In the midst of beings, persons and parergons

In a clearing, art stands isolated, feeling besieged but actually ignored, as an image (the drawing on the stage) in an image (the puppet theater) in an image (my drawing) a fortress in a fortress in a fortress. Art is Lacan’s little other, a reflection, projection of the ego.

Yes, art arbeit and amour again. But arbeit and amour as one, they are both the means and end of the Lacanian ‘big Other,’ society etc. work to get love, love your work, blah, blah, blah. The I is ego, is art. And Lacan said, ‘The I is always in the field of the [big] Other.’ And of course Sartre said, ‘Hell is [the] others,’ Too. Or…

“In the midst of beings as a whole an open place occurs.
there is a clearing.” – Martin Heidegger

What does that mean?  There’s a clearing here and it’s a party, whoopee!

But we see no puppeteer but his presence is implied by his theater. The theater is his means to an end, his reasons for being, his connection with the others , the absent puppeteer is Dasein, Heidegger’s term for a being, a mortal, finite in time but not in space. To Marty there is no hard edge between a being (present here, now) and the being-in-the-world, the other beings, in the world, which Heidegger calls das Man, “the Man” or “the others” more than “the one”. They are all connected.

Sad to say that theater is the only connection between he, the artist/puppeteer, the I and them/it. He is thrown among them, but not as a guest. he’s the hired help, He’s among them but not one of the them. And that’s obviously not enough of a connection, they are strangers, perhaps foes. the theater that for his show that is also his fortress. Or…

“A parergon [Kant’s frame, stage] comes against, beside,
and in addition to the
ergon [the art], the done, the fact, the work,
but it does not fall to one side, it touches and cooperates within the operation,
from a certain outside” –Jacques Derrida

And the puppeteer’s theater, his art, it is both his separation from and connection to the being-in-the-world/the big other. Then another step back, just to be safe, more lines drawn — borders, limits — the sketch of the pen and naked woman as the show as sous rature, sort of erased, inadequate yet necessary.

Then there’s a person at this party that’s not like the rest. she’s a half couple, she’s in uniform with her LBD, she fits in with the others (das Man and the big other) but she’s also the model for the nude sketch that we assume is by Dasein the puppeteer /artist. She’s a means and an end, she’s a person and a parergon, she’s desirable and frightening,  she’s undecidable.

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