By Jacques Derrida
Athens, nonetheless continues to be is a longer remark on a chain of photos of up to date Athens via the French photographer Jean-Franois Bonhomme. yet in Derrida's palms remark consistently has a fashion of unfolding or, greater, constructing in numerous unforeseen and jointly illuminating instructions.
First released in French and Greek in 1996, Athens, nonetheless is still is Derrida's so much sustained research of the photographic medium in dating to the historical past of philosophy and his such a lot own mirrored image on that medium. right now photographic research, philosophical essay, and autobiographical narrative, Athens, nonetheless continues to be offers an unique conception of images and throws a desirable gentle on Derrida's lifestyles and work.
The ebook starts with a kind of verbal photo or aphorism that haunts the complete publication: we owe ourselves to death.Reading this word via Bonhomme's photos of either the ruins of historical Athens and modern scenes of a still-living Athens that also is on its option to damage and demise, Derrida interrogates a philosophical culture that runs from Socrates to Heidegger during which the human-and specially the philosopher-is idea to owe himself to dying, to a definite considered loss of life or comportment in regards to demise.
Combining philosophical speculations on mourning and loss of life, occasion and repetition, and time and distinction with incisive remark on Bonhomme's pictures and a story of Derrida's 1995 journey to Greece, Athens, nonetheless is still is one among Derrida's so much available, own, and relocating works with out being, for all that, any much less philosophical. As Derrida reminds us, the notice photography-an eminently Greek word-means the writing of light,and it brings jointly this day right into a unmarried body modern questions on the murals within the age of mechanical copy and masses older questions about the connection among mild, revelation, and truth-in different phrases, a complete philosophical culture that first got here to gentle within the shadow of the Acropolis.
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Additional info for Athens, Still Remains: The Photographs of Jean-Franois Bonhomme
20], the Neon Café on Omonia Square [no. 2], Street Organ [no. 4]) have, indeed, disappeared since the “shot” was taken; and finally, the third anticipated mourning, he knows that other photographs have captured sights that, though still visible today, at the present time, at the time this book appears (Athinas—Meat Market [no. 6] and Fish Market [no. 13]), will have [devront] to be destroyed tomorrow. A question of debt or of necessity, a question of economy, of the “market,” all the sights along these streets, all these cafés, these markets, these musical instruments, will have [devront] to die.
Everything is going to be in place in just a moment, at any moment now [incessamment], presently or at present, so that, later, a few moments from now, sometimes a lot later or even a very long time from now, another present to come will be taken by surprise by the click and will be forever fixed, reproducible, archivable, saved or lost for this present time. One does not yet know what the image will give or show, but the interval must be objectively calculable, a certain technology is required, and this is perhaps the origin or the essence of technology.
It was in accord with what he says about it. indd 34 8/13/10 1:29:34 AM Still XV Meeting with a Photographer on the Acropolis. He seems to be sleeping, dreaming perhaps, unless he has died, struck down right there by a sun stroke, his head slouched down on his chest. He is perhaps the author of this book. He would have photographed himself, in full sunlight. Here, then, is the heliograph: he wears a hat on his head, but he is still too exposed because the parasol or the reflector behind him is no longer over his head, protecting, it would seem, only other photographic images, already a few reproductions, no doubt.