By John Baldacchino (auth.), John Baldacchino (eds.)
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Additional info for Art’s Way Out: Exit Pedagogy and the Cultural Condition
Ibid. pp. 77–78) This is the futurists’ ambition: to achieve for the arts a simultaneity by which time is grasped in its essence as durée, and where the whole is grasped not gradually and therefore in a relative way, but as Bergson suggests in its simple and therefore absolute way: at one go in intuition. (1992, p. 59) This is also the kind of childhood that Modernism sought to restore in terms of forgetting about the past and seeing the future. Not unlike Busoni, Boccioni and Carrà wanted to take the weights off the arts and see them float on air.
162). To be placed requires an ability to be there. What is there is not merely found. Nether is it simply, or naturally, learnt. This is where we start to operate on enigmatic rules. De Chirico and Carrà’s narratives do not allow us to rely on assumed theories of knowledge or learning. They request and prompt interpretation through the aporetic grounds of the enigma. Nothing is accepted or assumed as knowledge by being simply there. Perhaps unlike philosophical notions of metaphysics, metaphysical art claims the 34 CHILDHOOD’S GRAMMAR right to take on the enigma as the givenness of truth, and by its familiar whereabouts we find our way into it by exiting what is normally expected of it.
This relates to the limits within which we assume, narrate or even declare truth. Such limits cannot afford to become formulaic. Here the metaphysical and the pragmatic come to signify each other in curious ways. What is defined as metaphysical must be read from how we choose to understand the world as a repository of things—as pragmata—of which we constantly try to make sense. By saying that the world is a repository of things, one means that the world is all we have and all that we know. In other words, the world is every thing.