A Note on Notes on Klee, Note 1
“1. [Klee excerpt:] “Nevertheless, the rendering that is distant from nature
becomes the norm again, and thereby the construction at-tains increased
significance even as technical alleviation. Thus, the scaffolding of the
image-organism comes to the fore and becomes truth coûte que coûte
[no matter the cost]. Houses that are supposed to assimilate to an
interesting image-scaffolding become crooked . . . trees are violated,
humans become nonviable; a compulsion arises, lead-ing to the point
where the object is no longer recognizable, to a picture puzzle. For
here no profane law holds sway; here a law of art holds sway. Crooked
houses do not topple in the image, trees no longer need to leaf out,
humans need not breathe. Images are not living images.”
becomes the norm again, and thereby the construction at-tains increased
significance even as technical alleviation. Thus, the scaffolding of the
image-organism comes to the fore and becomes truth coûte que coûte
[no matter the cost]. Houses that are supposed to assimilate to an
interesting image-scaffolding become crooked . . . trees are violated,
humans become nonviable; a compulsion arises, lead-ing to the point
where the object is no longer recognizable, to a picture puzzle. For
here no profane law holds sway; here a law of art holds sway. Crooked
houses do not topple in the image, trees no longer need to leaf out,
humans need not breathe. Images are not living images.”
“
If the expert is allowed to take over what is “distant from nature” also
takes over. Houses that no one would want to live in are built and
judged to be superior by the experts. In the west the idea of nature is
at war with the idea of history and “ideas are stronger than all empirical
powers”. The everlasting recurrence which is Greek nature is felt as a
terrible pessimism which according to Christian history can only be
overcome by salvation (or, by Thomas More's built Plato, the Eutopia,
the historical form of the best regime by nature, the place which is not).
Again and again the house which is most esteemed in the opinions of
the many is improved under this jesuitism of building. Therefore
Nietzsche thinks his overman as natural and attempting to establish
the most beautiful pessimism. Art, taken seriously, must challenge
nature and become higher than nature in its history, ergo
“crooked houses do not topple”. Nothing is “living” these days,
phusis is what grows, what challenges forth, what comes of itself.
In Prometheus’ body is harboured the spirit of the ant living in caves
(or bee hive at the end of natural history become historical history).
Reason, like the instincts, does not require human beings. The right
kind of man, the agathos, reasons correctly just as the brute follows
instinctually the drives of his libedo. Both principles are wholly cold,
“not living images”.
takes over. Houses that no one would want to live in are built and
judged to be superior by the experts. In the west the idea of nature is
at war with the idea of history and “ideas are stronger than all empirical
powers”. The everlasting recurrence which is Greek nature is felt as a
terrible pessimism which according to Christian history can only be
overcome by salvation (or, by Thomas More's built Plato, the Eutopia,
the historical form of the best regime by nature, the place which is not).
Again and again the house which is most esteemed in the opinions of
the many is improved under this jesuitism of building. Therefore
Nietzsche thinks his overman as natural and attempting to establish
the most beautiful pessimism. Art, taken seriously, must challenge
nature and become higher than nature in its history, ergo
“crooked houses do not topple”. Nothing is “living” these days,
phusis is what grows, what challenges forth, what comes of itself.
In Prometheus’ body is harboured the spirit of the ant living in caves
(or bee hive at the end of natural history become historical history).
Reason, like the instincts, does not require human beings. The right
kind of man, the agathos, reasons correctly just as the brute follows
instinctually the drives of his libedo. Both principles are wholly cold,
“not living images”.
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