MARC Record from marc_columbia

LEADER: 03432cam a2200541 i 4500
001 14367181
005 20191211104548.0
008 191026t20192019sz a b 000 0deng d
010 $a 2019438808
035 $a(OCoLC)on1107210812
040 $aL2U$beng$erda$cDLC$dOCLCO$dNNC
019 $a1076803088
020 $a9783035801446$q(paperback)
020 $a3035801444$q(paperback)
035 $a(OCoLC)1107210812$z(OCoLC)1076803088
042 $alccopycat
050 00 $aNB553.S65$bL48 2019
082 04 $a730.92$223
049 $aZCUA
100 1 $aLévinas, Emmanuel,$eauthor,$einterviewer.
245 10 $aOn obliteration :$ban interview with Françoise Armengaud concerning the work of Sacha Sosno /$cEmmanuel Levinas ; translated by Richard Cohen ; with a foreword by Johannes Bennke ; with an epilogue by Dieter Mersch ; translated by Brian Alkire.
246 30 $aEmmanuel Levinas :$bon obliteration
250 $aFirst edition.
264 1 $aZürich :$bDiaphanes,$c[2019]
264 4 $c©2019
300 $a80 pages :$b25 black and white illustrations ;$c20 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aThink art
504 $aIncludes bibliographical references.
520 $aEmmanuel Levinas defines obliteration as a central concept with which to think about art. The interview with Françoise Armengaud is one of Levinas' rare statements focusing on the fine arts. Levinas has become influential in various disciplines through his ethics, which he thinks decisively from the face of the other. Yet his reflections on aesthetics are rarely engaged with, and when questions are asked about the face in art--and thus about the interrelationship of ethics and aesthetics--the main focus has been on his comments on literature. In this interview Levinas talks about the work of the French sculptor Sacha Sosno, and the complex relationship between ethics and aesthetics becomes no longer aligned with the face and language, but with iconic thinking and artistic operations and practices. Levinas understands obliteration as an 'unavailable,' an uncanny, disruptive concept. In doing so, he turns away from the "ease and lighthearted casualness of the beautiful" and to the processes of material wear and tear and the traces of their repair. He affirms these for their creative potential in developing a uniqueness of presence.The interview is supplemented by photographs by André Villers of Sosno's works, a foreword by Johannes Bennke and an epilogue by Dieter Mersch.
600 10 $aSosno, Sacha$xCriticism and interpretation.
650 0 $aArt$xPhilosophy.
650 0 $aArt and philosophy.
600 17 $aSosno, Sacha.$2fast$0(OCoLC)fst00321342
650 7 $aArt and philosophy.$2fast$0(OCoLC)fst00815419
650 7 $aArt$xPhilosophy.$2fast$0(OCoLC)fst00815307
650 7 $a20.06 philosophy of art.$2nbc$0(NL-LeOCL)077593707
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aArmengaud, Françoise,$d1942-$einterviewee.
700 1 $aCohen, Richard,$etranslator.
700 1 $aBennke, Johannes,$ewriter of foreword.
700 1 $aMersch, Dieter,$d1951-$ewriter of afterword.
700 1 $aAlkire, Brian,$etranslator.
700 12 $aSosno, Sacha.$tSculptures.$kSelections.
830 0 $aThink art (Zurich, Switzerland)
852 00 $boff,ave$hNB553.S65$iL48 2019g