By Lars Iyer
Of the numerous questions provoked by way of Blanchot's concept and writing, that of knowing its moral and political value is of serious significance. Exploring his literary serious and philosophical writings, and addressing such significant ideas because the picture and the neuter, Blanchot's Vigilance provides a sustained research of Blanchot's reaction to the phenomenology of Husserl and Levinas, to Kierkegaard, Surrealism and to psychoanalysis.
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The sensuous is no longer illuminated by the light of the Idea. No inward turn separates Romantic art from Greek art; likewise, Greek art only delimits what happens in the event of the work Blanchot describes. All art is Egyptian; the infinite cannot be inwardised, but escapes the economy of interiority. From the perspective of phenomenology, the neutral double of the fictional world turns intentionality back upon itself. Meaninglessness presses forward in the very meaning of the literary work.
This is what remains of the Husserlian reduction: the world is revealed in the fundamental mood of anxiety as it deprives beings of their familiar places and functions in Dasein’s world. No longer are beings ready-tohand, placed at our disposal. Dasein breaks from its involvement with intramundane things; they lose all significance. 76 Yet even as it does so, things in the world come forward without the animation of Dasein’s tasks and projects as though they were no longer ‘existed’ by the ek-static projection of Dasein.
Natural’ time and space are overcome. The vitality and dynamism of the painting answers the wholeness of our experience in its unity and coherence, celebrating the richness of life in its free movement. The shining forth of the underlying unity and harmony passed over in everyday life is presented in sensuous form. Presented thus, the subject of art is disinterested; it allows a contemplative detachment of the Absolute. As such, the Absolute is never, for Hegel, an empty beyond, a Jenseits beyond experience; it unfolds from experience.