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'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making

'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making <jats:sec><jats:title>Abstract</jats:title><jats:p>For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking example of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty; on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it?</jats:p> </jats:sec> http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Research in Phenomenology Brill

'Art' in Nancy's 'First Philosophy': The Artwork and the Praxis of Sense Making

Research in Phenomenology , Volume 38 (1): 18 – Jan 1, 2008

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Publisher
Brill
Copyright
© 2008 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0085-5553
eISSN
1569-1640
DOI
10.1163/156916408X258933
Publisher site
See Article on Publisher Site

Abstract

<jats:sec><jats:title>Abstract</jats:title><jats:p>For the purposes of analytical clarity it is possible to distinguish two ways in which Nancy's ontology of sense appeals to art. First, he uses 'art' as a metaphorical operator to give features to his ontology (such as surprise and wonder); second, the practice of the contemporary arts instruct the terms of his ontological project because, in his view, this practice catches up with the fragmentation of existence and thus informs ontology about the structure of existence today. These two different roles—in which 'art' is both a general category able to stage the features of sense in general and a particularly striking example of the alteration sense undergoes in our times—make available for Nancy different perspectives on the question of sense. On the one hand, the general category of 'art' allows Nancy to construct a characterology of sense around terms such as surprise and novelty; on the other, the appeal to the fractal practice of the 'contemporary arts' supports the project of giving an account of sense.This paper analyses the effects on Nancy's conception of sense of these different appeals to 'art' and the practice of 'the contemporary arts.' Are the locales from which these different perspectives on sense take shape compatible? In what ways do they inflect each other or, alternatively, undermine the perspectives of the other on the question of sense? Finally, what do these two strands tell us about what Nancy expects of 'art' and what would happen to his ontology of sense without the different appeals he makes to it?</jats:p> </jats:sec>

Journal

Research in PhenomenologyBrill

Published: Jan 1, 2008

Keywords: SOCIAL BEING; NANCY; ONTOLOGY OF SENSE; ART; CONTEMPORARY ARTS

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