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By Yves De Maeseneer

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Unfolding that tradition (and, inevitably, refolding it as well), we might say that we do not experience God but rather encounter Him by way of an infinite relation established by the grace of faith. We are unable to posit the divine as a value; and we recognize, even without having to look over our shoulder at Pelagius or John Cassian, that it would be very wrong to attribute any value to ourselves with respect to a relation with the divine. Mirrors have the effect of forestalling both Pelagianism and semi-Pelagianism.

33 34 |   Laurence does not tell this story. Indeed, he tells us that he does not wish to relate a history at all, and does something far more interesting. He begins with the Postmodernists peering into the imaginary, still concerned with ‘upliftment’ even in a world without God, and offers a theological genealogy of our predicament. What kind of theology articulates God and the sublime? There are two possibilities, since we inherit two senses of ‘theology,’ one from Aristotle (the logos of the highest ground) and another from St Thomas (sacra doctrina), and Laurence is quick to point out how easy it is for Thomists and non-Thomists alike to remake Aristotle in the image of Thomas and vice versa.

Heidegger, Aus der Erfahrung des Denkens, p. 208. Heidegger, Aus der Erfahrung des Denkens, p. 208. Heidegger, Vorträge und Aufsätze, p. 156. 19 Returning to the subject of the lecture, Heidegger suggests that the initial direction of the piece was misguided, as ‘the interplay of art and space must be thought out of the experience of place and region’. Where art is sculpture, there is ‘no occupying of space. 20 In thinking of sculpture we should abandon the idea of volume, ‘the signification of which is only as old as modern technological natural science’, which would make sculpture ‘an embodying bringing-into-the-work of places.

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