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insofar as mirrorlike, yields idle accurate duplications of the appearances of things, and is of no cognitive benefit what- ever. ’[13] ‘If a mirror-image of o is indeed an imitation of o, then, if art is imitation, mirror-images are art.’[14] ‘According to’[15] ‘Cleverbot’[16] ‘you do nothing with information except repeat it.’[17] ‘So information can’t be new?’[18] ‘I know that you know that I know that you know that I know that you know that I know that you know.’[19] ‘Looking for their authenticity, the cult and its glorification is a typical reaction of the postmodern human on the confusion that has struck by the disappearance of big certainties, by the dissolved foundation of big truths.’[20]

‘However’[21] ‘Hamlet, more acutely, recognized a remarkable feature of reflecting surfaces, namely that they show us what we could not otherwise perceive-our own face and form-and so art, insofar as it is mirrorlike, reveals us to ourselves, and is, even by Socratic criteria, of some cognitive utility after all.’[22] ‘I did have sometimes the experience that I was apologizing to someone and then realize it was a mirror.’[23] ‘each new piece simultaneously situates itself’[24] ‘between’[25] ‘itself’[26] ‘I did have sometimes the experience that I was apologizing to someone and then realize it was a mirror.’[27]

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13 Danto, A. (1964). The Artworld. The Journal of Philosophy, 61(19), 571.doi:10.2307/2022937
14 Danto, A. (1964). The Artworld. The Journal of Philosophy, 61(19), 571.doi:10.2307/2022937
15 Sacks, O. (may 10, 1993). A NEUROLOGIST’S NOTEBOOK TO SEE AND NOT SEE. The New Yorker. Retrieved from http://engl102-goleman.wikispaces.umb.edu/file/view/12_tosee.pdf/538199868/12_tosee.pdf
16 Vinyals, O., & Le, Q. (n.d.). A Neural Conversational Model.
17 Cleverbot. (n.d.). Cleverbot. from http://www.cleverbot.com/
18 Idem
19 Idem
20 Coussens. (2016, October 16). EENTJE VOOR DE GESCHIEDENIS. Theaterkrant. Retrieved from http://www.dewarmewinkel.nl/files/docs/eentje-voor-degeschiedenis.pdf De warme winkel speelt de warme winkel

21 Birringer, J. (1986). Pina Bausch: Dancing across Borders. The Drama Review: TDR, 30(2), 85.doi:10.2307/1145729
22 Danto, A. (1964). The Artworld. The Journal of Philosophy,61(19), 571. doi:10.2307/2022937
23 C. (2012, March 18). Face Blindness, part 2. Retrieved October 28, 2017, from https://www.youtube.com/watch?v=q8cXus7SNQY
24 Ballantine, C. (1979). Charles Ives and the Meaning of Quotation in Music. The Musical Quarterly, LXV(2), 167-184. doi:10.1093/mq/lxv.2.167
25 Kaufman, C. (2008) Synecdoche, New York. Angelic, R.
26 Merleau-Ponty, M. (2004). The world of perception. (Davis, O.) London: Routledge. (Original work published 1948).
27 C. (2012, March 18). Face Blindness, part 2. Retrieved October 28, 2017, from https://www.youtube.com/watch?v=q8cXus7SNQY