Preview Editorial
Inscriptions –contemporary thinking on art, philosophy and psycho-analysis– https://inscriptions.tankebanen.no/ Title: Editorial Author: Inscriptions Section: Editorial © Copyright 2022 Inscriptions. Correspondence: Inscriptions, e: [email protected]. Received: 5 January, 2022. Accepted: 10 January, 2022. Published: 15 January, 2022. How to cite: Inscriptions. Editorial. Inscriptions 5, no. 1 (January 2022): 7-8. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner(s) are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms. Editorial It is with trepidation and joy we begin to cir- Inscriptions in galleries at our sister site ereig- culate this fifth volume of Inscriptions. What nis.no/ we have come to recognise the advan- started as a small project, well hidden in tages of online galleries: they enable a wider the more obscure corners of contemporary rangeofformats(videos,audiofiles,GIFs,etc.), thought, has grown to something quite dif- and they can be maintained with greater ease, ferent: as our readership is growing, so are and in a way that is much more conducive to our demands of ourselves and the journal we a proper display of artworks than a scholarly make, which in turn generates interest from a journal can ever do. widening circle of thinkers, writers, and schol- Our second consideration has been a desire ars. Thisissueisspecial; itisdevotedto“Being to pool our resources to enable us to make the andEvent”,thetopicofaconferencehostedby best scholarly journal possible. While this led Ereignis Center for Philosophy and the Arts to some soul-searching we decided to concen- in June last year. Many essays in this issue are trate our efforts on scholarship, albeit with our reworked versions of papers presented there, ownparticularangle: beginningwiththisissue andhavebenefitedfromscholarlydialogueini- weincludecreativecriticismasanewcategory tiatedatthatevent. Inallcasesessayspublished of scholarly articles, and while these texts will by Inscriptions are subject to double-blind re- besubmittedtothesamerigorousdouble-blind view by two external peers. review as other texts we encourage authors to Westandbyourfoundingprinciples,contin- submit articles that challenge the traditional uing to insist on scholastic rigour and quality scholastic format: we look for texts that ex- in everything we publish. Nevertheless, those plicitly reflect on methods and practices, in- who undertake a project such as ours, partly cluding lyrical and personal reflections. While experimental and wholly entertained outside we will continue to pursue our interest in the institutional and corporate sedimented struc- arts, and also to publish artworks in this jour- tures, will encounter situations that strongly nalwhenappropriate,aswellasinthegalleries compel them to modify their path. The obser- at ereignis.no/, we believe that our reformu- vant reader will already have noticed that this lated editorial policies will prepare the ground issuedoesnotincludeasectiononarts. Ourde- for a better, stronger, and more focussed effort cisionnottoincludeartworksinaseparatesec- in an emerging area of scholarly open access tion is due to two considerations. First, while publishing. we have been delighted with the artworks we Our current issue stands as an example of had published thus far we have come to recog- what can be achieved with this kind of ap- nisethatourformatseverelyrestrictsthekinds proach. We’redelightedtobring tothereader of art we can disseminate and the quality by ten essays that develop the notions being and which we are able to reproduce them. At this event (Ereignis) so as to give readers a fuller, time Inscriptions is limited to PDFs: images we more complex understanding of these inter- publish must therefore have fixed size and fit esting terms. David Ritchie’s contribution, a within the A4 format. This really is a tech- fineexampleofcreativecriticism,isaprofound, nologically superfluous requirement. As we accessible, and at times witty reconsideration have continued to publish the artworks from of the topology of events. His text revolves January 2022 – Volume 5 7 around the ways in which our inherited no- JamesBahohandAndrewJornbothengage tions of social events seem to rely on hierarchi- the notion of authenticity in their approach cal, top-down relations, while we in our time to the event. What is an authentic event, and increasingly hear calls for bottom-up, or flat, how can it be distinguished from its inauthen- topographies. Willweneedtoreformulateour tic other? Bahoh approaches the event as an concepts in the face of these demands? Con- elemental, pre-personal ground of selfhood. versely, Dror Pimentel strictly limits the event He argues that since the authentic and inau- to denote a meeting in art: art, he suggests, is thenticareinextricablyentwined, authenticity an event of hospitality to the radical other. In is essentially about recognising this mutual de- a perceptive analysis of Rilke’s poem “Archaic pendency. Andrew Jorn goes further to claim Torso of Apollo” Pimentel demonstrates how that we should dispel the notion, or fantasy, of the statue’s call for the viewer to change his authentic events as those in which we achieve life does not emanate from the regulative or- some kind of reunification with Being. In- der but from the outside of this order itself, a stead, he argues, the authentic is precisely the radicaloutsidethatmakesademandonourhos- transversal of such fantasies. pitality and understanding. Jørgen Veisland While all contributions to this issue have a shows how the terms appropriation and event, singularapproachtobeingandeventwhatthey or Ereignis, are names for a relation of time to demonstrate together and each on their own Being, where Being is given expression as an is an acute attentiveness to decisive moments indeterminatepositivedifference, whileAaron an the analysis of the event. We would like Kulak reads the 19th century Danish philoso- these contributions to be but the beginning of pher Søren Kierkegaard such that creation is a new kind of thinking about events: attentive, the event in which the Biblical command of incisive, and rigorous. love is given expression. © Copyright 2022 Inscriptions. Correspondence: Inscriptions, e: [email protected]. How to cite: Inscriptions. Editorial. Inscriptions 5, no. 1 (January 2022): 7-8. 8 January 2022 – Volume 5
The list of books you might like
