I celebrated my last day in the library with the newly minted english translation of Vattimo's
Art's Claim to Truth and this lovely view from the 12th floor of the Robart's Library. You can sit directly before this huge window with your feet up on the heat register below. Tourists love the view too. Over the last two months I've taken four shots of couples in front of the even bigger window in the "red apex" of the 13th floor.
Vattimo's book is an interesting way to conclude my research into law and aesthetics. He adopts the work of a 1950's philosopher named Pareyson who argues that 20th art achieved autonomy through the revelation that each great work resonates with a "law of the work" that simultaneously synthesizes the coherency in form and content of the work, and which necessarily exceeds itself and opens onto an interpretative multiplicity and iterability heralding the death of metaphysic foundationalism. So on the one hand you have this act of recognition of this conspicuously undefined and pneumenal "law of art" but also notions that this law is constituted to be endlessly interpreted. It strikes me as a bit of an odd mix of the ancient greek aesthetic of rhythm and Georges Bataille, and would seem to have something to say about HLA Hart's classic "rule of recognition" or Dworkin's "chain novel" as the basis for inscribing law's absent authority. None of that would be terribly convincing though, which is perhaps why Vattimo runs with this a bit more to ultimately create a mash-up between Heidegger's ontology and Gadamer's hermeneutics. Which, of course, I think Levinas exceeds with an ethics of imagination (after all, there's no ambiguity of authority in a state of perfect unknowability). But it might also be a convenient way of exploring the internecine step between being, language and sensing, which is the crux of Levinasian aesthetics as I understand it.
Anyway, thesis completion, here I come.
August 7th, 2008
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