[December 24th 2020]
to be considered by a filmmaker like Eddie Peake when he slickly and decidedly takes apart the systems of narrative filmmaking, anatomises ‘dance’, and picks apart ‘time’? Though Peake is keen to stress that his latest work doesn’t explicitly contain “any reference to our current state”, the ways in which he overcomes the type of criticism that D’Ancona and Kakutani level against Derrida’s followers is quintessential 2020: he does it by reconsidering ‘screens’ as, rather than ‘barriers’, something more like ‘conduits’. In the age of video-chat Christmases and normalised paradoxes like “social distance”, Peake explores how meeting and penetrating various
Mark Wigley, The Architecture of Deconstruction, Derrida's Haunt, 1995
Deconstruction is an approach to understanding the relationship between text and meaning. It was originated by the philosopher Jacques Derrida (1930–2004), who defined the term variously throughout his career. In its simplest form it can be regarded as a criticism of Platonism and the idea of true forms, or essences, which take precedence over appearances. Deconstruction instead places the emphasis on appearance, or suggests, at least, that essence is to be found in appearance. Derrida would say that the difference is "undecidable", in that it cannot be discerned in everyday experiences.
Nowhere, Mark Wigley asserts, are the stakes higher for deconstruction than in architecture - architecture is the Achilles' heel of deconstructive discourse, the point of vulnerability upon which all of its arguments depend. In this book Wigley redefines the question of deconstruction and architecture. By locating the architecture already hidden within deconstructive discourse, he opens up more radical possibilities for both architecture and deconstruction, offering a way of rethinking the institution of architecture while using architecture to rethink deconstructive discourse.
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