By Nancy, Jean-Luc; McKeane, John
During this paintings, Jean-Luc Nancy is going past his past ancient and philosophical proposal and attempts to imagine - or a minimum of crack open a bit to considering - a stance or bearing that would be compatible to the retreat of God that effects from the self-deconstruction of Christianity.
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Additional info for Adoration
And the trace of this breath in us, in the other. A word of breath [parole de souffle]. Adoration is addressed to what exceeds address. Or rather: it is addressed without seeking to reach, without any intention at all. It can accept to not even be addressed: to be unable to aim, or designate, or recognize the outside to which it is dispatched. It can even be unable to identify it as an outside, since it takes place here, nowhere else, but here in the open. Nothing but an open mouth, or perhaps an eye, an ear: nothing but an open body.
This is to say that it does not limit itself to adhering to inherence, to what is given (whether this is taken as the “real” or, on the contrary, as an “appearance”). Two of Nietzsche’s well-known figures illustrate what he sometimes claims to be the “experience at the heart” of Christianity: the tightrope dancer and the child playing with dice. Neither relates to the world as a given by which she is surrounded; on the contrary, they relate to that in the world which makes an opening, rift, abyss, game, or risk.
The “fortuitous” puts forward a notion less of a nature or a state than of a circumstance, a movement. In a fortuitous way, something happens, and something falters in its fortuitousness or in its fortuitude. It is a fortunate encounter (the same word is there, fors), which can be good or bad—and the good encounter at all times lays itself open to the off-beat of the bad. Essentially, what is fortuitous responds to a discontinuous and fleeting conception of time. It responds to the discontinuity as much of singularities themselves as of the modes—space/time—according to which this discontinuity becomes singular.