Derrida

Khora: The Hermeneutics of Hyphenation by Justin Harrison


I found a curious connection whilst researching in a paper entitled Khora: The Hermeneutics of Hyphenation by John Manoussakis. I don’t understand it all and I don’t know that I agree with it all, but towards the end I did find some parts that are interesting.

Outside the city of Istanbul there is an ancient monastery that is known to all the sources under this odd name: the Monastery of Chora (an alternative transliteration for "khora").1 Its unusual eponymy is explained by its even more extraodinary frescos and mosaics that dated back to the fourteenth century. It’s iconographic program includes depictions of both Virgin Mary and Christ that bear the same inscription alike: The Khora

In the first of the two plates we can see a mosaic of the Virgin the inscription reads' {The Khora of the uncontainable).

In the second plate, Christ is depicted with an inscription that and reads as follows: ' (He Khora ton Zonton = the khora of the Living)


In the paper he goes on to explain:

During the Incarnation, Platonic khora, serves as the intermediate, the triton genos (man and the divine; she [Mary] is the point of contact between the the two poles of all dualisms (Greek or Jewish); she is the overlapping place of the two circles, their meeting place and of course, the hymen that hyphenates them. Like the receptive character of khora, Mary receives the entire deity within her body without appropriating it into herself. Thus, she becomes a paradox, an antinomy, the chore of the akhoron, a topos that sustains what is a-topos and u-topos: the receptacle of the un-receivable, the container of the uncontainable.

In the second plate, Christ is depicted with an inscription that runs in both sides and reads as follows: ' (He Khora ton Zonton = the chore of the Living). Christ is par excellence the khora that receives both humility creation in their entirety, but with no confusion, in His incarnate person. The Incarnate Christ bears the same characteristics that ruled over His hyphenated birth: neither exclusively God nor quite Human, but both God and Human; neither just the Word nor only Flesh, but the Word who became Flesh; neither high in the heavens nor down on the earth, but the channel through which the heavens emptied onto the earth and the earth ascended in the heavens.

I don’t fully understand this but then there are elements that I am very interested in, The Khora and emptying out in relation to Christ and Mary as intermediate - between man and divine. The liminal?

In his paper Manoussakis sources Derrida and John Caputo’s work on Derrida, a key source to my research. I like it when connections present themselves to me, its encouraging.



 

Tutorial 18/04/2023 by Justin Harrison


We covered a lot of ground - which is why I like talking with Jonathan so much. Always so much to discuss.

I spoke about my current interest in translation, around Benjamin and Bhabha and Derrida. I’ve found yet another connection that they share. In my work I’m looking at translation as passage , that it too is a form of liminal passage.

I’ve managed to contact a Professor who specialises Derrida and intercontinental philosophy, I’m hoping to discuss with him n Derrida and the divine and the liminal, he’s also studied languages to better read the original works - so I’m hoping this too will expand the research.

I’ve been thinking about the show a lot and the discussion with Jonathan was very helpful to.

We had quiet a lot of discussion about my drawing, looking back at which ones were worth continuing to explore more - imaginary bundles, negative passage and the general drawing of my sculptures. In discussion it came up how central drawing is too my practice, to making sculpture and after. I've always gravitated to drawing and it's become central to my process. That it can begin or end a work. It’s core to the work rather than a means to plan or document.

Another point that Jonathan raised that I have been thinking for some time is about the scale of my drawings and sculpture. That this feels like a time to go big. I need to meditate on this I had been thinking about making 2-3 meter high drawings, but then Jonathan challenged me to work way bigger 2 - 3 stories. That scares me but also excites me. What would I draw? What would merit such effort?

For the show I have been thinking about making an installation of the sculptures that I have been making over the past few months, to hang them in a vertical circle, and to possibly offset a wall drawing in clay (Research Richard Long) The intent is to dialogue about passage/translation through the liminal. Looking at the ritualised tools of passage - especially the modified paddles.  There appear to be various possibilities around showing this format, however I could also move away from the circle and show drawings and sculptures alongside each other...but this needs more thought. How would I do it and what would it bring to the dialogue?

JK also discussed with me the titling of my work to help give access and context. This has been a practice whenever I blog about a piece I try and find some sort of title and there has been the phrase, Ritualised tools of Passage and Poetic discovery of the hidden. I also found the phrase 'Middle Voice' which is an interesting term. Originally in a text from Derrida, however it is also a grammatical term.

Middle Voice

A voice that is neither active nor passive, because the subject of the verb cannot be categorized as either agent or patient, having elements of both.

I like this very much and want to incorporate it. Ill need to build a catalogue of terms an titles to aid access to the work, but without oversimplifying.

So much to consider and plan and I’m also need to process a film about mu practice…


 

Spectres of Marx by Justin Harrison


https://www.youtube.com/watch?v=TJr0NwXWb6Q

Hamlet -”Time is out of joint”
Really useful video investigating Derrida’s concept of the Spectral. I’ve come back to this a couple of times. The idea of time manifesting in a non liar way creates space for reconsidering passage. And therefor the passage and place of transformation.

In looking to land on a specific line of enquiry for the research paper, I find this interesting. It sits well with the liminal and belonging. Expressions of the outsider and questioning who is on the inside, and how are these locations decided? Agreed upon and policed?


 

Paper Spectres by Justin Harrison


I realise I’m missing an opportunity after the MA sessions we have - I need to reflect on the sessions after each one, that I’m missing out on the thoughts and ideas that arise from each Thursday. Sounds obvious now I say it but I’ve been so focussed on my own practice that it didn’t occur to me. Plus I should just pretty much document anything - especially if everything is research.

Thursday’s photographic session was an interesting one as I didn’t have time to think, but just throw stuff together without too much consideration, the speed with which I wanted to work meant that it was very intuitive and unconscious. Normally I would have liked tie to think about what I would do and prepare materials. But coming straight from work and not quiet being sure of what was going to be asked, meant I had to work on the fly.

(((I find an interesting tension between working intentionally and intuitively, I see value in them both, but struggle to reconcile a way to work using both - although I wonder if this is the value to making the ‘little nothings’ that Ursula von Rydingsvard creates.)))

Taking the direnct transfer images I was still working true to my practice taking layered paper and collaging. It’s quiet close to my practice already. Accumulating images and working them back and forth. It’s a part of my visual language t he photographic image. I note how often I use photography as a means to thinking a nd documenting ideas.

What became more interesting was when I collated the images together and place. them as one long block on the Miro board. Putting all the images together made sense of them, the colours and movement through form, with elements being lost and captured.

How the images are captured on the paper has a ‘spectral’ quality (Derrida - Specters Of Marx) , it’s evidence of history, present and future across the same site. Unfixed the image won’t remain, and the image viewed is not how it will be in the future, or how it was. There is a ghostly presence on the paper which cannot be entreated to stay or name itself.

Currently I’m reading - Spectres of Marx by Derrida. I’ve moved onto this text following a conversation with someone more versed in Derrida and other associated writers. There are a number fo terms that Derrida uses in Literary critical analysis, Hymen, Trace, Differance, Spectural. Thera are all similar but different, and I need to get a little more familiar with them for the sake of my research and my sanity.

I’m especially liking the notion of the spectre it’s connects easily to what I am investigating with my research paper and own art practice. More time with it is needed, as there are nuanced motifs in what I am reading that play out in my own work - especially the choice of materials. In discussion with Jonathan during a turutorail we discussed how the history of a material (a fence panel) has a key role for me in the nature and language of the art work I am making. That it becomes woven into the heart of the artwork and it’s integrity, even though it may not be clear to the viewer.


 

Khôra and the Impossible by Justin Harrison

Khôra - Ink and acrylic on paper


“Sans savoir, sans avoir, sans voir.”
Caputo J : Prayers and Tears of Jacques Derrida, Introduction p20

“Without knowing, without having, without seeing”

/////////////////////

Vertical forms suspended in space

A host.

Khôra - the liminal - the place of transformation 

/////////////////////

Khôra (also chora; Ancient Greek: χώρα) was the territory of the Ancient Greek polis outside the city proper. The term has been used in philosophy by Plato to designate a receptacle (as a "third kind" [triton genos]; Timaeus 48e4), a space, a material substratum, or an interval. In Plato's account, khôrais described as a formless interval, alike to a non-being, in between which the "Forms" were received from the intelligible realm (where they were originally held) and were "copied", shaping into the transitory forms of the sensible realm; it "gives space" and has maternal overtones (a womb, matrix)
Wikipedia https://en.wikipedia.org/wiki/Khôra

Also:

“So likewise it is right that the substance which is to be fitted to receive frequently over its whole extent the copies of all things intelligible and eternal should itself, of its own nature, be void of all the forms. Wherefore, let us not speak of her that is the Mother and Receptacle of this generated world, which is perceptible by sight and all the senses, by the name of earth or air or fire or water, or any aggregates or constituents thereof: rather, if we describe her as a Kind invisible and unshaped, all-receptive, and in some most perplexing and most baffling partaking of the intelligible, we shall describe her truly.”
— Plato, Timaeus, 51a[1]

“As we will see, Derrida easily made the "no" stick. He dispatched this accusation, or deferred this congratulation, effectively and effI ciently, persuasively arguing that whatever their "syntactical" similarities there is a deep "semantic" divide between God and différance, that "it," différance, is not the God of negative theology. (We cannot fail to notice that "God" here is not exactly Yahweh, not the God of prophets like Amos or Isaiah, a God who wants justice, but the God of Christian Neoplatonism.) However highly it is esteemed, différance is not God. Negative theology is always on the track of a "hyper essentiality," of something hyper-present, hyper-real or sur-real, so really real that we are never satisfied simply to say that it is merely real. Différance, on the other hand, is less than real, not quite real, never gets as far as being or entity or presence, which is why it is emblematized by insubstantial quasi-beings like ashes and ghosts which flutter between existence and nonexistence, or with humble khöra, say, rather than with the prestigious Platonic Sun. Differance is but a quasi-transcendental anteriority, not a supereminent, transcendent ulteriority.

Caputo J : Prayers and Tears of Jacques Derrida p2

////////////////////////////////////////////////////////////////////////////////////

In a previous blog I had commented on-

So in light of the nature of Derrida's approach to deconstructions and undecidability - where in his thinking does he reference a constructive approach? What if anything isn’t left undone -  Reinscription? Somewhere I read about a part of his work that touched on this but cannot remember which book it was.

////////////////////////////////////////////////////////////////////////////////////

Caputo goes on from the quote about to discuss that the direction of deconstruction ultimately points up - a passion for the impossible’ p3, whilst also contextualising difference, in a contructive/ generative way.

'"Translating" in deconstruction is nothing reductionistic, and that is because différance opens things up rather than barring the door closed.” P4

There is a place for generation rather than reduction. Reduction being the popular misnomer of Deconstruction.

Useful phrases from p2-4

“Initiating a pact with the impossible”

“Tout autre est tout autre” - every other is wholly other

Think about essence becoming real. Emerging from the Khôra. Extensia.

Do I emerge from the Khôra every day. Transformed by renewing my mind? Is the Khôra a limiting phrase? Just another addressing of the same thing? And how does this impact my research and art?

What I do like is this addressing of the’ impossible’, and a possible/impossible place of transformation across many manifestations, from major to minor. And then there is the inverted value system. Cultrally we like the dramatic the demostratable, the evidential. Yet these texts allude to the small the innocuous, being key. That maybe transformation is effected by the granular. The macro. The mustard seed.

God resides in and out of the impossible. Which is impossible.


 

Notes from Presentation by Justin Harrison

 

Having already given the presentation on ‘Jacques Derrida’ By Nicolas Royle. This is more an ‘aid de memoire’ to remind me of the points I spoke about in the hope that I’ll remember.

Book: Jacques Derrida By Nicolas Royle

Why oh why did I choose Derrida?

Derrida is a French linguist, writer and literary Critical Analysts, philosopher and political commentator and much more.
Written many books especially on textual analysis.
He’s notoriously dense and complex.
Just when I think I have understood I realise I don’t.

Maddening is a phrase I’ve read somewhere...

Famous for:
Deconstruction 
Literary analysis
Semiotics
Grammar the difference
Political


I’ve come back to this book as I find Royle’s writing more accessible. He articulates well the unique challenges that come with Derrida’s thinking and writing.

Specifically I’ve been thinking/looking at deconstruction. 

What it is not and ways to approaching what it could be.

But even that is optimistic as Derrida’s thinking and writing resists simple or reductionalist summisations of ‘This is this and means this’. Royle explores this not offering neat answers. In the chapter it even states how Derrida dislikes even the word deconstruction, and that he feels that it’s wrong to use it as a ‘ism’ or practice.

Rather Royle gives a useful if fragmented overview, he describes how Derrida likes to explore at a phorensic level. He explains how Derrida evades, is elusive in what is meant for him, by deconstruction.

Royle demonstrates examples of what Deconstructuon is not - throughout most of the book we are shown what Derrida is not, but not told what it and he is. Rather we are shown where he/it might be at work. Where a ‘trace’ or a ‘Ghost’ might be, and it’s this approach that leaves space to work in.

It’s not an answer it’s a deep approach. A constant undoing of ones own beliefs

///////////////////////////////////////////////////////

I keep returning to Derrida, to this book. A starter. A basic introduction. (Sigh)

Although I am currently liking this uncomfortable wrestling. I have been looking for answers and Derrida won’t give them. Only a way of approaching. And I think that's the thing with Derrida, the moment you look for a neat of final answer - things vaporise - it doesn't work.

Royle frequently in this chapter talks of the unravelling that seems to happen often.

And then for me the language of my work is very important, from the thinking to the language of the symbols and materials. Unravelling of my materials, my practice, my thinking.

Specifically in my practice

Royles chapter has given me specifically some very engaging thoughts that I am exploring as I make.

“Every thing is Divisable” - this phrase alone has me.

///////////////////////////////////////////

I am interested in belief, it’s nature and how it manifests. 

In the liminal, the threshold, transforming spaces.

And something of Derrida's work touches on these thin and elusive environments.

/////////////////////////////////////////////

The more I read, the more I realised I didn’t understand, now I suspect that’s the point.

Royles description of Derrida and his practice in this chapter leads us to a constant questioning of our thinking, our beliefs. And this could be a kind of Deconstruction>>>

>>>A constant examining, undoing and again examining of ones own beliefs. Including my beliefs about beliefs.

 

Derrida by Justin Harrison


"Great works [philosophy/literature/writing] transform the context of their reception and this takes time". Royle Nicholas - Jacques Derrida Routledge P73

What if writing or a work of art could physically change the space/ landscape around us because of the power of the text/ message/ essence of the meaning. Quantum physics - transforming the environment similar to the word? Observed particles behave differently///

Pharmakon poison and remedy, both or sacrifice (Human)//////

"Adrian Mróz, a Polish-American philosopher and musician, analyses its application to art and argues that pharmakon is any physical, mental, or behavioral object[7] which can cut (techne). In other words, pharmaka are agential and responsible for changes in consciousness." https://en.wikipedia.org/wiki/Pharmakon_(philosophy)

More reading in Pharmakon?///

Deconstruction

"Derrida has spoken of what impels his writing as a trembling, a 'shaking' or a 'soliciting'. He has written again and again, but always differently, about 'producing a force of dislocation that spreads itself throughout the entire system', about deconstruction as 'de-sedimantation', about a force of irruption that '[disorganises] the entire inherited order'" Royle Nicholas - Jacques Derrida, Routledge P25

"Even the most apparently simple statement is subject to fission or fissure. This is deconstruction as destabilisation always already on the move within. 'There is no atom', as Derrida remarks what is one of his most succinct and most quietly, subterraneously explosive formulations. Everything is divisible. Unity, coherence, univocality are effects produced out of division and divisibility. This is what gives rise to the elaboration of terms such as differance, iterability, the trace, the supplement"  Royle Nicholas - Jacques Derrida, Routledge P26

"It is about shaking up, dislocating, and transforming the verbal, conceptual, psychological, textual, aesthetic, historical, ethical, social, political, and religious landscape. It's concern is to disturb, to de-sediment, to deconstruct". Royle Nicholas - Jacques Derrida, Routledge P26

  • Print Derrida - A letter to a friend - read and pull threads about Phramakon, deconstruction, atoms, everything is divisible, constituent parts, diagrams. Liminal?

  • Read Liminal - Greg V 

  • Find Artists to research

  • Find Book from Christian Perspective? Scripture?


 

Currently Reading///Researching by Justin Harrison


Collections

Sculpture as constituent parts///

Language and it's relationship to compositional elements of sculpture or artmaking

Deconstruction in language and the physical.

Derrida it appears has a dislike of the term Deconstruction and the resistance to it becoming an 'ism'

‘Deconstructualism is a word used by idiots.’(McQuillan 2000, 41)

Everything is divisible rather than deconstructible.

How is this reflected if at all by atomic structure and constituent parts?

Letter to a Japanese Friend"///Jacques Derrida///10 July 1983

Derrida and Differance, ed. Wood & Bernasconi, Warwick: Parousia Press 1985, p. 1-5

An insight into the problematic nature of using 'deconstruction'

Jacques Derrida /// Nicholas Royle///Routledge 2003

Not sure the below statement is true... but I like the idea of interrogation. Scrutinisng our understanding of Law and Justice. Isn't this what Jesus did?

For him it was both ‘foreseeable and desirable that studies of deconstructive style should culminate in the problematic of law and justice.’2 Deconstruction is therefore a means of interrogating the relationship between the two.

https://criticallegalthinking.com/2016/05/27/jacques-derrida-deconstruction/

Interrogating Law and Justice - But who's law and justice?

Thread to Physics ____

Thread to Language____

Thread to Sculpture____

Thread to Spirituality____

Further reading required?: 

Derrida Difference

Deconstruction

Law and Justice