Still, as my title suggests, there are moments of great excitement here even if this work does not bring its various promises to fruition. I think you must be interested a great deal in this application of deconstruction to be willing to buy such an incomplete and slim volume. I wish we had more and better on this topic. Still, the book makes a little clearer some of the muddled relations of deconstruction and photography found in “Right of inspection” (1989) and scattered in his writing.
Derrida’s questioners are smart and interesting, but this is fairly staccato, incomplete, and interrupted exchange. The book also contains a brief introduction and some notes with interesting bibliographic references. The interchange itself is about 14000 words, very short. ⭐This book is a translation of a conversation between Derrida and two German theorists that transpired in 1992. Reviews from Amazon users which were colected at the time this book was published on the website: Copy, Archive, Signature will be of compelling interest to readers in the fields of contemporary European critical thought, photography, aesthetic theory, media studies, and French Studies, as well as those following the singular intellectual trajectory of one the most influential thinkers of our time. Gerhard Richter introduces the volume with a critical meditation on the relationship between deconstruction and photography by way of the concepts of translation and invention.
Along the way, the discussion fruitfully interrogates the question of photography in relation to such key concepts as copy, archive, and signature. Questioning the all-too-facile divides between so-called old and new media, original and reproduction, analog and digital modes of recording and presenting, he provides stimulating insights into the ways in which we think and speak about the photographic image today. Derrida offers a penetrating intervention with regard to the distinctive nature of photography vis-à-vis related technologies such as cinema, television, and video. Their conversation addresses, among other things, questions of presence and its manufacture, the technicity of presentation, the volatility of the authorial subject, and the concept of memory. This book makes available for the first time in English-and for the first time in its entirety in any language-an important yet little-known interview on the topic of photography that Jacques Derrida granted in 1992 to the German theorist of photography Hubertus von Amelunxen and the German literary and media theorist Michael Wetzel.
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