“No more behind
But such a day tomorrow as today
And to be boy eternal.
The second Brandenburg concerto, on an indestructible phonograph disc, is drifting eternally in space affixed to Voyager II” –David Markson, from his novel Reader’s BlockScreen dumps from the book Starting With Derrida by Sean Gaston
Screen dumps from the book This is Not a Tragedy: The Works of David Markson By Françoise Palleau-Papin
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):
Stanley Fish is quoted in the following senses in Behan McCullagh, The Truth of History (Routledge 1998):
(1). Stanley Fish has declared that texts do not have a literal meaning.”There is no such thing as literal meaning, if by literal meaning one means a meaning that is perspicuous no matter what the context and no matter what is in the speaker’s or hearer’s mind, a meaning that because it is prior to interpretation can serve as a constraint on interpretation.” (p135-1365).
(2) When Stanley Fish discussed the problem, he noted that some historians such as Elizabeth Fox-Genovese had resolved it by simply declaring that historians can discover the truth about the past. His reply is that historians cannot know the past because in describing the past they use a language, “and that language must itself proceed from some ideological vision.” (p170)
«Reading sound (shape-in-air) of poem as acoustic phenomena (in air, heard by ear), one hears the syllable, word, line (and line break), stanza unit, whole poem determined by the poem’s shape on the page, its physical presence (seen by eye) as letters written/composed/transcribed on the page into words, there to be perceived by the human (reader) when the poem is read aloud (or silently, thereby entering the mind’s ear as sound only imagined).»
(Picture under from same source: http://jacket2.org/article/reading-sound)
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”).