Narrative, Power and the Public
Recently, a colleague suggested to me that we should stop talking about the different types of knowing and admit, or even emphatically argue, that in art we are dealing with something that is “otherwise than knowing.” This remark shed light on an issue that was partly clouded and partly lit: why is it important to so many that art remain art, and why are so many interested in doing research that is based on artistic activity and that takes seriously art’s own way of operating, its manifestations and methods of conveying something to others, either through whispers, screams or discussions? If we approach the issue from the point of view of the critique of knowledge, it is certain that the concentration on knowledge according to the programme of the Enlightenment has, to a certain extent, clarified, simplified and crystallised our view of how everything works. At the same time, it has removed from our vision a great number of phenomena, only because they cannot, for some reason, be introduced as objects of knowledge or as their part, as our view of knowledge is exclusive and restrictive. Exclusiveness and restrictiveness are what have given knowledge its special power: claims that cannot be either falsified or proven coherent with something that is certainly known do not qualify as knowledge. We know from music that certain sounds are not in themselves discernible or meaningful, but their absence from among the other sounds would make these sounds dull. This image could be used to...
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