By Jacques Derrida
Athens, nonetheless is still is a longer remark on a sequence of images of up to date Athens through the French photographer Jean-Franois Bonhomme. yet in Derrida's arms observation regularly has a manner of unfolding or, greater, constructing in numerous unforeseen and at the same time illuminating instructions.
First released in French and Greek in 1996, Athens, nonetheless continues to be is Derrida's such a lot sustained research of the photographic medium in dating to the heritage of philosophy and his so much own mirrored image on that medium. instantaneously photographic research, philosophical essay, and autobiographical narrative, Athens, nonetheless is still provides an unique conception of images and throws a desirable mild on Derrida's lifestyles and work.
The ebook starts off with a kind of verbal photograph or aphorism that haunts the whole e-book: we owe ourselves to death.Reading this word via Bonhomme's photos of either the ruins of old Athens and modern scenes of a still-living Athens that also is on its method to damage and dying, Derrida interrogates a philosophical culture that runs from Socrates to Heidegger within which the human-and specifically the philosopher-is inspiration to owe himself to demise, to a definite considered demise or comportment with reference to demise.
Combining philosophical speculations on mourning and dying, occasion and repetition, and time and distinction with incisive statement on Bonhomme's pictures and a story of Derrida's 1995 journey to Greece, Athens, nonetheless continues to be is certainly one of Derrida's so much available, own, and relocating works with out being, for all that, any much less philosophical. As Derrida reminds us, the note photography-an eminently Greek word-means the writing of light,and it brings jointly this day right into a unmarried body modern questions about the murals within the age of mechanical replica and masses older questions on the connection among mild, revelation, and truth-in different phrases, a complete philosophical culture that first got here to mild within the shadow of the Acropolis.
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Additional info for Athens, Still Remains: The Photographs of Jean-Franois Bonhomme
The dream runs out of steam, but the dreamer goes on. As does his taxonomy. We are only about halfway there. One is reminded of all the classifications of the Sophist (one would be tempted to try them all out, but this has to be given up), all those we encounter even before getting to the mimetic arts, notably, the photographer as fisherman or angler, an image hunter whose art is unclassifiable because it partakes simultaneously, being neither a mimetics nor a sophistics, of all the categories set in opposition to one another by the Stranger: “poetic” or productive arts as opposed to acquisitive arts, acquisition through exchange as opposed to by coercion, coercion by fighting as opposed to hunting, hunting inanimate things as opposed to living things, living things or animals that walk on land as opposed to those that swim, animals that “swim” through the air as opposed to those that swim in water (219c– 220b).
It is something that will never be, never a subject or an object. What I would rather cultivate would be a permanently delayed action [retardement à demeure], the chrono-dissymmetrical process of the moratorium [moratoire], the delay that carves out its calculations in the incalculable. Still X I have always associated such delayed action [retardement] with the experience of the photographer. indd 18 8/13/10 1:29:32 AM i nstamatic [instantané] that, from the lens or objective, freezes for near eternity what is naively called an image, there would thus be this delayed action.
One is reminded of all the classifications of the Sophist (one would be tempted to try them all out, but this has to be given up), all those we encounter even before getting to the mimetic arts, notably, the photographer as fisherman or angler, an image hunter whose art is unclassifiable because it partakes simultaneously, being neither a mimetics nor a sophistics, of all the categories set in opposition to one another by the Stranger: “poetic” or productive arts as opposed to acquisitive arts, acquisition through exchange as opposed to by coercion, coercion by fighting as opposed to hunting, hunting inanimate things as opposed to living things, living things or animals that walk on land as opposed to those that swim, animals that “swim” through the air as opposed to those that swim in water (219c– 220b).