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By Lévinas, Emmanuel; Ĺevinas, Emmanuel; Appelbaum, David

Rejects Levinas’s argument for the preeminence of ethics in philosophy.

“Imagine listening at a keyhole to a talk with the duty of transcribing it, and the outcome could be a textual content just like the current one.” — from half I: Stagework

In a sequence of meditations responding to writings via Emmanuel Levinas, David Appelbaum means that a incorrect grammar warrants Levinas to communicate of language on the provider of ethics. it's the nature of functionality that he errors. Appelbaum articulates this flaw through appearing in writing the act of the philosophical brain at paintings. Incorporating the voices of different thinkers—in specific Levinas’s contemporaries Jacques Derrida and Maurice Blanchot—sometimes truly, occasionally indistinctly, Appelbaum creates on those pages a type of soundstage upon which illustrations look of what he phrases “a rhetorical aesthetic,” which might reestablish rhetoric, principles for giving voice—and now not ethics—as the right kind matrix for knowing the otherness and beyond-being that Levinas seeks in his paintings

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But if the abyss and the ruination of identity are accomplished through death and the il y a, does this not nullify the confrontation with a human other, of someone uniquely invested unto the heights? The possibility of such investiture would seem precluded if the meeting is with (Heidegger’s) “the impos‑ sibility of every possibility”—death. If death is “without face,” can the other be assumed human? The question relates to Blanchot’s trenchant remark “that the Other man who is ‘autrui’ also risks being always Other than man, close to what cannot be close to me: close to death, close to the night, and certainly as repulsive as anything that comes to me from these regions without horizon” (IC, 72).

One might say that art is the evil genius that Descartes could not ignore but which Levinas leaves out of his borrowings. Analogous to a cited text, it is incorporated in his, lumped with material of mythic overtones and repressed because of its demonic reference. In its power to simulate, it carries potential ruin to first philosophy. As artist (artiste), the genius of art contests, not as a doubter but as a parodist, the conviction that this is how the world is. Every so often, it pops up and in Dadaist fashion, fires off a warning shot.

Limits can crisscross an interior without breaking it into partitions. The limitless as art would take to task that pretension of discursive reason. In a Heideggerian fashion, it would penetrate the body of reality to the heart, there would unsettle the categories of experience, painstakingly established by Aristotle and Kant, and trouble thought with critique.  were still an intoxication; as if, all erect in its vigilance as lucidity, the reason that identifies being slept on its feet or walked like a somnambulist, and were still dreaming, as if, in its sobriety, it still slept off the effect of some mysterious wine” (OG, 16).

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