Best 6 quotes of Akira Mizuta Lippit on MyQuotes

A shadow archive and an archive of shadows, the literary architectonic demands a resistance to excessive illumination.

Borges's extreme architecture attempts to visualize the universe by assigning to every object real and unreal, now and yet to come, a code or sign, a corresponding figure within the Library. It seeks to render totality visible, to effect a total visibility and visuality. The Library of Babel is a view of the universe inside and out, an X-ray of the universe and universal X-ray, seen from within and without. It is a representation of everywhere: a perfect duplication of the universe. And of you: universal. An endless and eternal cinema, an imaginary archive that extends into the universe until it is indistinguishable from it, until you are indistinguishable from the universe.

Film does not replace language, for it cannot exist without it. Film displaces language, exposes the abyss that threatens to engulf every semantic signification. Film parasitizes language, much as the animal does, drawing into its imaginary panorama that which remains undisclosed in discursivity. Cinema is a parasite.

For Freud, the semiotic trajectory of the dreamwork determines a phantom architectonics: a cartography of nowhere, an architecture of nothing (or the unconscious), and an archaeology of imaginary depth that always takes place on the surface. As a practice and sensibility, psychoanalysis remains attuned to superficiality; it constitutes a search for depth on the surface of things.

For Merleau-Ponty, the phenomenology of the human body, the very phenomenon of the human body, is intimately linked to "the problems of painting": "Things have an internal equivalent in me; they arouse in me a carnal formula of their presence. Why shouldn't these [correspondences] in turn give rise to some [external] visible shape in which anyone else would recognize those motifs which support his own inspection of the world?" Painting brings forth a carnal visuality, an embodied and incarnate image, by establishing the internal equivalent ("in me") of the outside world, which is made of the "same stuff." I am an extension of the world, but the world extends, intensifies, forms a "line of intensity," to use Gilles Deleuze's idiom, inside me. The world forms a "strange system of exchanges" with me; I am constituted in an exchange with the world. Painting makes this continuity visible, is itself the visualization of this continuity, of this blending of the inside and out. Images—"designs" and "paintings"—says Merleau-Ponty, are "the inside of the outside and the outside of the inside, which the duplicity of feeling makes possible and without which we would never understand the quasi presence and imminent visibility which make up the whole problem of the imaginary.

Merleau-Ponty's painting inhabits the same rhetoric as early cinema: it makes the invisible visible, or rather it makes visibility visible; it forms from the thresholds of the visible and invisible world, an order, mode, or aesthetic of visuality. Not only of the small or fast, but of visibility as such. The visuality of the visible and the invisible is found in the mixture of the body and its world, of your body and your world, all your worlds, all your bodies in this world and all those others. Painting is the process by which the visuality of the visible and invisible is made manifest: "Painting mixes up all our categories in laying out its oneiric universe of carnal essences, of effective likenesses, of mute meanings." Each painting is a universal archive, a picture of the universe, a universal image—and like a dream.