N
nomadologist
Guest
Really loved the Zizek, especially this part:
For Heidegger, Event is the ultimate horizon of thought, and it is meaningless to try to think "behind" it and to render thematic the process that generated it—such an attempt equals an ontic account of the ontological horizon. For Deleuze, one cannot reduce the emergence of a new artistic form (film noir, Italian neo-realism, etc.) to its historical circumstances, or account for it in these terms.
This is the distinction I was very shoddily trying to dredge up, and I think it goes to the heart of what I was trying to demonstrate were a couple of divergent notions of hauntology forming within this whole critical discourse that's popping up around it re popular music. There seems to be "hauntology" that is essentialist in that particularly Derridean/Heideggerian way, and the Kpunk way that somehow employs a distinctly Jung-flavored Deleuzian "essentialism" (or "vitalism" per Zizek) vis-a-vis the Real.
If this makes any sense.
For Heidegger, Event is the ultimate horizon of thought, and it is meaningless to try to think "behind" it and to render thematic the process that generated it—such an attempt equals an ontic account of the ontological horizon. For Deleuze, one cannot reduce the emergence of a new artistic form (film noir, Italian neo-realism, etc.) to its historical circumstances, or account for it in these terms.
This is the distinction I was very shoddily trying to dredge up, and I think it goes to the heart of what I was trying to demonstrate were a couple of divergent notions of hauntology forming within this whole critical discourse that's popping up around it re popular music. There seems to be "hauntology" that is essentialist in that particularly Derridean/Heideggerian way, and the Kpunk way that somehow employs a distinctly Jung-flavored Deleuzian "essentialism" (or "vitalism" per Zizek) vis-a-vis the Real.
If this makes any sense.
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