By Hagi Kenaan
Our global is saturated with photos. photos multiply round us, having reached the prestige of primarily reproducible commodities. crushed by means of this proliferation of visible stimuli, our gaze turns into more and more bored and distracted. can we ever particularly learn and have interaction with photographs? Can they ever give you the experience of meaningfulness we crave?
French Jewish thinker Emmanuel Levinas faced and subverted those questions. A superficial interpreting of his works may point out an ambivalence if no longer an out-and-out hostility in the direction of the realm of pictures; he objected to the medium’s finite, flat personality and, extra accurately, to its lack of ability to exhibit which means in any respect. but an enigmatic assertion: “Ethics are optics” recurred all through his paintings. Hagi Kenaan takes this mysterious notion because the start line for a strikingly unique philosophical argument at the position of visuality in Levinas’s ethics. The Ethics of Visuality seems to be on the key ideas 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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