TY - JOUR
AU - RAMPLEY, MATHEW
AB - which he has subsequently developed, but 'rethinking of ontological difference' should of which lacks in this book the 'artisanal' presen- course prepare us for the large helpings of tation to match Duchamp's 'artisanal' games. Heidegger and Derrida we are about to be That Duchamp was playing an analogy served. between paint/colour technology and alchemy Benjamin's conception of such a rethinking is denied by de Duve, but this material seems to consist in an ontologizing of Derrida's certainly demands that this question be prop- 'difference', for which the author coins the erly addressed for the Munich period. term 'anoriginal heterogeneity', in order more forcefully to bring across the anti-foundational In sum this book has something of the nature of his ontological project together with Frankenstein's monster about it: a first creation out of many (intellectual) parts hastily stitched his exhortation that we no longer think of together. The translation stubbornly retains Being but instead of'modes of being', and it is French constructions (and 'exposition' instead these themes that are presented to us in the first two chapters. of'exhibition') which lend a clumsy gait to the argument. Worst of all for this reader, de Duve As the most obviously 'philosophical' parts 
TI - BOOK REVIEWS
JO - The British Journal of Aesthetics
DO - 10.1093/bjaesthetics/32.4.377
DA - 1992-10-01
UR - https://www.deepdyve.com/lp/oxford-university-press/book-reviews-ccjnd0WmI0
SP - 377
EP - 378
VL - 32
IS - 4
DP - DeepDyve
ER -