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Want to rate or add this item to a list? Not a member? We all need to live for something greater than ourselves—be it God, our children, our com- munity, our country, or some lofty ideology.
Art today suggests that life itself, all the living creatures and the earth they roam, is the greatest thing we can live for and that all other gods are false idols. Putting things this way allows us to enter a con- versation with other believers and offers a common ground on which we can meet and debate. We all believe in something, and it is important to spell this out for ourselves. This is part of the age-old task of knowing ourselves and raising the question of how we live in the present.
Placing religion and art, politics and economics on the same conversa- tional plane is already a contemporizing act. It demands the conditions of free and equal discussion, while recognizing that these ideals are never fully achieved and that many people are historically and systematically excluded from such conversations.
Moreover, different convictions may be in real conflict and may resist convergence. We may need to train our ear to listen to discordant polyphonies, which differ from the old Elizabethan harmonies. You can hear these discordant voices in the marketplace in Jerusalem and throughout the city. The sounds of Jerusalem reverberate and create an audible layering of Christian bells, the Muslim Muezzin, and the Jewish prayers.
Learning to hear this, educating our senses to accept and enjoy our joint works of art might prepare the conditions for a con- temporary discussion. Venice is a historic city, haunted by the ghosts of its past that hide in every corner and usually creep out at night, when the hoards of tourists go to bed.
It is also the site of one of the most influential exhibitions of art and architecture in the world—the Venice Biennale. For the most part, the Biennale seems unimportant to the residents of the city, apart from the commercial activity that it generates. The mix of city and art in Venice is, however, radically different from that of Jerusalem. Old Venice is dead, its institutions and churches, its piazzas and streets are now museums; meanwhile, Jerusalem is bursting with life, its ancient sites are contested political, religious, and cultural territories where all con- tenders set up shop and rub shoulders.
Venice is a city frozen in time, no longer sustaining different forms of life. It is therefore the place where contemporary art celebrates itself against the backdrop of previous times, which visitors experience as beau- tiful ruins.
Jerusalem pulses with life, sometimes violently; it is not the eternal city, projecting calm and stable order, but a chronopolis, where different times coexist and contest each other continuously. By contrast, walking in Venice at night is an experience of being out of tune with the time. Channels of Communication Contemporaneity is intensely interested in the now.
So much so that time itself seems to fracture into a series of discontinuous moments of present intensities. Nudities, Stanford: Stanford University Press. BRAND process. It is a mirror of its times. In the best cases, it can introduce a criti- cal wedge—transforming the present into a vehicle for traveling between times.
Like our cities, we too are temporally folded, and our prehistory lives in us like fossils of bygone periods. We too need to create channels of communication within ourselves, recognizing our inner fissures and con- flicts. In other words, we need to experience ourselves as ongoing creations. Benjamin, so finely attuned to the darkness of his times, noticed and anticipated the fragmentation of time which began in early modernity but achieved its apotheosis in the contemporary.
Famously, he related the destruction of continuous experience with the aftermath of the First World War. In a long, heartfelt paragraph, which appears in two of his essays, he wrote: No, this much is clear: experience has fallen in value, amid a generation which from to had to experience some of the most monstrous events in the history of the world. Perhaps this is less remarkable than it appears. Not richer but poorer in communicable experience?
A generation that had gone to school in horse-drawn streetcars now stood in the open air, amid a landscape in which nothing was the same except the clouds and, at its center, in a force field of destructive torrents and explosions, the tiny, fragile human body.
Benjamin linked communicability to the passing of time, to history, and to tradition. The soldiers came back to a world where they no longer belonged.
Their experiences were incommunicable with their new reality, and thus, they were cut off from their times, as if stranded amidst the memories of the war. Selected writings, vol. As he described in Beyond the Pleasure Principle, returning soldiers experienced recurring memories that haunted them and forced them to relive experiences again and again, as though they could not detach themselves from the past.
He was thus forced to assume that there must be something beyond the pleasure principle. At times, Freud called it the death drive, a compulsion to return to an inorganic state or to decompose, in contrast with eros, that which binds us together. At other times, he rejected this dualism as mythic and considered the rep- etitions as defying explanation. His attempt to reconcile these forces serves as the basis of our modern theory of trauma. This encoun- ter, induced in a controlled setting, has the effect of contemporizing the psyche.
To suffer from trauma is to lose the inner thread that weaves our lives together internally as well as socially, through language, history, and culture. Creating channels of communication between past and present is therefore the way out of repetitive structures of psychic formations and the stagnation of our social and cultural forms of living. We can compare the act of contemporizing to the art of storytelling.
Both aspire to weave together differences, not to create a final unity but rather to continually collect and rearrange experiences and forms of life. Beyond the pleasure principle, 11— New York: W. Norton and Company. Meeting people who can tell a proper story is becoming very rare. Often embarrassment spreads when in a group of people someone asks for a story. As if a certain power or faculty has been taken away; one that we thought cannot pass; one that we took for granted— it is the ability to make others share in experience.
Benjamin distin- guished storytelling from the development of the modern novel. Storytelling is born out of the texture of a common life, whereas the novel is born out of the solitary individual. One who listens to a story is part of a community, whereas the modern reader is isolated. Reading a novel gives an experience to a single reader, while storytelling is an ongoing activity of weaving narratives and passing them on across time and people. In fact, according to Benjamin, the value of storytelling consists of the very act of retelling because it supports the transmission of culture and life as well as the continuation of history.
According to Benjamin, industrialization and mechanization have pro- duced new ways of living that contradict the continuous aspect of experi- ence. This new way of life lacks temporal duration; it flashes in disconnected instances. Without duration and a sense of history, we are left with a present that is as unique as it is empty and anonymous. This shrinking of existential time to a series of present moments is a form of violence.
Hence, Benjamin described modern life as a series of shocks or as an extended trauma. The modern fragmentation of history leaves us without experience in the literal sense of the word of going through para and out ex : our experience of time does not build traditions or community over the long term.
Contemporary art is precisely the attempt to make different experi- ences communicable across temporal, spatial, and cultural divides—that is, to bring them back to life by reconnecting them with the whole person or the community.
The storyteller Cambridge: Harvard University Press, translation amended. The Art of Living Art, or life as art, allows us to be more attentive to time in two ways: the way time feels immanently from within and the peculiar moments that reveal time as a way of structuring our collective experiences. But pushing temporal forms to their limits—speeding or slowing time, repeating episodes, creating or revealing fissures in time or clashes between different forms of time—makes the very structure of life available for scrutiny, if only for a moment.
There is no outside time, but there are forms of radicalizing time. Contemporary art, as an act of con- temporizing life, is the site of such radicalization. His work teaches us to notice the ways that history and culture work within us, sometimes without our conscious awareness. Tino Sehgal provides another alternative that weaves stories spanning from childhood through adolescence, adulthood to maturity.
Contemporary art becomes the vehicle through which we chan- nel and experience life. Art is concrete proof that we can travel in time. It reveals this ability through our experiences. With cave art, I can travel to our prehistory and feel how it felt to be living back then. With stories and images, I can be transported immediately and viscerally to strange new places and into the minds and hearts of distant people who lived then and there.
Art taps into the weave of life which extends in all directions.
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