Gaps and Breaches
[…] the gesture is essentially always a gesture of not being able to figure something out in language; it is always a gag in the proper meaning of the term, indicating first of all something that could be put in your mouth to hinder speech, as well as in the sense of the actor’s improvisation meant to compensate a loss of memory or an inability to speak.”1
Silence is what remains outside the utterance. Where speech is hindered, silence occupies the pause while we are waiting. The historical character of existence lies in the passage of time. While time is passing, the image becomes silent, pointing to a silence beyond the image and its absence. Nothing happens. It is “the collapse of the futural force of the possible.”2 The future is suspended in between the here and the nothing. Humans as animals that have language seek to understand. Understanding presupposes memory and the ability to speak. Where memory and speech are hindered, gesture occurs, silently. It is a crutch for thought and the incurable speech defect.
Our ambiguous bodies open up a space of uncertainty. Without any certainty, that is, without a future to come, suspended in timelessness, poiesis remains implicit.
Gesture and movement within a minimal choreography of repetition become forms for a silent poiesis that has its end inside itself, that is, “it deprives reality of its ground, which is to be real, in favor of a not definable dimension of potentiality.” 3
Therefore silent poiesis calls into question the very world in which we encounter it4, it makes us stutter as it stutters itself.
1. Giorgio Agamben, Notes on Gesture
2. Krzysztof Ziarek, Radical Art: Reflections after Adorno and Heidegger
3. Hans Thies Lehmann, Das Politische Schreiben
4. Krzysztof Ziarek, Radical Art: Reflections after Adorno and Heidegger