"Todo hace el amor con el silencio" en el ICA de Londres

"Todo hace el amor con el silencio" se proyecta el 16 de agosto de 2015 en el Institute of Contemporary Arts de Londres, dentro del marco del PoetryFilm Parallax, comisariado por Zata Banks.

Parallax is the apparent displacement —or difference in the apparent position— of a visual object, when viewed along different lines of sight. In his book Transcritique, the Japanese philosopher Kojin Karatani uses the word ‘parallax’ to describe Kant’s shifting between contradictory perspectives. Kant’sAntinomies of Reason are contradictory propositions, which seem valid from their own perspectives, but which cannot be simultaneously true. Kant argues alternately from one perspective, then from the other, and Karatani describes Kant’s approach as establishing a parallax between philosophical positions. Karatani asserts that parallax does not equate with negativity, but it does not negate negativity either. The basis of parallax is the positivity of both positions.

Slavoj Žižek argues that in Karatani’s concept of the parallax view, the observed difference is not simply subjective, but that the viewer’s change in perspective reflects an ontological shift in the object itself:

“the subject's gaze is always-already inscribed into the perceived object itself, in the guise of its ‘blind spot’, that which is ‘in the object more than the object itself’, the point from which the object itself returns the gaze” (Žižek, The Parallax View, 2006).

“Sure, the picture is in my eye, but me, I am also in the picture” (Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, 1979).