Note To Self: Derridada

From Amazon: “Jacques Derrida said that deconstruction ‘takes place everywhere.’ Derridada reexamines the work of artist Marcel Duchamp as one of these places. Tucker suggests that Duchamp belongs to deconstruction as much as deconstruction belongs to Duchamp. Both bear the infra-thin mark of the other. He explores these marks through the themes of time and diffZrance, language and the readymade, and the construction of self-identity through art. This book will be of interest to students and scholars interested in Modernism and the avant-garde. It will be useful for undergraduate students of art history, modernism, and critical theory, as well as for graduate students of philosophy, visual culture studies, and art theory.”

The Origin of the Spectacle

From merriam webster: “Middle English, from Anglo-French, from Latin spectaculum, from spectareto watch, frequentative of specere to look, look at — more at spy

First Known Use: 14th century”
“Guy Debord’s situations of the historical beginnings of the spectacle — he made at least two of them — are quite different than T.J. Clark’s attempt. Significantly, Debord’s situations are much closer to our own time. In The Society of the Spectacle (1967), Debord identifies the Russian Revolution of 1917 as the spectacle’s beginnings; in Comments on the Society of the Spectacle (1988), he identifies the start of World War II as its beginnings. Taken together, Debord’s and Clark’s theories cover a very wide historical period, from the 1860s to the 1930s. “
«“Full frame of movie audience wearing special 3D glasses to view film Bwana Devil which was shot with new “natural vision” 3 dimensional technology.”»
More from merriam webster:
a :  something exhibited to view as unusual, notable, or entertaining;especially :  an eye-catching or dramatic public display

b :  an object of curiosity or contempt <made a spectacle of herself>

plural :  glasses
:  something (as natural markings on an animal) suggesting a pair of glasses

Debord’s Language and Critical Metaphysics


Nathalie Quintane: “With Debord there is never any doubt regarding the necessity of returning to the classical canon, he clings to this style. Thesis 204-206 in The Society of the Spectacle expresses this clearly: on should not touch the syntax (the classical), nor the vocabulary (marxist & enlightenment); this «style of rebellion» reminds of some kind of musical chairs (called «détournement») which is about replacing the subject with the predicate («reversing the genitive») – Debord gives us the famous example with the transition from the misery of philosophy to the philosophy of misery, believing the Holy Grail then to be found.”

Why this aversion to classical theory? And Why this ironical use of religious artifacts? The problem with the spectacle is it’s metaphysical implications. We need a critical metaphysics. But what is critical metaphysics? Tiqunn writes: “It does not escape us that “‘metaphysical’- exactly like ‘abstract’ and even ‘thinking’- has become a word before which everyone more or less takes flight as before a plague victim.” (Hegel). And it is certainly with a shiver of wicked joy, and the worrying certitude that we’re going right to the wound, that we bring back into the center what the triumphant frivolity of our times believed it had forever repressed to the periphery. In so doing, we also have the effrontery to claim that we’re not just giving in to some sophistical caprice, but to an imperious necessity inscribed in history. Critical Metaphysics is not just one more piece of blather about the way the world is going; nor is it just the latest piece of heady speculation with some particular intelligence to it – it is the most real thing contained in our times.  Critical Metaphysics is in everyone’s guts Whatever we might protest about this, there is no doubt that people will try to say we were the inventors of Critical Metaphysics, so as to hide the fact that it existed already before finding its formulation, that it was already everywhere, in the state of emptiness behind suffering, in the denial behind entertainment, in the motives behind consumption, or, obviously, in anxiety.  It’s clearly a part of all the sordid spinelessness, the incurable banality, and the repugnant insignificance of the times called “modern” that it’s made metaphysics the apparently innocent leisure activity of learned men in stiff suits, and that it’s reduced it to the sole exercise proper to insects like that: a kind of platonic mandibulation. Merely by virtue of the fact that it is not reducible to conceptual experience, Critical Metaphysics is the experience that fundamentally denies an inept “modernity”, and, with open eyes, celebrates more each day the excesses of the disaster.”

Quintane mentioned some of Debord’s paragraphs, they are quoted under (from


Critical theory must be communicated in its own language. It is the language of contradiction, which must be dialectical in form as it is in content. It is critique of the totality and historical critique. It is not “the nadir of writing” but its inversion. It is not a negation of style, but the style of negation.


In its very style. the exposition of dialectical theory is a scandal and an abomination in terms of the rules and the corresponding tastes of the dominant language, because when it uses existing concrete concepts it is simultaneously aware of their rediscovered fluidity, their necessary destruction.


This style which contains its own critique must express the domination of the present critique over its entire past. The very mode of exposition of dialectical theory displays the negative spirit within it. “Truth is not like a product in which one can no longer find any trace of the tool that made it” (Hegel). This theoretical consciousness of movement, in which the movement’s very trace must be evident, manifests itself by the inversion of the established relations between concepts and by the diversion of all the acquisitions of previous critique. The inversion of the genetive is this expression of historical revolutions, consigned to the form of thought, which was considered Hegel’s epigrammatic style. The young Marx, recommending the technique Feuerbach had systematically used of replacing the subject with the predicate, achieved the most consistent use of this insurrectional style, drawing the misery of philosophy out of the philosophy of misery. Diversion leads to the subversion of past critical conclusions which were frozen into respectable truths, namely transformed into lies. Kierkegaard already used it deliberately, adding his own denunciation to it: “But despite all the tours and detours, just as jam always returns to the pantry, you always end up by sliding in a little word which isn’t yours and which bothers you by the memory it awakens” (Philosophical Fragments). It is the obligation of distance toward what was falsified into official truth which determines the use of diversion, as was acknowledged by Kierkegaard in the same book: “Only one more comment on your numerous allusions aiming at all the grief I mix into my statements of borrowed sayings. I do not deny it here nor will I deny that it was voluntary and that in a new continuation to this pamphlet, if I ever write it, I intend to name the object by its real name and to clothe the problem in historical attire.”

Confusions With Barnabas In Kafkas The Castle


Barnabas (an early Christian)

Barabbas, or

Jesus Barabbas (prisoner) and

Jesus Christ and

Peter (Jesus’ disciple)

Paul (the Apostle)

Paul (characther in Haneke’s Funny Games)

Peter (characther in Haneke’s Funny Games)

Barnabas (character in Kafka’s The Castle)

K. sees Barnabas as a Hermes figure sent from the gods of the Castle, a figure who shines in his immanence. His name also alludes to the biblical apostle Barnabas, a messenger of Christ, who traveled with St. Paul to spread the word, imbued with that word of God. K. wants to believe in Barnabas immanence because then Barnabas is not only a connection to the Castle but its explainer, its messenger imbued with the truth. But Barnabas presented himself to the Castle as a messenger in hope of mitigating Amalia’s crime of insulting the messenger who had brought Sortini’s lewd letter. Because their motives are unpredictable they become frightening. In Funny Games, Paul tells the terrified family that Peter had a terrible childhood, and then laughs and says in fact “he’s a spoiled little shit.”

Source: Kafka Translated: How Translators have Shaped our Reading of Kafka By Michelle Woods