By Emmanuel Levinas
This assortment, now to be had in an inexpensive paperback variation, includes 11 of the main major articles written by way of Emmanuel Levinas. the most vital philosophers of the phenomenological-existential culture, Levinas additional explored and built each one of his theses within the vintage philosophical paintings in a different way than Being, or, past Essence.
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Even its timbre, a trace of its belonging to an 5 object, is submerged in its quality, and does not retain the structure of a relation. Hence in listening we do not apprehend a "something," but are without concepts: musicality belongs to sound naturally. And indeed, among all the classes of images distinguished by traditional psychology, the image of sound is most akin to real sound. To insist on the musicality of every image is to see in an image its detachment from an object, that independence from the category of substance which the analysis of our textbooks ascribe to pure sensation not yet converted into perception (sensation as an adjective), which for empirical psychology remains a limit case, a purely hypothetical given.
The whole of reality bears on its face its own allegory, outside of its revelation and its truth. In utilizing images art not only reflects, but brings about this allegory. In art allegory is introduced into the world, as truth is accomplished in cognition. These are two contemporary possibilities of being. Alongside of the simultaneity of the idea and the soul - that is, of being and its disclosure - which the Phaedo teaches, there is the simultaneity of a being and its reflection. The absolute at the same time reveals itself to reason and lends itself to a sort of erosion, ou ;side of all causality.
That is why classical art which is attached to objects - all those paintings, all those statues representing something, all those poems which recognize syntax and punctuation conforms no less to the true essence of art than the modern works which claim to be pure music, pure painting, pure poetry, because they drive objects out of the world of sounds, colors and words into which those works introduce us - because they break up representation. A represented object, by the simple fact of becoming an image, is converted into a non-object; the image as such enters into categories proper to it which we would like to bring out here.