poetry | photography | philosophy
Love does not care for Being. If the Being known as Dasein is defined as care (HEIDEGGER 1962:416), and if “the ontological meaning of ‘care’ is temporality” (HEIDEGGER 1962:416), and if temporality situates in the world (HEIDEGGER 1962:416), and if “the ontological constitution of the world […] must then likewise be grounded in temporality” (HEIDEGGER…
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‘The photographic’ is the dynamic of perception: “it necessarily cannot be otherwise” Featured Image: Dynamis. February 2023 at Valletta. Photograph by the author.
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Photographic realism does not capture all nouns. Not all nouns are nouns. The object, that is the something that is thrown in front of one, is the noun proper. When language fails, the Subject is subjected to, thrown under, a Subject, which is subjected to, thrown under, the Subject – which is subjected; thrown under.…
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Hearing is vision, othered. At some point in history, increasing image resolution started to only have an effect on film, leaving negligible obvious impact on photography. That is tantamount to saying that with the tremendous increase in image resolution evinced in the last decade or so, perceived motion happened to have been affected more drastically…
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Who are you? Marco. What are you? I am… Having to state its case, Dasein would not make recourse to being, or assume being, to explain its being… Who/what are you? (simply) Dasein. Dasein is simultaneously identity and substance. Dasein’s concern with its being is concern about that seemingly non-deferrable concern about seemingly needing to…
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Picture yourself in an art gallery eyeing the mysterious beauty of some post-modern painterly disaster hanging on one of the gallery walls. Conceive now the world you are standing in, the very same world that holds in its bosom those atrocious paintings hanging on the gallery walls, as one unitary painterly mess. Yourself now, as Pantocrator,…
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Perception utters, “It must be because it is what it is!” Memory replies, “It must be because it was what it was, and what was was, hence is.” Put the onus on memory, and memory cannot see. Put the onus on perception, and perception cannot know. Perception utters, “It is so because what is cannot…
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The photograph is the result of light painting itself. The painting is the action of the hand showing. In the former case, there is no translation involved in beholding the objet d’art: light paints itself on the photographic film/sensor and the result is seen by the eyes which function through the transmission of the same…
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A painting can look painted. A painting can look like a photograph. A photograph can look like a painting. A photograph can clearly look photographed. A painting can be intentionally made to look painted. A painting can be intentionally made to look like a photograph. A photograph can be intentionally made to look like a…
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The subjective is subject to the Subject who as Subject stands in subjection to an other, namely the subject. The subjected action of subjection emanating from the subject acts upon me as Subject and subjects me. Intentions are knowable a posteriori. The subject subjected as Subject is hence object to the Other. The object is…
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