Mudanças entre as edições de "Crítica do Milagre/en"
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| − | ' | + | =Critique of the Miracle= |
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| + | Waltercio Caldas | ||
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| + | Etymologically, the word "critique" comes from the greek "Krinein", a term that has a close relationship with the word "Krisis" which in turn means to break, to divide in pieces. In this sense, criticizing something means to break apart that which we see through the analysis of its determining parts. To put both the object and the idea we make of it in crisis so as to, only then, free from all prior constraints, outline a judgment about it. Therefore, it can be pointed out that two elements are essential to criticism: first, a judgment to be analyzed, second, an object to be dissected. | ||
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| + | The uncanniness of "Critica do Milagre" comes precisely from the paradoxical character of its proposition, that is, its attempt at analyzing that which is, par excellence and by definition, "non-analyzable", for it belongs to the divine order. Facing this undefined, the artist inverts the mode of operation of the positivist: not interested in revealing the reason underlaying the phenomenon, but with that which defines it as such, in other words, its opacity, its sense of pure and unilateral apparition. Thus it remains to the author to positively silence his object: an incessant reaffirming of its content negativity through the exemplary exhibition of the indivisible character of a discourse which never takes place nor shows itself. "Critica do milagre" becomes, thus, an inexorably closed artwork. A volume whose cover is unsurmountable. A book whose cover page, repeated incessantly, places us like the evangelist in Damascus: blind in front of God himself. | ||
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| + | In the manner exposed here by Caldas, the miracle operates similarly to financial speculation. It stands out and takes shape exactly where it denies access to its internal structure, its raison d'etre. In this way it can operate (miraculously, redundantly we could say) on a concrete and objective world in the absence of any properly material binding. Hence it becomes explicit the way in which, in the economy of facts, objects prescind reason and motive to act concretely on the stage of existence. Since, similarly to the divine will, it is exactly in their condition as verbs that they embody their capital facet. | ||
Edição atual tal como às 11h03min de 2 de julho de 2017
Critique of the Miracle
Waltercio Caldas
Etymologically, the word "critique" comes from the greek "Krinein", a term that has a close relationship with the word "Krisis" which in turn means to break, to divide in pieces. In this sense, criticizing something means to break apart that which we see through the analysis of its determining parts. To put both the object and the idea we make of it in crisis so as to, only then, free from all prior constraints, outline a judgment about it. Therefore, it can be pointed out that two elements are essential to criticism: first, a judgment to be analyzed, second, an object to be dissected.
The uncanniness of "Critica do Milagre" comes precisely from the paradoxical character of its proposition, that is, its attempt at analyzing that which is, par excellence and by definition, "non-analyzable", for it belongs to the divine order. Facing this undefined, the artist inverts the mode of operation of the positivist: not interested in revealing the reason underlaying the phenomenon, but with that which defines it as such, in other words, its opacity, its sense of pure and unilateral apparition. Thus it remains to the author to positively silence his object: an incessant reaffirming of its content negativity through the exemplary exhibition of the indivisible character of a discourse which never takes place nor shows itself. "Critica do milagre" becomes, thus, an inexorably closed artwork. A volume whose cover is unsurmountable. A book whose cover page, repeated incessantly, places us like the evangelist in Damascus: blind in front of God himself.
In the manner exposed here by Caldas, the miracle operates similarly to financial speculation. It stands out and takes shape exactly where it denies access to its internal structure, its raison d'etre. In this way it can operate (miraculously, redundantly we could say) on a concrete and objective world in the absence of any properly material binding. Hence it becomes explicit the way in which, in the economy of facts, objects prescind reason and motive to act concretely on the stage of existence. Since, similarly to the divine will, it is exactly in their condition as verbs that they embody their capital facet.
