By Nancy, Jean-Luc; McKeane, John
During this paintings, Jean-Luc Nancy is going past his past ancient and philosophical inspiration and attempts to imagine - or at the least crack open a bit to pondering - a stance or bearing that may be compatible to the retreat of God that effects from the self-deconstruction of Christianity.
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Extra resources for Adoration
We know it, and we forget it. Doubtless it is in its nature to be forgotten: and not to be conserved, archived like a document or recorded like a memory. If there were a memory or a document, then we could no longer speak of the “inaccessible,” but neither could there any longer be address, no longer could there be this type of approach, of proximity to or even intimacy with the inaccessible. We can even say: there could be no more access to the inaccessible. Our forgetting therefore keeps intact what nonetheless we know that we touch, that we can touch, or that we sometimes happen to touch—or rather, what touches us, without us truly knowing it, although we are not unaware of it either.
But it will refer to a humanity whose at once fortuitous, ungraspable, and infinite nature we need to think about more. In any case, I can only speak from the position of the old European humanism as it questions itself. 2 In the Midst of the World MANDORLA In the almond—what dwells in the almond? Nothing. What dwells in the almond is Nothing. There it dwells and dwells. —Paul Celan Why Christianity? Why speak of Christianity? In truth, I’d like to speak of it as little as possible. I’d like to move toward an effacement of this name and of the whole corpus of references that follows it—a corpus that is already mostly effaced or has lost its vitality.
Of a purely and simply infinite relationship to infinity? To adore is not to pray in the sense of asking for something or in those of imploring or supplicating, commending, confiding, dedicating, or devoting; neither is it to honor, praise, celebrate, or idealize; neither is it to glorify or to exult; it is not to sing, even though singing is to pray twice (Augustine); it is none of the above, nor what praying might appear to be in any other way. But it is also all of the above, indistinctly, augmented—or rather modulated—by a breath, an aspiration, an inspiration, and an expiration whose three motions come to constitute, most simply, breathing.
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