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Introduction: Gorky's Maxim

Published online by Cambridge University Press:  12 September 2012

Alex Ling
Affiliation:
University of Western Sydney
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Summary

Last night I was in the Kingdom of Shadows. If only you knew how strange it was to be there. It is a world without sound, without colour. Everything there – the earth, the trees, the people, the water and the air – is dipped in monotonous grey. Grey rays of sun across the grey sky, grey eyes in grey faces, and the leaves of the trees are ashen grey. It is not life but its shadow, it is not motion but its soundless spectre.

Maxim Gorky

Almost two-and-a-half millennia have passed since the mythical prisoner of Plato's Republic first stumbled bleary-eyed from the ancient screening room of the cave to gaze upon the brilliance of the sun. Yet it is today, in our so-called ‘postmodern’ world – a world in which Plato has supposedly been ‘overturned’, in which truth finds itself on equal footing with opinion – that we need more than ever to turn to those principles underlying Platonism: to the foundational role of mathematics, to the ‘supreme genera’ of Ideas, to the possibility of real thought (outside of the calculable machinations of constituted knowledges); in a word, to the possibility of novel and disruptive truths.

While it was for Plato imperative that the prisoner become a philosopher only after he had escaped the shadow-world of the cave and gazed upon the sun, contemporary doxa effectively holds that the philosopher is born as such in the cave, for if he knows anything it is that there is no sun to speak of, only an endless expanse of darkness.

Type
Chapter
Information
Badiou and Cinema , pp. 1 - 13
Publisher: Edinburgh University Press
Print publication year: 2010

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