ELIANE ESCOUBAS PDF

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For Warburg the returning of images, is a becoming; there is a return of the image which, as with Nietzsches eternal return, is not a return of the identical. Indeed, the function of this return is to incapacitate the the- sis of an historical progress in the history of art, as in history in general. The history of art and of images propounded by Warburg is the history of what he calls Pathos-Formeln, pathic or pathetic formulas which are not the imitation of anything but the very experience of corporeal existence.

Hence, the Greek term Mnemosyne inscribed by Warburg above the entrance to his institute has nothing to do with Roman memoria; it is not a question of com- memoration but rather of an immemorial, a form of unconscious which however has nothing to do with an a-temporality.

Hence, if there is a surviv- ing of images, then this surviving presents itself, I would say, as a superven- ing of images. The nature of the image is thus collision of the expected and the unexpected, of distance and non-distance, of proximity and remoteness. All of which points back to the term shock [Stoss] which Heidegger employs in The origin of the work of art [Der Ursprung des Kunstwerkes].

I can thus affirm that the origin is shock, which is to say perturbation of time and of space, temporal disorientation. There is origin when time is outside itself. But is time not always outside itself? Is it not always ungraspable? Which is to say that one can never hold it in ones hands. And the image, in its being-image, does it not inherit from this origin for its part always absent? A sort of present of absence.

Absence is thus our living present. Our living present is that of absence. In order to advance, I shall take a step back, behind Heidegger and Blanchot and quickly towards Schellings Philosophy of Art.

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