Ambos son refractarios a la idea de orden, que s puede existir en la linea fronteriza entre la diferencia y la similitude AlIi donde todo es igual, 0 donde todo es dispar, no es posible im- poner las categorias del conocimiento, y por tanto orden. Michel Foucault subdivide la creaci6n segun la categorias de las cosas y de las palabras, cuya partici6n es ne- 1. Para poseer el concepto de orden hay que poseer el con- cepto de diferencia y de similitud entre cosa y cosa, o entre palabra y palabra. La historia del mundo tambien es la Historie du Meme, es decir, la histo- ria de la mismidad. La cosa hombre hombre se con- vierte en hombre solo cuando descubre que se OPO- ne a otra cosa, es decir, a
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Shelves: theory I am not the kind of person who reads social theory for fun. And so I find myself reading Foucault, not because I like him, but because me forces me radically out of my own interior space and into I am not the kind of person who reads social theory for fun.
And so I find myself reading Foucault, not because I like him, but because me forces me radically out of my own interior space and into his, and in doing so he makes me think about art and its power to subvert and transform, to shatter the discourses that shackle it. Art, he leads me to believe, is the one redeeming thing we have, the only way to escape reality, and in escaping reality, to bend it into something else, to create something that is both lens and mirror all at once, to reveal truth in the midst of distorting resemblance.
And I wonder also whether in the original, to someone fluent, Foucault is a slightly less dense read -- if some of the complexities of reading Foucault sometimes a herculean task arise in part from a use of language on his part so precise that even the best translation will lose some of its saturation, will labor to reproduce the ideas, turning the smooth functioning of his thought into a limping, juddering machine.
In any case, I am not widely read enough to comment extensively on the relative importance of the ideas here. There are echoes of Baudrillard here, though from a slightly different perspective -- less biting perhaps; rather than a media trap, simulation is presented as empowering.
And this is crucial: so rarely do I feel that anything Foucault proposes is empowering, so concerned is he with the chains that dominate and discipline us. And that, for now, must be enough. A new dimension One easy way to answer "Why read this book" is: to know how to read Avant Grade art. A new dimension where paradox is a god, where perfection is cleared out by a statement so simple that it might not even be noticeable for a man of no sight in such a dimension.
This "kind" of art is indeed one of humanity, of extreme complication and simplicity. The book defies the term contradiction, explains it, and changes the way you look at it, just as it does to a dozen other day to day terms. This was my eye opener.
ESTO NO ES UNA PIPA: ENSAYO SOBRE MAGRITTE
Esto no es una pipa (Análisis y reflexión)
Esto no es una pipa