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Homeless Images: Kracauer's Extraterritoriality, Derrida's Monolingualism of the Other
- Gerhard Richter (author)
Chapter of: Extraterritorialities in Occupied Worlds(pp. 377–422)
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| Title | Homeless Images |
|---|---|
| Subtitle | Kracauer's Extraterritoriality, Derrida's Monolingualism of the Other |
| Contributor | Gerhard Richter (author) |
| DOI | https://doi.org/10.21983/P3.0131.1.19 |
| Landing page | https://punctumbooks.com/titles/extraterritorialities-in-occupied-worlds/ |
| License | https://creativecommons.org/licenses/by-nc-sa/4.0/ |
| Copyright | Richter, Gerhard |
| Publisher | punctum books |
| Published on | 2016-02-16 |
| Long abstract | If it has a home at all, the proper home of the image, and even the thought-image or Denkbild, is homelessness. Never fully itself, the image remains at odds both with itself and with the referen-tial burden that it is expected to carry. In its iterability, the image, which threatens to be divorced from referential functions such as time and space, tells of distance, absence, and loss, of exile and diasporic dispersal. It tells, in other words, of the states that make the image what it is and that relates it to all other images. The demand that an image can be of something and that it faithfully and reliably represent that something, on the one hand, and the inevitably unpredictable ways in which an image fails to comply with that demand, on the other hand, sponsor a melancholia that is shared by all im-ages, even as it cannot travel through the structural and historical specificity of a singular image. The image records a historical moment at the same time that it interrupts history, perpetuating the very thinkability of history even as it breaks with the logic of historical unfolding. As the site of multiple dis-placements, the image is historical when it tells us of its own departure from history, capturing time most fully when it removes itself from time, the way in which, for instance, a snapshot memorializes time by stepping outside the temporal flow. Because an image can never fully represent, that is, present once again in exactly the same way, the vast network of traces and meanings that it first sets out to arrest, it performs an Aufhebung that simultaneously preserves and cancels the event that was once its subject. In this double ges-ture, the image both forestalls and commemorates loss by recording a mo-ment, documenting its constitutive inevitability, and making it visible as the loss that it always already was. That is to say, the image reveals the ways in which an assumed presence already was a fiction at the time when it was be-lieved to be present. We even could say that rather than simply representing its subject, the image retroactively makes visible the absence that already lay at the core of the event it set out to record. |
| Page range | pp. 377–422 |
| Print length | 46 pages |
| Language | English (Original) |
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