Exploring Augustine's Confessions as far more than autobiography, more than an elaboration and admission of guilt, more so than a chronicle and more precisely as the very act of coming into the truth in his heart, in front of God, in his confession, and in his public writings. His Confessions charts his becoming a witness to his self-witnessing, as his matter of testimony. Confession becomes an onto-existential practice. But, what is the mode or nature of the type of confession at (...) work when confession becomes ontological? Using Heidegger, the paper hinges on two poetic instances, one in Confessions, one in Being and Time, to develop an idea of ontology as testimony when being is a diligent witness to Being. It is confession as an admission of guilt insofar as being seeks absolution of its presumptions of being as a genus, as indefinable, and as the most self-evident concept, and being then acknowledges the question of Being. This acknowledgement of the obligation of the question is, then, a confession as a public declaration of faith, of the openness to question. The ontological project, for Heidegger, is then confession and testimony perhaps more fundamentally than Augustine’s Confessions, whose autobiographical detail and positing of the self as a relation to God must carefully elaborate itself so as not to be guilty of the offense of metaphysics. (shrink)

The cinematographic successes of Craig Brewer’s Black Snake Moan and Lars Von Trier's Manderlay are contingent upon the palpability of tension and attraction created by their respective, many racial and sexual relations, thus both films aggressively bring them to the fore by excessively rehearsing old stereotypes and taboos, and inverting the expected agents therein, to reveal their persistent, still-relevant power. Both films similarly test our convictions and squeamishness, but do so from entirely different moral stances. Brewer explores how an act (...) of charity and humanitarian openness can save lives, literally and spiritually. Von Trier explores how similar acts of openness can smother appreciation of the other and reenact the worst oppression. The former tells a persuasive story with wide appeal, while the latter tells a story that will make even the most desensitized viewers cringe. Using these pictures as paradigms, is either approach better for bringing prejudice into the light for thought and film? (shrink)

Neither art criticism nor a scholar’s monograph on an artist, Jean-François Lyotard’s Sam Francis: Lesson of Darkness: ‘like the paintings of a blind man’ is a reflection that engages both the painter and 43 of his works into a conversation alternating painting and aphoristic writing. Their order follows neither the chronology of the works nor a linear argument in the prose. And yet, the work generates the strongest feeling of there being a continuity in this peculiar dialogue of pictures and (...) poeticism, a continuity not clearly presented by logic, but one concerning what remains unpresented in presentation. The conversation is revelatory of their shared concerns with the energetic force of absence and is fascinating. (shrink)