Georgia State University, History, Faculty Member
Baker argues by analogy that, as it goes for marble statues, so itgoes for human persons. On her view, each of us is an animal, but(contra the animalist) only derivatively. Baker's answer tothe fundamental nature question is that we are persons; each of uspossesses the first-person perspective essentially andnonderivatively. In the course of ordinary development, a humananimal develops increasingly sophisticated psychological capacities(just like the piece of marble develops aesthetic characteristics asthe sculptor chisels away at it). Once these capacities include afirst-person perspective, a person comes into existence, and thisperson is constituted by the human animal (2000: 115–16;cf. 2007: 72–82). Since the animal would not have a first-personperspective if it did not come to constitute the person, it sharesthis perspective with the person in the same way that the piece ofmarble shares the property of being ugly with the statue of the ogre,viz. derivatively.
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Perjury () At common law, a willfully false statement in a fact material to the issue, made by a witness under oath in a competent judicial proceeding. By statute the penalties of perjury are imposed on the making of willfully false affirmations.
So what happens when an artwork consciously invokes the viewer to compensate for the disequilibrium and absence that something or someone else has produced? By extension, what form of intellectual and aesthetic supplement is Kader Attia introducing through his work? Which sculptural syntax does he deploy in order to articulate the extended continuum that characterises the concept of “repair”? For Attia is fascinated by forms that transport their own history and, more specifically, that echo the human body with its somatic charge. Modernity’s dogma of reparation, he suggests, is to revert to the perfect, to hunt for the authentic utopian organism. Cosmetic surgery, for example, seeks to erase the lines of human aging such that the intervention of the scalpel dissolves entirely. But no organ can be sutured without affecting another point in the body. If you stitch skin, you pierce it: you harm in order to heal. Through this incision, the injury is remediated: the subject transgresses its original wounded state and a new topology emerges. As Attia’s investigations demonstrate, repair does not reduce the process of fracturing; it increases it, allowing meanings to proliferate beyond control.