To get back to the identity-crisis in a more explicitly connected narrative:
The dualities presented in the previous post are quite shallow: this (of course!) is done on purpose, as the goal was to sketch a first model to get a grip on the reality of identifying, memory, reflection and relating.
The first critique to this approach would be: to start sketching from an oppositional model, would that not lead to a more reductive perspective on reality than we might actually be aiming for? Yes, I'd say. Yes, indeed. But then again: is there another way to start an orientation, nuancing the start in retrospect only? I could argue for that, yet I am not sure.
The only thing I still am sure of, is that the matter of creating a strong personal perspective on who one is (developing one's individual narrative) runs parallel to the danger of shutting oneself off from possible relationships with other narratives. The openness -so sought after, so needed- gets reduced, the process of creation becomes focused on deletion.
Reducing what is other to a reality definitively closed off from one's own is an effect of an identity-process concerned with strong and transparent narratives that can be grasped with one click of the tongue. It is the easy living.
It is the decadence dance. It leads to confusion
between
us.
The dualities presented in the previous post are quite shallow: this (of course!) is done on purpose, as the goal was to sketch a first model to get a grip on the reality of identifying, memory, reflection and relating.
The first critique to this approach would be: to start sketching from an oppositional model, would that not lead to a more reductive perspective on reality than we might actually be aiming for? Yes, I'd say. Yes, indeed. But then again: is there another way to start an orientation, nuancing the start in retrospect only? I could argue for that, yet I am not sure.
The only thing I still am sure of, is that the matter of creating a strong personal perspective on who one is (developing one's individual narrative) runs parallel to the danger of shutting oneself off from possible relationships with other narratives. The openness -so sought after, so needed- gets reduced, the process of creation becomes focused on deletion.
Reducing what is other to a reality definitively closed off from one's own is an effect of an identity-process concerned with strong and transparent narratives that can be grasped with one click of the tongue. It is the easy living.
It is the decadence dance. It leads to confusion
between
us.
