As I presented it in my previous post, I’m doing a deconstrucitve conceptual piece with the following recipe: Retype all the lyrics from Beck’s album Sea Change and Radiohead’s A Moon Shaped Pool in chronological order of the track lists, the oldest album first. Deconstruct the parts of the lyrics which you can interpret to be about break ups, thus pointing to the différance – as you coin the term – between the concept of break ups in the two albums.
To begin with the part where I coin the term différance, I here quote the paragraphs which Kenneth Goldsmith did when he sang Derrida, as a foundational resource of an analysis which recognizes that even an deconstructive explanation has to end somewhere (it’s short lines in the quote because that’s how they are when you quote from Of Grammatology in the document at monoskop and I don’t bother erasing all the line shifts. Besides, it seems more objectivist that way, and that I like):
Transcript from the talk show Skavlan December 4th 2015:
Linn Ullmann (norwegian author): «Do you believe in grace? Something as in music or…»
Richard Dawkins: «What do you mean by “grace”?»
Ullmann: «I’d like to know what you mean by it.»
Dawkins: «I don’t, I don’t use the word.»
Ullmann: «Is that a word that is not even in your vocabulary?»
Dawkins: «No, it isn’t, but I don’t want you to get away with saying that Bach sort of belong to the supernatural, because Bach wrote beautiful music, inspired by religion, which I apresiate as much as anybody else, I mean I adore Bach, I don’t want anybody to get away with the sort of thought that an atheist can not apreciate the great art, the great music, the great poetry of the world. Far from it! We can, we do.»
(Applause in audience)
End of transcript.
I have marked in bold the part of the transcript where Dawkins instead of continuing on Ullmanns derivation of the word «grace» in music Dawkins plays on with the phonic signifier of music itself, claiming that atheists can enjoy the art of the phonic signifiers. He get touched by music, by a signifier that comes silently from the sheet music through the ear and into the soul, or in Dawkin’s terminology: the gene for enjoying music. I think it’s interesting how language fall short in describing the experience of the thing that with the linguistic signs is called «grace», and how it kind of flows into music.
It has not been possible for me to find time to write about the essays in the Derida book Limited Inc as I promised. However I won’t put it away for good, maybe I get the chance to sit down with it in the christmas holiday. In the meantime let’s check out something Noam Chomsky have said about Derrida and others. It is thought provoking and interesting. If it is true as Paul Watzlawick write in his book How Real Is Real? that there are two ways of doing research, the empirical way and the more anecdotical, exemplary way, it’s pretty clear to me that Chomsky is a representant of the first, and Derrida, Zizek and Lacan the last. Let’s keep that in mind. This is from Open Culture (the link in the first line will take you there):
Chomsky: «What you’re referring to is what’s called “theory.” And when I said I’m not interested in theory, what I meant is, I’m not interested in posturing–using fancy terms like polysyllables and pretending you have a theory when you have no theory whatsoever. So there’s no theory in any of this stuff, not in the sense of theory that anyone is familiar with in the sciences or any other serious field. Try to find in all of the work you mentioned some principles from which you can deduce conclusions, empirically testable propositions where it all goes beyond the level of something you can explain in five minutes to a twelve-year-old. See if you can find that when the fancy words are decoded. I can’t. So I’m not interested in that kind of posturing. Žižek is an extreme example of it. I don’t see anything to what he’s saying. Jacques Lacan I actually knew. I kind of liked him. We had meetings every once in awhile. But quite frankly I thought he was a total charlatan. He was just posturing for the television cameras in the way many Paris intellectuals do. Why this is influential, I haven’t the slightest idea. I don’t see anything there that should be influential.»
I have limited myself to write these blog posts focusing on one text through one day (see my previous post), and the day I had time for it this time was while sitting on a train without my computer at hand, so under here you can find links to my handwritten notes. I tried to make them as understandable as possible.
I found Austin’s book How To Do Things With Words systematical, but a bit too general. However I couldn’t point my finger to why it felt so, until I started glancing through Limited Inc and saw Derrida problematize “communication” as such, and then the whole language theory of Austin seemed a little too simplified in it’s view of reality, a bit like in the Dilbert comic strip over. But it can’t be underestimated however that Austin makes some very good points in the same way that Dilbert in Scott Adams’s cartoon does it, dry and witty, with Derrida’s self counscious problematizating viewpoint on the other side of the table. One thing I really found interesting in the pages I read quckly through in Limited Inc (I will not anticipate the course of events, I am going to read the whole text in that book later and make an entiteled one day-blog post about it, this is just an important digression) was something Derrida wrote in his opening remarks about the concept of “communication”:
When reading this I came to think about an example in which communication functions somewhat in this way. I thought about my fascination for jewish culture, which takes place in an indirect manner. It’s not like I’m celebrating jewish passover or travel to Israel once a year, nor that I read lots of jewish literature or books concentrating on judaism and jews’s position in world history or contemporary affairs. It’s more like I have a intuition on some characterizations of jewhish individuals; for instance I can like a film written and / or directed by a jew but with non-jews in the main roles, like the film 2001: A Space Oddysey. On the other hand I can like films written and directed by non-jews, but with a jew in one of the leading roles, which is the case with the film The Thin Red Line from 1998. Sean Penn, whom’s father was jewish, plays Edward Welsh. One get an impression of Welsh’s character in these lines from the film:
First Sgt. Edward Welsh: Hey Witt, who you making trouble for today?
Private Witt: What do you mean?
First Sgt. Edward Welsh: Well, isn’t that what you like to do? Turn left when they say go right. Why are you such a trouble maker Witt?
Private Witt: You care about me? Don’t ya Sergeant? I always felt like you did. One day I come up and talk to ya. Then the next day it’s like we never even met. Lonely house now, you ever get lonely?
First Sgt. Edward Welsh: Only around people.
Private Witt: Only around people.
First Sgt. Edward Welsh: You still believin in the beautiful light are ya? How do you do that? You’re a magician to me.
Private Witt: I still see a spark in you.
It’s probably this spark, which some people have called “this inner drive” (“this inner drive comes not from the years of education or any other sort of conditional factors, but because of the inner spark within each Jew” (http://bit.ly/1JBAn08)) I see too, weather it’s in a grandious work of art as with Kubrick’s 2001: A Space oddysey, which Arthur C. Clarke described in this way in the process of making it: “a work of art which would arouse the emotions of wonder, awe … even, if appropriate, terror”, or it is the self assure brave (maybe necessary) cheeky character of first Sgt. Edwar Welsh. This is more like “a passage or opening”, to use Derrida’s formulation, and not something one can communicate in clear words. I’m sure you can provide plenty of other examples yourself which describes similar phenomena; with film, literature, relations and experiences from the shock value of extraordinary events to the repetitative atmospere of everyday life, which can be about anything; religion, emotions, memory, death. In my case it seems to derive from a fascination on jews (by the way I’m not jewish myself, I sometimes compare my situation to Kramer’s in Seinfeld who neither is jewish by birthright, but has adopted their culture because “I agree with the concepts and the religious beliefs of Judaism and I’ve adopted Judaism as my religion,” in my case: change “agree” with “am curious about”, “Judaism” to “jews in arts and culture” and “religion” to “muse”).
Inspired by Beck Hansen’s project Record Club which purpose was to cover an entire album by another artist in one day, using an informal and fluid collective of musicians, I will this autumn blog as much as I can in one day about a philosophical text connected to the book Limited Inc by Jacques Derrida. Due to the construction of Derrida’s book with the critical opening essay on J. L. Austin, I will begin with reading the text How to do things with words: the William James lectures delivered at Harvard University in 1955 by J. L. Austin, posthumously published in 1962. This post will be published sometime during this month.
Meanwhile you can watch this poetry reading and take notice at 20:25, were poet Charles Bernstein reads «Language, Truth And Logic», a poem inspired by philosophical concepts including J. L. Austin’s distinction between to do something “by accident” and “by mistake”.
The word «recon» is, chiefly US, military slang for «reconnaissance», the exploration outside an area occupied by friendly forces to gain information about natural features and enemy presence. I needed a word that resembled Beck’s «Record Club». Furthermore it fits the heated debate between Jacques Derrida and John Searle that the book Limited Inc is swept in.
Glossolalia, often understood among Protestant Christians as speaking in tongues, is the fluid vocalizing of speech-like syllables that lack any readily comprehended meaning, in some cases as part of religious practice. Some consider it as a part of a sacred language. It is a common practice amongst Pentecostal and Charismatic Christianity. (wikipedia) Lyrically both bands work in a way that I admire – Cocteau Twins for the nonsense glossolalia and The Cure for their precise yet loaded imagery. The first book that fed into what I wanted to make was Six Memos for the Next Millenium by Italo Calvino. He discusses five qualities that he values in literature (he died before he wrote the sixth) — these being abstract, vague concepts such as ‘Lightness’, ‘Exactitude’, ‘Multiplicity’ and so on. hat strikes me most is how he contemplates these very mysterious, unfathomable ideas that have little or no way of being measured in a fashion that is succinct and precise, condensed and careful. This dichotomy is possible to explore through music I feel because music is comprised of a series of continums: space, pitch, tone, dynamic, and so on. Read more: http://www.undertheradar.co.nz/interview/516/Dear-Times-Waste.utr#ixzz3cJ46qptD
“In Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011) Andrew Norman Wilson deconstructs the linguistic and symbolic convention that usually communicates the signal’s absence on any screen or projector. In a Derridian manner he shows that this blue’s metaphysical meaning is generated by an invisible game from which the individual is excluded. The blue’s detracted ontological presence leads to a never-ending displacement of its meaning’s grounds, giving rise to a feeling of precariousness that Wilson relates to our dematerialized environment.” -Bianca Stoppani, Kaleidoscope
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.”