By Jacques Derrida
During this marvelous essay, Jacques Derrida explores matters ofvision, blindness, self-representation, and their relation todrawing, whereas supplying unique readings of an extraordinarycollection of pictures. chosen by way of Derrida from the printsand drawings division of the Louvre, the works depictblindness—fictional, historic, and biblical. From Oldand New testomony scenes to the parable of Perseus and theGorgon and the blinding of Polyphemus, Derrida uncovers inthese pictures wealthy, provocative layers of interpretation.For Derrida drawing is itself blind; as an act rooted inmemory and anticipation, drawing inevitably replaces onekind of seeing (direct) with one other (mediated). Ultimately,he explains, the very strains which compose any drawing arethemselves by no means absolutely obvious to the viewer on the grounds that they existonly in a tenuous nation of a number of identities: as marks ona web page, as signs of a contour. missing a "pure"identity, the strains of a drawing summon the complement of theword, of verbal discourse, and, in doing so, imprecise thevisual adventure. therefore, Derrida demonstrates, thevery act of depicting a blind individual undertakes multipleenactments and statements of blindness and sight.Memoirs of the Blind is either a sophisticatedphilosophical argument and a sequence of specified readings.Derrida offers compelling insights into recognized and lesserknown works, interweaving analyses of texts—includingDiderot's Lettres sur les aveugles, the thought ofmnemonic artwork in Baudelaire's The Painter of recent lifestyles, and Merleau-Ponty's The obvious and the Invisible. besides attractive meditations at the historyand philosophy of paintings, Derrida unearths the methods viewersapproach philosophical principles via paintings, and the methods artenriches philosophical reflection.An exploration of sight, illustration, and art,Memoirs of the Blind extends and deepens themeditation on imaginative and prescient and portray offered truthfully and portray. Readers of Derrida, either new and widespread, willprofit from this robust contribution to the research of thevisual arts.
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Additional resources for Memoirs of the Blind: The Self-Portrait and Other Ruins
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What is a digital texture? A digital texture is quite simply a photographic image of an abstract surface within its own right. Although this photographic image may have undergone a few wonderful transformations of its own; in essence, it’s just another JPEG image file. Frustrated with not being able to find digital textures that produced the results I was after, it made sense to create my own. This way I could be sure to use and incorporate the textural elements that I wanted to see translate across into my photographic compositions.
35 36 Art Beyond the Lens Backgrounds How light and dark backgrounds work differently You have now seen just how effective the use of negative space can be for providing a clear destination for textured layers. Extending on this, let’s take a closer look at backgrounds. Whether I’m photographing still life or taking portraits in the park, my background will play a vital role in the effectiveness of my selected textures when I begin processing. The reason my background is important is that different textures work differently once layered over a light or dark background.
55 Making textures from the right source material I have seen textures made out of all sorts of things; I think the most bizarre was a dog’s fur coat! Personally, I believe the initial source of a texture is quite important. I use textures within the processing of my digital photography for a handful of reasons: from heightening the emotional connection to suggesting old charm or whimsical sophistication. It’s therefore required that the textures I use support this application. As I mentioned previously, different textures are suited to different jobs because different textures behave differently depending on the way they are blended.