Gerald Cipriani

Far from having overcome the human, all too human essence of knowledge the West has replaced its modern objectifying subjectivity by what may be called a postmodern subjectifying subjectivity. The modern will to power and its drive for controlling the Other has given way to a postmodern form of 'unavailability', a key concept in the ethical reflections of the Christian Socratic philosopher Gabriel Marcel. This paper attempts to highlight the degree to which fundamental features of Postmodernity, from instrumental technology to fragmented temporality and decentered subjectivity are infiltrating our existential condition. It is argued that one of the most striking symptoms of such a phenomenon is unavailability, especially in the artistic sphere.

In this essay I develop evelop a critique of different modes understanding what is a moment of meaningful form in art (the figural). I attempt to show that approaches which maintain a separation between form and content, or the subjective and the objective cannot truly do justice to the presentational nature of meaning in art. In particular, I refer to Mikel Dufrenne's conception of expression in his Phenomenology of Aesthetic Experience as being paradoxically misleading when it comes to understand the figural in its phenomentality. I ultimately argue for the need to bear in mind that the relationship between presentation and representation, or experience and objectivity ought to be approached in terms of complementary difference.

This essay attempts to address ethical issues concerning interpretation and art practices. It explores an alternative to both modern institutional authority and postmodern nihilism by referring to the concept of 'creative fidelity' developed by the French 'existentialist' philosopher Gabriel Marcel. As it is well known, contemporary radical reactions against the excesses of modernity in the Western world have led to a profound mistrust in the idea of subject/object, and have as a result favoured attitudes which tend to dissolve such a dichotomy. These attitudes, by expressing the contingency, indeterminacy, or groundlessness of meaning, have triggered the disappearance of the Self, authorship, authenticity and in-sight. How is it therefore possible to interpret, make, or even teach art in a meaningful manner without imposing frameworks, closures, boundaries, or perspectives? This, it is argued, can be achieved by understanding the vital complementary relationship between innovation and faith, creativity and fidelity, renewal and consideration, offering thus a possible alternative to today's crisis of meaning in art. /// Este ensaio visa o tratamento de questões éticas relativas à interpretação e às práticas artísticas, explorando uma alternativa tanto à autoridade institucional moderna como ao niilismo pós-moderno a partir de uma reflexão sobre o conceito de "fidelidade criativa" desenvolvida pelo filósofo existencialista francês Gabriel Mareei É sabido que as reacções radicais contemporâneas contra os excessos da modernidade no mundo ocidental conduziram a uma profunda desconfiança da ideia de sujeito/objecto, resultando no favorecimento de atitudes que tendem a dissolver essa dicotomia. Estas atitudes, mediante a expressão da contingência, indeterminismo ou ausência de fundamento para o sentido, levaram a um desaparecimento do Si-mesmo, do princípio do autor, da autenticidade e da intelecção interior. Como é que será possível interpretar, fazer, ou até ensinar arte com sentido sem ao mesmo tempo impor esquemas, limites ou perspectivas? Isto, assim vai o argumento, pode ser alcançado mediante a compreensão do relacionamento vital complementar entre inovação e fé, criatividade e fidelidade, renovação e consideração, oferecendo dessa forma uma possível alternativa para a contemporânea crise de sentido na arte.