Injunctions, Disjunctions, Remnants: The Reverse of Unity
Commenced in January 2007
Frequency: Monthly
Edition: International
Paper Count: 32845
Injunctions, Disjunctions, Remnants: The Reverse of Unity

Authors: Igor Guatelli


The universe of aesthetic perception entails impasses about sensitive divergences that each text or visual object may be subjected to. If approached through intertextuality that is not based on the misleading notion of kinships or similarities a priori admissible, the possibility of anachronistic, heterogeneous - and non-diachronic - assemblies can enhance the emergence of interval movements, intermediate, and conflicting, conducive to a method of reading, interpreting, and assigning meaning that escapes the rigid antinomies of the mere being and non-being of things. In negative, they operate in a relationship built by the lack of an adjusted meaning set by their positive existences, with no remainders; the generated interval becomes the remnant of each of them; it is the opening that obscures the stable positions of each one. Without the negative of absence, of that which is always missing or must be missing in a text, concept, or image made positive by history, nothing is perceived beyond what has been already given. Pairings or binary oppositions cannot lead only to functional syntheses; on the contrary, methodological disturbances accumulated by the approximation of signs and entities can initiate a process of becoming as an opening to an unforeseen other, transformation until a moment when the difficulties of [re]conciliation become the mainstay of a future of that sign/entity, not envisioned a priori. A counter-history can emerge from these unprecedented, misadjusted approaches, beginnings of unassigned injunctions and disjunctions, in short, difficult alliances that open cracks in a supposedly cohesive history, chained in its apparent linearity with no remains, understood as a categorical historical imperative. Interstices are minority fields that, because of their opening, are capable of causing opacity in that which, apparently, presents itself with irreducible clarity. Resulting from an incomplete and maladjusted [at the least dual] marriage between the signs/entities that originate them, this interval may destabilize and cause disorder in these entities and their own meanings. The interstitials offer a hyphenated relationship: a simultaneous union and separation, a spacing between the entity’s identity and its otherness or, alterity. One and the other may no longer be seen without the crack or fissure that now separates them, uniting, by a space-time lapse. Ontological, semantic shifts are caused by this fissure, an absence between one and the other, one with and against the other. Based on an improbable approximation between some conceptual and semantic shifts within the design production of architect Rem Koolhaas and the textual production of the philosopher Jacques Derrida, this article questions the notion of unity, coherence, affinity, and complementarity in the process of construction of thought from these ontological, epistemological, and semiological fissures that rattle the signs/entities and their stable meanings. Fissures in a thought that is considered coherent, cohesive, formatted are the negativity that constitutes the interstices that allow us to move towards what still remains as non-identity, which allows us to begin another story.

Keywords: Clearing, interstice, negative, remnant, spectrum.

Procedia APA BibTeX Chicago EndNote Harvard JSON MLA RIS XML ISO 690 PDF Downloads 380


[1] Deleuze, Gilles, “O que é a Filosofia ?” (What is Philosophy?) (Book style). São Paulo: Editora 34, 2010 (3a. edição), pp. 288
[2] Derrida, Jacques, “La Vérité en Peinture” (Book style). Paris: Flammarion, 1978, pp. 291-436.
[3] Derrida, Jacques, « Glas » (sBook style). Paris: Galilée, 1974, pp. 304.
[4] Derrida, Jacques, “Khôra” (Book style). Campinas: Papirus, 1995, pp. 76
[5] Giacoia, Jr, Oswaldo. Heidegger Urgente (Book Style). São Paulo: Três estrelas, 2013, pp. 141
[6] Heidegger, Martin, “A origem da obra de arte” (The Origin of the Work of Art) (Book style). Lisboa, Edições 70, 2007, pp. 76.
[7] Heidegger, Martin “Parmenides” (Book style). Petrópolis: Editora Vozes, 2008, pp. 13-30
[8] Koolhaas, Rem, “Delirious New York” (Book Style). New York: The Monacelli Press, 1978, pp.320.
[9] Koolhaas, Rem, Mau, Bruce, “S,M,L,XL” (Book style) .New York: The Monacelli Press, 1995, pp. 1305-1344.
[10] Koolhaas, Rem, Kwinter, Sanford, BOERI, Stefano et al. “Mutations” (Book style) . Barcelona: Actar, pp. 720.
[11] Koolhaas, Rem, “Três textos sobre a cidade” (Three texts about the city) (Book Style). São Paulo: GG Basil, 2014, pp. 67-111.
[12] Nietzsche, Friedrich, “Além do Bem e do Mal: Preludio a uma Filosofia do Futuro” (Beyond Good and Evil: Prelude to a Philosophy of the Future) (Book style). São Paulo: Companhia das Letras, 2001, pp. 05-15.
[13] Peeters, Benoit. “Derrida” (Book style). Rio de Janeiro: Civilização Brasileira, 2013, pp. 315-327.
[14] Safranski, Rüdiger. Heidegger, um mestre da Alemanha entre o bem e o mal (Heidegger, em Meister aus Deustshland) (Book Style). São Paulo: Geração editorial, 2013, pp.518.