„The temporalities of poetry, art and music are not only
specific to themselves (music is, indeed, time made free of temporality). The
text, the painting, the composition are wagers on lastingness. They embody the dur désir de durer (‘the harsh,
demanding desire for durance‘). In a
perfectly concrete sense, their deadlines are those of an unknown extension
into the future. Serious art, music, writing is not interesting in the sense in which journalism must be. Its solicitation
and governance of us are those of a patient necessity. The appeal of the text,
of the work of art or music is, radically, disinterested.
Journalism bids us invest in the bourse
of momentary sensation. Such investment yields ‘interest‘ in the most pragmatic
sense. The dividends of the aesthetic are, precisely, those of ‘disinterest‘,
of a rebuke to opportunity. Above all, meaningful art, music, literature are
not new, as is, as must strive to be, the news brought by journalism.
Originality is antithetical to novelty. The etymology of the word alerts us. It
tells of ‘inception‘ and of ‘instauration‘, of a return, in substance and in
form, to beginnings. In exact relation to their originality, to their
spiritual-formal force of innovation, aesthetic inventions are ‘archaic‘. They
carry in them the pulse of the distant source.”
(George Steiner, Real Presences, The University of
Chicago Press, 1989, pp. 27-28.)
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