Fido the Yak

Barbaras interprets Merleau-Ponty's turn to speech:

[B]y returning to the world from the phenomenon of expression, by grasping the very birth of sense instead of referring it straightaway to a perceptual ground, Merleau-Ponty gains access to the genuine figure of the world as soil or source of expression. Then, to the infinity of the telos brought to light in the expressive act, there corresponds the infinity of an archē. Insofar as it is the soil of the expressive movement, the world will have this infinite depth inherent in the fact that sense is never completely fulfilled. Because no expression erases itself in the face of a pure sense, because expression cannot claim to be nailed down in a full meaning, the world will be given only as withdrawal, as this "presence" which, through its obscurity, gives birth to expression without ever being absorbed in the expressed. Considered on the basis of expression, the world can no longer be defined through presence but as that whose being consists in exceeding every presentation.

(p.60, Barbaras' emphasis)

The rhythmosophic engagement with the expressive means this: the breach –}∅{, the sign which evades the instant archive–the improvisation of improvisations, does not wait outside correspondence. Its infinities do not hang around. (Infinities of broken limits.) The evanescence of infinities may touch on the teleological, or anyway feel the repercussions of telic logoi, without in any way ceding the power to onset radical causalities, causalities of middle voices and otherwise, harmolodically apperceived, that is, given a harmolodic temporality, as extensions of expressive movement. This is the grasp. It is the grasp where the grasp isn't everything. The door opened up by the breach, is it divarication itself? Straddle? It remains to rhythmosophy to describe the givenness of the world as plunge, and not to be submerged in this description.

Labels: anarchy, Barbaras, improvisation, infintity, Merleau-Ponty

posted by Fido the Yak at 1:12 AM.