What is incomprehensible about the edge about, the a-bord appears not only at the internal limit, the one that passes between the frame and the painting, the clothing and the body, the column and the building, but also the external limit. Parerga have a thickness, a surface which separates them not only (as Kant would have it) from the integral inside, from the body proper of the ergon, but also from the outside, from the wall on which the painting is hung, from the space in which statue or column is erected, then, step by step, from the whole field of historical, economic, political inscription in which the drive to signature is produced. No theory, no practice, no theoretical practice can intervene effectively in this field if it does not weigh up and bear on the frame, which is the decisive structure of what is at stake, at the invisible limit to (between) the interiority of meaning ( put under shelter by the whole semioticist, phenomenologicality, and formalist tradition) and (to) all the empiricism of the extrinsic which, incapable of either seeing or reading, miss the question completely. Derrida, The Truth in Painting
Posted on: Sat, 19 Oct 2013 22:50:58 +0000
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