The inexhaustible wealth of appearance, information and specificity


When perceiving an object, for example a chair, the statement “this is X” (this is a chair) is almost entirely uninteresting. The concept by which we identify the object is a mere word, and in a sense entirely devoid of meaning.

That concept does help us align this object with other entities in space and time. It sets expectations about what has been done and what can be done to and with it, and it links the object to social practices. But none of these things are very interesting. After all, we understand quite well what society expects from chairs.

What is more interesting is all the other statements we could make about a particular chair, that is, all the qualities, information, phenomena and experiences that do not fit the general concept of a chair. Call this the chair’s particularity. It may be unusually sturdy or rickety. It may evoke a sense of sorrow or longing for a person who used to sit on it. It may make us think about economics. Its shape may even have something spiritual about it. It may, if it is a chair in an abandoned house, be decomposing. And even this is just scratching the surface.

In all likelihood, we are able to produce an unbounded number of interesting statements about this locus that is the chair. (Recall the famous school assignment about writing a story several hundred words long about the face of a coin.) And this would hold true both when we speak freely, metaphorically and poetically, and when we restrict ourselves to testable, scientific (in the modern sense) statements. New metaphors can always be invented, new scientific equipment may always be constructed. These additional modes of relatedness to the locus provide, perhaps, the basis for new statements.

How are we to understand this fundamental overflowing, this exuberant blossoming, the profound potential wealth that we draw upon and realise when we articulate statements about an entity such as this chair? It is not part of the concept “chair”. This concept is overlaid as an afterthought in order to make the surplus of impressions manageable and graspable. We are used to economising the use of our consciousness, dispensing it only sparingly, through the shielding, buffering and deflection that concepts afford us.

For Heidegger, being is the basis of intelligibility, a carrier of meaning. Language and intelligibility exists only on the basis of primordial being. He makes it his task to inquire as to what this being is.

For Georges Bataille, all activity that involves redistribution of energy, human and otherwise, accumulates a surplus that necessarily must be released in some way.

Myths and archetypes repeat themselves throughout history and society, in constantly renewed forms which are both always the same and always made from different specific constitutent parts. They can always be repeated in a different way. The hero myth exists in every culture (see for example Jung or Campbell). Conversely, this myth in all its specific detail is always different each time it appears.

In difference and repetition, Deleuze argues that conceptual machinery is constantly at work, extracting difference from whatever the underlying basis is.

Genetic material successfully reproduces and preserves itself, and perhaps prospers, only through the continual introduction of difference and variation at an appropriate rate.

The digital world, on the other hand, denies the possibility of generating an unbounded number of statements from some entity (such as a record in a database). In fact, its essence is the possibility of perfect copying, which happens only when the information being carried is strictly circumscribed and limited.

All these concepts, it seems, have something in common – the interaction between a specific form and the possibility of an infinite number of variations of and departures from that form.

Comments 3