By Giorgio Agamben
Il fuoco e il racconto, Rome: Nottetempo, 2014.
trans.
the fireplace and the story, trans. Lorenzo Chiesa, Stanford, California: Stanford UP, 2017, ARG. (English)
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Example text
In an important book, Simondon wrote that man is, as it were, a two-phase being, which results from the dialectic between a non-individuated part and an individual and personal part. The pre-individual is not a chronological past that, at a certain point, is realized and resolved in the individual: it coexists with it and remains irreducible to it. In this perspective, it is possible to think the act of creation as a complicated dialectic between an impersonal element that precedes and overcomes the individual subject and a personal element that obstinately resists it.
We then understand the essential function that the tradition of Western philosophy has ascribed to contemplative life and inoperativity: the true human praxis is that which, rendering inoperative the specific works and functions of the living being, makes them, so to speak, run around in circles and, in this way, opens them as possibilities. ” Politics and art are neither tasks nor simply “works”: they rather name the dimension in which linguistic and bodily operations—material What Is the Act of Creation?
When medieval theologians had to explain the creation of the world, they drew on an example that had already been given by the Stoics. Thomas Aquinas writes that just as a house preexists in the mind of the architect, so, too, did God create the world looking at the model he had in his mind. Naturally, Thomas still distinguished between creare ex nihilo, which defined divine creation, and facere de materia, which defined human deeds. At any rate, the comparison between the act of the architect and that of God already contains the seed of the transposition of the paradigm of creation onto the activity of the artist.