Rather, the subject remained
subject and the object remained object.
Subjects and objects remain, each as object of the other, each as subject to the other.
Not exact matches
The physical prehension as conformal feeling, we have said, reproduces the
object by assuming the subjective form of one of its prehensions, but as vector it is,
and remains throughout the «life» of the
subject, an essential relation to that individual
object as other, as there
and then.
The «word» may be identified with
subject -
object, or I - It, knowledge while it
remains indirect
and symbolic, but it is itself the channel
and expression of I - Thou knowing when it is taken up into real dialogue.
It is only when the symbolical character of
subject -
object knowledge is forgotten or
remains undiscovered (as is often the case) that this «knowledge» ceases to point back toward the reality of direct dialogical knowing
and becomes instead an obstruction to it.
Furthermore, it may be that the essence of time is
subject to conditions which can never be associated with it a priori but rather
remain extrinsic
and even contradictory to it, even though they lend themselves to conceptualization
and reveal time (in one of its essential aspects) as an
object of practical interest.
The shift from the narrow angle views of the Impressionists
and Cézanne, whose nearest points tended to be quite some distance away, to the wide - angled views of Bonnard, Matisse, Dufy
and Soutine, whose nearest
objects were often very close indeed, was a major change in
subject matter which is usually overlooked since the names «landscape», «still life», «portrait», etc.,
remained the same.
For all the attention to the impersonal future
and past of technology
and society in his recent work, it's an awkwardly comical reminder that Leckey's work
remains rooted in the problem of remarking on one's own being — on its capacity for memory
and for action, for desiring
and being absorbed, for being embodied while potentially «out of its head» — being both
subject and object.
Still Water (Talking the Talk), by contrast,
remains much more autonomous,
and preserves a distance to the beholder, always
remaining an
object for the perceiving
subject.