By William Desmond
Addresses the top of artwork and the duty of metaphysics.
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Additional resources for Art, Origins, Otherness: Between Philosophy and Art
I would situate eros here: eros reminds us of self-surpassing, eros is itself the dynamic of self-surpassing. “Being true,” in this instance, is fidelity to the 7. On “being true,” with references to the different senses of being, see BB, chapter 12. Mimesis, Eros, and Mania 37 movement of self-transcending in relation to truth as (originally) other to us, other because we do not possess it through ourselves alone. Indeed we are selftranscending to the extent that a call is made on us by what we do not possess: we are driven beyond lack as much by that lack, as by what we lack.
Will this begin to satisfy Aristotle? Obviously more must be said. Notice that, whether we hear “yes” or “no” from Aristotle, we can still say that these forms are never univocally identical with any one individual. If they were, their communal character, and the happening of community, would be impossible. In the middle itself, we have to say that any nominalistic reduction of being to a collection of particulars does not make sense finally. We could say that the forms are themselves possibilities of “being together” that also arise in the middle.
Now it seems we are dealing with something divine, now with something delusionary. Do we perhaps always deal with both? If so, there is no absolute evasion of the equivocity of the situation. Sometimes this equivocity will be condemned, if it is taken as only as failure of the univocal test. But it will come in for a different praise when an other sense of being true beyond univocity is allowed to enter consideration, let us say, when philosophical finesse is granted its freedom beyond geometry.
Art, Origins, Otherness: Between Philosophy and Art by William Desmond