controlled by the schematic binarism of a
Cartesian coordinate system. Hence, the strategy of establishing presence next
to meaning mirrors the Romantic effort of elevating sensuality to an equally
important status as reason. In fact, one of the most
Körperlichkeit entgegen und zwar in Gestalt eines durchaus »unnatürli-
chen« Akts der schieren Sinnlichkeit:
»It was not really love. It was not voluptuousness. It was sensuality sharp and
searing as fire, burning the soul to tinder.
Burning out the shames, the deepest, oldest shames, in the most secret places.
It cost her an effort to let him have his way and his will of her. She had to be a
passive, consenting thing, like a slave, a physical slave. […] The refinements
of passion, the extravagances of sensuality! And necessary, forever necessary,
the highest forms of reasoning. Freud links this
“advance” to the Mosaic prohibition against graven images, an interdiction
that resulted in the fact “that a sensory perception was given second place
to what may be called an abstract idea – a triumph over intellectuality over
sensuality, or, strictly speaking, an instinctual renunciation, with all its
necessary psychological consequences” (Freud 1964: 113).
Moses and Monotheism is an unusual book for Freud, not only in its
subject matter, but also in its form. In contrast to previous works, like The
able to smile, an ironic commentary
on Schwarzenegger’s alleged lack of acting skills, his deficient
mimetic qualities. When he attempts to smile the face of the shape
shifter (who can turn into anything from a doorknob to a
police officer) twists into a disfigured grimace—perhaps similar
to Adorno’s facial expression in the presence of the man with
the artificial limb.
If one juxtaposes these two scenarios (though this is
admittedly unfair to both), it is possible to conceive them
as modern and late modern versions of the relationship between
we need music for in our lives?
Maybe the question can be refined: Why do we think of the musical practice
as a form of life? Together or alone, we do something meaningful for ourselves
with sounds; we would like to repeat the actions or the activity. A meaning arises
3 | A. Beuger/S. Vriezen: Asking questions, trying answers, 36.
4 | Ibid.
5 | Ibid.
for us through the activities and events in their corporeality and sensuality;
this meaning does not need to be verbalized. We understand the world and
understand each other in non
first two parts are like
ordinary films, but in the third part, there is no conventional narration. It’s the
bodies, the movements and the behaviour of the actors that begin to ‘speak’. At
one point you see girls working in a rice field and their work is wordlessly dem-
onstrated by their bodies, gestures and movements. Things themselves—for
instance, work—are shown directly, become visible. Not talking, but sensuality,
emotion: that can signify beauty.
Film happens. When you want to start filming and you just have a very gen-
eral idea/memory that is not yet