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| Digital Object 101 | |||||||||||||||||
| Drawing + eachcing | |||||||||||||||||
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Horkay,
the application of the painting historical element in the picture is
a remembrance of an era we are over; over we are the naive relatedness
created by perspective, and over we are the picture creating technique
that relies on the latter.
The application is neither parodistic, nor is an ironic citation, but is an emergence-transparence of a pictorial element of a past era as an item of a set. This set - writings, documents, stamps, painted pictures, etc. - is not else than some accumulated mass of culture and knowledge that surrounds us as a fermenting and evaporating hill of rubbish, of which everyone tries to save something, as allowed by his own fancy and the laceration and destruction degree of the hill itself. The question is how in this "post" era motion develops at all from the radiating, energy-saturated set in our cultural memory at the returning of the displaced, the postponed, the passed and the repressed. An experiment to create a "scientific psychology", the "Entwurf" is closing of an era, when, naturally, the great ideas of the analytical age are already in preparation. Derrida?s criticism seems to be rightful: "If we start from a hypothesis postulated in the Entwurf twenty years ago, namely that a permanent trace supposes that a road section (Bahnung) is deliberated and some resistance is overcome, than we have to conclude that there is no trace at all, since there is no opposing resistance." (Derrida - Die Postkarte II. Brinkmann-Bose V. 1987. p. 107). |
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