Skill, Practice, Performance
Edited By András Benedek and Kristof Nyiri
An Education of Attention:The Perception of Change in Bergson and Performance. Laura Cull
138 John Mullarkey exists, and is best demonstrated, on-screen, and cannot be relayed in words, nor even in captured still images. To say the unsayable comes on pain of contra- diction: what we can’t say, we can’t say. And we can’t whistle it either, at least according to Frank Ramsey’s famous resaying of Wittgenstein’s final remark on ineffability in the Tractatus Logico-Philosophicus. But ineffability in toto is something other than this – ostensive gesture – being totally unsayable. In other words, there are different ways of saying/not-saying, rather than total ineffability – and even “representation” may only be another kind of suggestion, another form of gesture.30 For what if x is not “directly” said because it cannot be shown with those words, but only “directed”, or indexed, with images, with words acting as images, being read through what they say rather than about what they say? Bazin can demonstrate himself. Bazin’s favoured films can show them- selves. What we do here, with words, is point the reader-cum-viewer to where he or she can be shown something rather than nothing. 30 That is, it could be that representing embodiment may well be another kind of embodi- ment (another kind of showing), and an action of another kind, that is, at another level of corporeality (or speed or tension) awaiting incorporation (“showing”) “here and now” in this placement and its level/speed/tension. An Education of Attention: The Perception of Change in Bergson and Performance Laura Cull Introduction A number of thinkers across the disciplines have referred...
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