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From: "michaelP" <pennamacoor@xxxxxxxxxxxxxx>
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Date: Wed, 29 May 2002 16:30:48 +0100
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Does anyone else find reading the best texts on Heidegger so difficult as I?
In particular, the critiques offered so generously by Krell ('Daimon Life'),
Derrida ('Of Spirit' & the Geschelct series) and Irigaray ('The Oblivion of
Air in Martin Heidegger'), are so passionate and committed and so full of
the deathly inflammatory takes on Heidegger's deathly ghostly takes on the
deathly icy poems of Trakl, Holderlin, Rilke... The range and stretch of
such critiques (and I mean this word in the sense of lifting into relief,
laying out, putting into high contrast, etc, as in Kant's 'Critique of Pure
Reason', and not 'criticism' and certainly not the Jihadic
'ridicule/lampoon') run so fast so fluently, so fluidly, I cannot keep pace
and the words become a swirl of particles of sense like twigs on a huge
plate for the enormously gratifyingly consumption of... like labyrynthine
paths that keep centering on some gravitational thing that refuses
visibility. All this high and mighty art centred upon the worrying existence
of the thinking of that Heidegger, those Heideggers. But then I see, I mean
I hear, I mean I dance to... the music. It has to be modern jazz, the music
of these practitioners of Heidegger-critique; they have found a theme, a
hidden melody and counterpoint in the complex chord structure of Heidegger's
texts, an underground unceasing, evernew, ever re-interpretable, song... If
they were sax players, who might these musicians be? My thoughts:
The shrill trilling of the excited and climactic Krell with his benumbing
and shatterings would surely be the John Coltrane of those extraordinary
long and impossible solos, but most especially of 'A Love Supreme';
The subtle and lighter less hurried dancing of Derrida with his wordplays
and scare quotes would, for me, be the joyful Ornette Coleman of 'Rambling';
And the lyricism and lunar voice of Irigaray with her forgotten forsaken
fluids could be the pure vibrato and pathos of the Albert Ayler of 'Ghosts'.
Now what a concert :-) Who else would enjoy this?
Such ultramodern beauty in/on/from the themes of the troublesome Heidegger:
My word.
regards
michaelP
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<HTML>
<HEAD>
<TITLE>Krelling me softly with his song</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#00FFFF">
<FONT COLOR=3D"#0000FF">Does anyone else find reading the best texts on Heide=
gger so difficult as I?<BR>
In particular, the critiques offered so generously by Krell ('Daimon Life')=
,<BR>
Derrida ('Of Spirit' & the Geschelct series) and Irigaray ('The Oblivio=
n of<BR>
Air in Martin Heidegger'), are so passionate and committed and so full of<B=
R>
the deathly inflammatory takes on Heidegger's deathly ghostly takes on the<=
BR>
deathly icy poems of Trakl, Holderlin, Rilke... The range and stretch of<BR=
>
such critiques (and I mean this word in the sense of lifting into relief,<B=
R>
laying out, putting into high contrast, etc, as in Kant's 'Critique of Pure=
<BR>
Reason', and not 'criticism' and certainly not the Jihadic<BR>
'ridicule/lampoon') run so fast so fluently, so fluidly, I cannot keep pace=
<BR>
and the words become a swirl of particles of sense like twigs on a huge<BR>
plate for the enormously gratifyingly consumption of... like labyrynthine<B=
R>
paths that keep centering on some gravitational thing that refuses<BR>
visibility. All this high and mighty art centred upon the worrying existenc=
e<BR>
of the thinking of that Heidegger, those Heideggers. But then I see, I mean=
<BR>
I hear, I mean I dance to... the music. It has to be modern jazz, the music=
<BR>
of these practitioners of Heidegger-critique; they have found a theme, a<BR=
>
hidden melody and counterpoint in the complex chord structure of Heidegger'=
s<BR>
texts, an underground unceasing, evernew, ever re-interpretable, song... If=
<BR>
they were sax players, who might these musicians be? My thoughts:<BR>
<BR>
The shrill trilling of the excited and climactic Krell with his benumbing<B=
R>
and shatterings would surely be the John Coltrane of those extraordinary<BR=
>
long and impossible solos, but most especially of 'A Love Supreme';<BR>
<BR>
The subtle and lighter less hurried dancing of Derrida with his wordplays<B=
R>
and scare quotes would, for me, be the joyful Ornette Coleman of 'Rambling'=
;<BR>
<BR>
And the lyricism and lunar voice of Irigaray with her forgotten forsaken<BR=
>
fluids could be the pure vibrato and pathos of the Albert Ayler of 'Ghosts'=
.<BR>
<BR>
Now what a concert :-) Who else would enjoy this?<BR>
<BR>
Such ultramodern beauty in/on/from the themes of the troublesome Heidegger:=
<BR>
My word.<BR>
<BR>
regards<BR>
<BR>
michaelP</FONT>
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