By Hagi Kenaan
Our international is saturated with pictures. pictures multiply round us, having reached the prestige of basically reproducible commodities. crushed by means of this proliferation of visible stimuli, our gaze turns into more and more bored and distracted. can we ever relatively learn and interact with photographs? Can they ever give you the feel of meaningfulness we crave?
French Jewish thinker Emmanuel Levinas faced and subverted those questions. A superficial interpreting of his works may perhaps point out an ambivalence if no longer an out-and-out hostility in the direction of the area of pictures; he objected to the medium’s finite, flat personality and, extra accurately, to its lack of ability to express which means in any respect. but an enigmatic assertion: “Ethics are optics” recurred all through his paintings. Hagi Kenaan takes this mysterious thought because the start line for a strikingly unique philosophical argument at the position of visuality in Levinas’s ethics. The Ethics of Visuality appears on the key strategies of Levinas’s paintings and articulates his imaginative and prescient of ‘Otherness’ including the visible tropes of the Human Face as symbolic of alterity and transcendence.
Where different severe ways have principally undermined Levinas’s ambivalence in the direction of the visible, The Ethics of Visuality uncovers the relevance of Levinas’s bias opposed to the visible, and makes position for a philosophy of the significance of the human face to moral dwelling the modern international.
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