“What cannot be described should be inscribed into the artistic form as its uncanny distortion.”

Source: Less Than Nothing (2012), Chapter One (The Drink Before), Vacillating The Semblances
Context: The horror of the Holocaust cannot be represented; but this excess of represented content over its aesthetic representation has to infect the aesthetic form itself. What cannot be described should be inscribed into the artistic form as its uncanny distortion.

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Slavoj Žižek 99
Slovene philosopher 1949

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“All these names and forms are illusory, like a dream. What Brahman is cannot be described.”

Ramakrishna (1836–1886) Indian mystic and religious preacher

Source: The Gospel of Sri Ramakrishna (1942), p. 132
Context: He who is called Brahman by the jnanis is known as Atman by the yogis and as Bhagavan by the bhaktas. The same brahmin is called priest, when worshipping in the temple, and cook, when preparing a meal in the kitchen. The jnani, following the path of knowledge, always reason about the Reality saying, "not this, not this." Brahman is neither "this" nor "that"; It is neither the universe nor its living beings. Reasoning in this way, the mind becomes steady. Finally it disappears and the aspirant goes into samadhi. This is the Knowledge of Brahman. It is the unwavering conviction of the jnani that Brahman alone is real and the world is illusory. All these names and forms are illusory, like a dream. What Brahman is cannot be described. One cannot even say that Brahman is a Person. This is the opinion of the jnanis, the followers of Vedanta. But the bhaktas accept all the states of consciousness. They take the waking state to be real also. They don't think the world to be illusory, like a dream. They say that the universe is a manifestation of the God's power and glory. God has created all these — sky, stars, moon, sun, mountains, ocean, men, animals. They constitute His glory. He is within us, in our hearts. Again, He is outside. The most advanced devotees say that He Himself has become all this — the 24 cosmic principles, the universe, and all living beings. The devotee of God wants to eat sugar, and not become sugar. (All laugh.) Do you know how a lover of God feels? His attitude is: "O God, Thou art the Master, and I am Thy servant. Thou art the Mother, and I Thy child." Or again: "Thou art my Father and Mother. Thou art the Whole, and I am a part." He does not like to say, "I am Brahman." They yogi seeks to realize the Paramatman, the Supreme Soul. His ideal is the union of the embodied soul and the Supreme Soul. He withdraws his mind from sense objects and tries to concentrate on the Paramatman. Therefore, during the first stage of his spiritual discipline, he retires into solitude and with undivided attention practices meditation in a fixed posture.
But the reality is one and the same; the difference is only in name. He who is Brahman is verily Atman, and again, He is the Bhagavan. He is Brahman to the followers of the path of knowledge, Paramatman to the yogis, and Bhagavan to the lovers of God.

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“Orthodoxy is that form of Christianity which suffered the least distortion in its substance as a result of human history.”

Nikolai Berdyaev (1874–1948) Russian philosopher

"The Truth of Orthodoxy" as translated in Vestnik of the Russian West European Patriarchal Exarchate (1952) http://www.kosovo.net/ortruth.html
Context: The Christian world doesn't know Orthodoxy too well. It only knows the external and for the most part, the negative features of the Orthodox Church and not the inner spiritual treasure. Orthodoxy was locked inside itself, it did not have the spirit of proselytism and did not reveal itself to the world. For the longest time, Orthodoxy did not have such world-wide significance as did Catholicism and Protestantism. It remained apart form passionate religious battles for hundreds of years, for centuries it lived under the protection of large empires (Byzantium and Russia), and preserved its eternal truth from the destructive processes of world history. It is characteristic of Orthodoxy's religious nature that it was not sufficiently actualized nor exposed externally, it was not militant, and precisely because of this the heavenly truth of Christian revelation was not distorted so much. Orthodoxy is that form of Christianity which suffered the least distortion in its substance as a result of human history. The Orthodox Church had its moments of historical sin, for the most part in connection with its external dependence on the State, but the Church's teaching, her inner spiritual path was not subject to distortion. The Orthodox Church is primarily the Church of tradition, in contrast to the Catholic Church, which is the Church of authority, and to the Protestant Churches which are essentially churches of individual faith. The Orthodox Church was never subject to a single externally authoritarian organization and it unshakenly was held together by the strength of internal tradition and not by any external authority. Out of all forms of Christianity it is the Orthodox Church which remained more closely tied to early Christianity.

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“To describe externals, you become a scientist. To describe experience, you become an artist.”

Timothy Leary (1920–1996) American psychologist

Changing My Mind, Among Others : Lifetime Writings (1982), p. 76; also in Change Your Brain (2000), p. 72
Context: To describe externals, you become a scientist. To describe experience, you become an artist. The old distinction between artists and scientists must vanish. Every time we teach a child correct usage of an external symbol, we must spend as much time teaching him how to fission and reassemble external grammar to communicate the internal. The training of artists and creative performers can be a straightforward, almost mechanical process. When you teach someone how to perform creatively (ie, associate dead symbols in new combinations), you expand his potential for experiencing more widely and richly.

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“The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words.”

Ursula K. Le Guin (1929–2018) American writer

Introduction to The Left Hand of Darkness (1976)
Context: The artist deals in what cannot be said in words. The artist whose medium is fiction does this in words. The novelist says in words what cannot be said in words.

Alex Miller photo

“The merging of different motif areas in her drawings and the transformation of spacial relationships into flat correspondences gathers towards a distortion of depicted reality and the dissolution of its phenomenal form.”

I didn't try to reach the sense of this. I understood the point of it was to transpose the locus of authority from the works to the discussion of the works. The writer had assumed the role of validating authority for the images he discussed. In order to do this he had been required to transform what he saw with his eyes into ideologies that he could 'see' with his intellect.
Page 18.
The Ancestor Game (1992)

Ramakrishna photo

“God now and then assumes various forms for His lovers and reveals Himself to them as a Person. But with the rising of the sun of Knowledge, the blocks of ice melt. Then one doesn't feel any more that God is a Person, nor does one see God's forms. What He is cannot be described.”

Ramakrishna (1836–1886) Indian mystic and religious preacher

Source: The Gospel of Sri Ramakrishna (1942), p. 148
Context: Think of Brahman, Existence-Knowledge-Bliss Absolute, as a shoreless ocean. Through the cooling influence, as it were, of the bhakta's love, the water has frozen at places into blocks of ice. In other words, God now and then assumes various forms for His lovers and reveals Himself to them as a Person. But with the rising of the sun of Knowledge, the blocks of ice melt. Then one doesn't feel any more that God is a Person, nor does one see God's forms. What He is cannot be described. Who will describe Him? He who would do so disappears. He cannot find his "I" any more.

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“A form must be of its own time if it is to be recognized: one cannot relate to what one is not or does not have – Thus all that is of the past is to be rejected.”

Piet Mondrian (1872–1944) Peintre Néerlandais

quote in one of Mondrian's Paris' sketchbooks; as cited in Two Mondrian sketchbooks 1912 - 1914, ed. Robert P. Welsh & J. M. Joosten, Amsterdam 1969 op. cit. (note 31), p. 44
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