The Artistic Act as Initiated Exile: On the Exile and Redemption of the "I"

At the beginning of the 20th century, the Russian-Jewish thinker Viktor Shklovsky introduced one of the most important foundational concepts in modern art: the theory of "Defamiliarization" (הזרה).

Shklovsky described the role of art as intended to make the familiar strange, the habitual odd. He gave the example of a man living by the sea who, at some point, out of habit, stops hearing the sound of the waves. The role of art, he argued, is to make him hear the sea anew; to perform "de-automatization" on our worn-out perception of reality, and to make us ask "What is this?", to refresh and renew the reception of reality.

This idea, despite its Russian origin, is deeply rooted in Hebrew thought.

Exile as a Remedy for Lack of Da'at (Knowledge/Consciousness)

In the tractate Sanhedrin it is said: "Any person who has no Da'at (דעה) – eventually goes into exile." At first glance, this sounds like a punishment. But our Sages explain that exile is not the punishment for the lack of Da'at, but the result and the way to correct it. Leaving the familiar place, moving to the strange and unknown, is what allows for the increase of Da'at. Exile – whether national, physical, or spiritual – forces us to ask fundamental questions: Why? How? And what?

The question, in the Torah, carves within us a new channel where there is room for an answer. Thus Da'at increases.

Shabbat and Shmita: Initiated Exile in Hebrew Thought

Judaism offers us built-in mechanisms of "initiated exile" to combat the force of habit and the erosion of consciousness. Shmita (שמיטה - the Sabbatical year) is an exile once every seven years from the field of agricultural activity. Shabbat (שבת) is an exile once every seven days from the cycle of time and labor. These two commandments are a deliberate "defamiliarization" of our lives, aimed at refreshing our perception of reality and reminding us of the source of everything. After all, all human history begins with removal, in exile from the Garden of Eden.

Creation as Rapid Exile

If we return to Shklovsky, we discover that the original word he used in Russian, ostranenie, is closer in meaning to "distancing" or "remoteness" – a concept almost identical to "exile."

From here, one can describe the modern artistic act as one that allows the viewer to go into an initiated and rapid exile. The film, the song, the painting – they take us from our familiar place, distance us from the common perceptions, cause us wonder, and thereby open us up to acquire new Da'at. At the end of the artistic experience, we "return" to our lives, but different. This is an experience of exile and redemption in miniature.

The Redemption of the "I": The Prophet's Vision in Exile

This experience, of going into exile to meet yourself anew, is at the heart of the prophetic experience. Thus the prophet Ezekiel opens his book:

"Now it came to pass... as I was among the captives (הַגּוֹלָה - the exile) by the river Chebar, that the heavens were opened, and I saw visions of God."

The greatest revelation occurs precisely within the exile. This is the place where the inner "I", private and general, needs to be redeemed, as the "I" (אני) within the exile (גולה), needs to redeem the "I".

According to Rabbi Sharki, the word "Ani" (אני - I) is composed of the word "An" (אן - where/place) – as in "where (לאן) are you going?" and the suffix "i" (י - my). "Ani" is "my place." It is not only the physical place where I am, but also the place from which I look at reality, my point of view, my cinematic POV.

Perhaps we have moved on from the Formalists and Postmodernism. Perhaps the time has come to gather all these fragments and embark on a journey to redeem the "I". According to Rav Kook, all existence has lost its "I-ness" (אניותה), its selfhood. Perhaps the new art, if it only wishes, can take an important part in restoring this selfhood to center stage.