Maart 2013: jaargang 10, nommer 1 - LitNet

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LitNet Akademies Jaargang 10 (1), Maart 2013 In ’n onlangse onderhoud neem Virilio sy tese nog ’n stap verder deur te verklaar dat in die 21ste eeu nie nét historisiteit versnel word nie, maar dat die realiteit op sigself versnel. Dit beteken dat die geskiedenis ’n blote ongeluk word en die gebeure nie meer na ’n referent verwys nie, maar bloot handel oor die oombliklike ter wille van die oombliklike: “Instantaneity has supplanted Eternity” (Virilio 2012:62). Daar is dus geen meer bewonderenswaardige persone of helde wat groot dade verrig nie, en ook geen genie meer wat grootse werke kan skep nie. Inteendeel, daar is selfs geen celebrities meer om te bewonder nie, want selfs dié sfeer het versnel en vervlak tot blote celebration. In dié verband haal Virilio ’n deelnemer van ’n onlangse realiteitsprogram aan: Let me remind you of what a young man said on a reality TV show. He was asked what he wanted to do in the future. His response was: “I want to do celebrity.” He didn’t want to become a Picasso, a Shakespeare, or a Godard. He wanted to “do celebrity”. And he had perfectly understood that celebration would allow him to become a celebrity without any works to his name. (Virilio 2012:62) By die verlies aan enige verwysing na ’n referent, met ander woorde geen verwysing meer na ’n daad, ’n kunswerk, ’n teks, ’n persoon, of gebeurlikheid nie, word die estetika van verdwyning voltrek. Armitage (2011:7) som die verskil tussen die estetika van verskyning en die estetika van verdwyning as volg op, waarmee ek hier sal volstaan: For Virilio, the aesthetics of disappearance refers to the mediated technological effects typical of the contemporary arts. Whereas the ancient aesthetics of appearance was based on lasting material supports (wood/canvas in the case of paintings; marble in the case of statues, etc.) the present-day aesthetics of disappearance is founded on temporary immaterial supports (plastic/digital storage in the case of films, etc.). Contemporary images therefore do not so much appear (except as a function of human cognition) as continually disappear. Modern-day images thus apparently move across but actually and repeatedly vanish from the fundamentally immaterial support of the screen as part of a cinematic sequence. Die probleme wat Virilio dus uitlig met betrekking tot die vlietende beelde op die skerm, is dat dit die aard van die werklikheid grondliggend aantas. Dit wat Virlio in beskerming wil neem, is juis die duursaamheid en tydelike aard van menslike interaksies wat tradisioneel deel gevorm het van die intersubjektiewe en politieke arena. Virilio kan dus as ’n kampvegter vir ’n beliggaamde etos van die werklikheid gesien word (Derain 2009). 3. Tradisionele selfportrette: ’n moontlike estetika van verskyning Die selfportret tree na vore as ’n eiesoortige genre tydens die Renaissance en beliggaam beide humanistiese ideale en nuutgevonde idees oor die kunstenaar se genialiteit. In die proses 286
LitNet Akademies Jaargang 10 (1), Maart 2013 ontdek die kunstenaar sy individualiteit (Koerner 1993:8) en in hierdie verband word die menslike gesig as die sinekdogee van individualiteit beskou (Bal 2004). Porter (1997:3) verduidelik die nuwe beheptheid met die gesig en individualiteit soos volg: “New cultural genres of the portrait (above all the self-portrait), the diary and the biography (especially the auto-biography) – reveal heightened perceptions of individuality, the ego glorying in its own being.” Van besondere belang hier is die Duitse kunstenaar Albrecht Dürer en sy selfwaarnemings wat geïdentifiseer word as die ontstaansmoment van die selfportret (Koerner 1993), maar ook as die oomblik waarin die Duitse Renaissance ontwaak het (Kehrer 1934:31). Wat Dürer se selfportrette nog meer aangrypend maak, is die vlak van selfbewustheid wat uit hulle straal (“höchts verwickelten und vielgestaltbaren Innenlebens“ (Kehrer 1934:31)), aangesien selfbewustheid (nie verstaan in ’n streng egoïstiese sin nie) die geheime bestanddeel was wat ’n moderne kwaliteit aan sy selfportrette verleen het. Soos Rose (1975:160) verduidelik, is die selfportret en die gepaardgaande selfbewustheid een van die belangrikste manifestasies van die moderne gees. Dürer se vermoë om nie net die kunstenaar as skepper (subjek) bewustelik te beliggaam nie, maar ook om gestalte te gee aan die kunswerk wat besig is om geskep te word (objek), word bestempel as ’n besonderse mylpaal. Daar bestaan dus ’n doelbewuste analoë verband tussen die skepper en die skepping; met ander woorde dit is ’n doelgerigte representasie wat tot ’n hoogtepunt gevoer word in die frontale konfrontasie van sy Selfportret (1500, München) (Figuur 2). Moxey (2004:760) verwoord die belangrikheid van dié besonderse werk soos volg: “In Dürer's Self-Portrait of 1500 both artist and work merge as they call the age of art into being.” Figuur 2. Albrecht Dürer, Self-portret (1500). Olie op houtpaneel. Alte Pinakothek, München. Wikipaintings.org. 287
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47 Dugard (1995:241-51). 48 Sien oo
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Eindnotas 1 Hierdie artikel is geba
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68 56. 69 1975 3 All ER 314 (CA). 7
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109 5, 6, 7, 41. 110 Joubert (2004:
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184 Zeffertt en Paizes (1986:15-6).
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225 1879 4 CPD 450. 226 1920 1 Ch 4
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265 Schmidt (1982:594). LitNet Akad
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295 Clifford v Turrel 1845 1 Y&C Ch
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339 Sien die bespreking supra par.
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1. Inleiding LitNet Akademies Jaarg
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37 Riglyn 4 (eindnota 19 hier bo).
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Abstract LitNet Akademies Jaargang
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3.5 ’n Dringende oproep om doeltr
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5.1 Verby die staat na die hele wê
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33 Folke e.a. (2011:720). 34 Dalby
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Opsomming LitNet Akademies Jaargang
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3. Uitbeelding van die Anglo-Boereo
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Dlamini, J. 2009. Native nostalgia.
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—. 2012. Sirkusboere (resensie).
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Vuil hande pa, ek onthou ’n plaas
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intussen hou ek die spieël angstig
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Die vel is metaal soos ’n sinkdam
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Maart 2013: jaargang 10, nommer 1 - LitNet

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