Exemplification and deconstructive writing: dancing with Massumi, Derrida, and others

I am experimenting with ‘exemplification’ (Massumi, 2002) and ‘deconstrucitve writing’ (Maclure, 2010) by applying them to selected data from research for my doctoral thesis. Central to both is the power of examples to expose detail and divergence that lead to new and different possibilities and connections. I have been inspired by Derrida’s (Maclure, 2003; Spitzer, 2011) notion of the fabric of a text with ‘tears’, ‘cuts’, ‘knots or aporias’. Therefore, I have created a fabric of text with tears and aporias: one that encourages readers to think and read doubly (Derrida, cited in Spitzer, 2011). I write in an ‘inattentive’ way (Massumi, 2002): juxtaposing examples (narratives) with the identities of the narrators, my responses to their narratives, and theoretical and other musings to play with the ambiguity of reality and identity. The interplay of inattention, exemplification, and deconstructive writing allows for interpretation, reinterpretation, affective responses, and new and different impressions and possibilities. My aim in writing this paper is threefold: (1) to explore the application of a Derridean perspective to some of my research, (2) to practise exemplification and deconstructive writing, and (3) to write in an inattentive and creative way.

Heidegger and the Japanese connection

This collection of new essays on phenomenological themes reviews aspects of the philosophical movement which began with the publication in 1900-01 of Edmund Husserl's path-breaking Logical Investigations. A broad survey of phenomenology is particularly timely given that this philosophical movement is reaching a hundred years of its existence. The thirteen contributions represent a wide range of approaches and interests within the phenomenological framework. Some present approaches to Husserl, while others explore aspects of the fundamental texts of phenomenology and provide critical discussions of later thinkers such as Heidegger, Sartre, and Derrida whose relation to Husserl receives particular attention. The final section relates phenomenology to other disciplines and to broader issues in social thought and cultural studies. This book will enable students and professional philosophers alike to explore the various strands of this widely influential school of thought.

The knowledge economy and innovation: certain uncertainty and the risk economy

The knowledge economy is a dominant force in today's world, and innovation policy and national systems of innovation are central to it. In this article, we draw on different sociological and economic theories of risk to engage critically with innovation policy and national systems of innovation. Beck's understanding of a risk society, Schumpeter's innovation thesis, and Perez's techno-economic paradigm are used to consider the risk economy, and the broader risk implications of knowledge economy policies and their associated innovation systems. Derrida's theory of haunting provides the methodological framework for our discussion. We use his notion of “hauntology” to conceptualize the risk economy as a ghost that haunts knowledge economy policies and systems. The spectral risk economy draws attention to the inherent instability of the knowledge economy, and challenges the certainty of its economic dogma by offering an alternative perspective. The risk economy problematizes knowledge economy policies and systems by revealing the uncertain and “undecidable” future of social, political and cultural hazards ignored in the interest of commercial gain.

Playful learning : Melville's artful art in Moby-Dick

It remains one of the great ironies of American literary history that Melville's Moby-Dick struggled so long for critical and popular recognition. It is a peculiar text (but, then, so are Hawthorne's novels), a romance of the whale fishery that involves such explorations of language itself, of words, metaphor, symbol, allegory and the processes (and significance) of narrative construction. This article analyses its 'peculiarities' as fundamental indicators of Melville's 'playful art' to argue the usefulness of a concept of 'play' to its appreciation. That Moby-Dick is allusive and multi-layered is well known. But for what apparent purpose and to what effect? Here, a claim is made that Melville simultaneously constructs and deconstructs meaning by demonstrating that things ('in complex subjects') never come simply or singly. The later Barthes and Derrida become part of this ship's crew and Moby-Dick is a postmodernist novel avant la lettre.

Constructing the monster : notions of the monstrous in classical antiquity

Focussing on humaniod monsters, this thesis uses insights from Foucault's theory about the "archaeology" of discourses and Derrida's practice of deconstruction to examine how monstrosity was spoken of in antiquity, and how the various "sciences" dealt with anomalous monsters without jeopardising their epistemological credibility. Discussion begins with a survey of the semantic field of teras and monstrum. Since portentousness was central to both terms, the signification of monstrous portents in divinatory practice is next aalysed in the historiography of Herodotus, Livy, and others. Cicero's De divinatione reveals the theory and the problem for that science posed by accidental monstrosities. Chance and novelty are also issues in mythical and scientific cosmogonies < of Hesiod, and Orphism, Empedo-cles, and Lucretius> , where monsters arise and are dealt with while cosmic regularities, reproductive and ethical, are being established. Teleology and the stability of species'forms emerge as important concerns. These issues are further considered in Aristotle's bioogy and in medical writings from Hippocrates to Galen. There, theories are produced about monstrous embryology which attempt to answer the question of how deformities occur if species' forms are perpetuated through repro-duction. Biological and taxonomic--as well as ethical--boundaries are violated also by mythic human-beast hybrids. Narratives about such anomalies clarify the nature of monstrous deviance and enact solutions to the problem. Their strategies have much in common with other modes of discourse. Ethnography is posed similar questions about monstrous races' physical and ethical deviations from the civilised norm; it speaks of those issues in terms of invariance of form through generations, geographical remoteness and the codes which situate those races ethically. Finally, Augustine’s discourse on monstrous individuals and races is examined as Christianity’s belief in God’s governance reformulates the ancient’s discussions of chane or novelty and the invariance of species. In all these discourses founded on determinate meaning, the persistant paradox of monstrosity need offer no challenge to rationality provided its indefinable diversity is unacknowledged and the notion is constructed in such a way as to reaffirm the certainties.

Inaccurate autobiography – the ‘true-invention’ of a life

This paper takes the Aristotelian binary of praxis and poiesis and approaches the process of autobiography via its double lens. Drawing on a reading of Hannah Arendt done by Julia Kristeva, it considers the question of whether the activity (that is: praxis) of making-narrative might constitute an activity that is particularly ‘human’. It is framed by the playful and serious challenge offered by Derridean deconstruction to think two things at once, and to practice an inhabiting of binary ultimatums. Given this, it goes on to suggest that making in an autobiographical fashion, rather than involvinganythingprimarily representative or documentary, is more paradoxically akin to the invention of what is most true about that which we are in the habit of calling ‘our life’. Indeed, it can be argued that this praxisinvents that very ‘life’ – the latter being an entity or categorythat logically does not precede thesame writing that purports to describe it, but rather arises with its activity. This self-reflexivity (a manoeuvre that at once describes and invokes the very thing described) coincides with Derrida’s explication of invention’s mechanism.

Intimacy and making : thinking constellations of consciousness and the movements of invention

This paper takes up the three terms - creativity, consciousness and intimacy - and positions them as possible ‘ultimate terms’. Inquiring into the use of these terms to garner approval, status or power within cultural contexts, the paper attempts to unpack them, and simultaneously to seek out any structural similarities in the ways that they operate. The term ‘creativity’ is deconstructed via a Derridean framework, wherein ‘inventiveness’ is posited as a more rigorous alternative in most cases. Consciousness is read closely in relation to its association with notions of awareness and ‘enlightenment’. And ‘intimacy’ is playfully explored as an alternative term for enlightenment, a manoeuvre which brings to the fore some structural assumptions about that which intimacy might comprise. The assumption of intimacy as a spatially-dependent notion is also interrogated. The paper contends that intimacy may involve an unsettling of spatial assumptions proper, and therefore not be simply a function of closeness or distance. It draws on Serres’ notion of the angel as messenger and as analogy for the preposition, indicator of position, but occupant of none. Finally an example from art practice is offered, one that arguably performs the terms intimacy and creativity at once: an epistolary adventure in poetry and photographs, called The Post Project.

The Chi complex and ambiguities of meeting

In his article "The Chi Complex and Ambiguities of Meeting" Paul Carter develops a discussion of interpersonal encounters by mobilizing an apparatus of references, ranging from Jean Genet to Lévinas, Derrida, Bachmann, Merleau-Ponty, and Arendt. The hypothesis is that meeting another person entails and subsumes a non-meeting; a resistance and a refusal. The article pursues the ambiguity at the heart of encountering the other through an investigation of the urban spaces that are allegedly designed to invite and facilitate meetings. The argument put forward is that these spaces are paradoxically designed to avert encounters. This is especially true in the context of a "new social, economic, and institutional life that seems to call into question the very existence of the collectivities referred to as 'community' or 'society'." The unfolding of this proposition describes a space and a topography that are open, supple, and capable of "mutual transformations." The Greek letter Chi, both in its meaning of chaos and Chora ("a process of cleavage in its double meaning"), is employed as a theoretical example of a place that defies rigidity and closeness and that invites us to linger and pause in order to allow the other to meet and be met.

Main streams and fine rivers : thinking the aporetics of edge

This paper takes up the question (reframed by Deleuze and Guattari) of where expansion takes place: at the ends or from the centre. Despite the connotations of mediocrity that can be attributed to the term ‘mainstream’, it is possible to rethink what happens at close range as the space of radical openings. Writers can often believe that what is most abnormal or fringe will produce the highest probability of creative ‘event’. The question, however, can be posed – framed by the lineage of deconstruction – whether the key to unlocking any system of totality or closed possibility may lie in a very central (although physically peripheral) location. If, instead of the classical image, expansion may occur from re-imagined ‘middles’ rather than conventional ‘margins’, this reading of where potential can arise may offer a more resilient model than that of fragile peripheries, forever exposed to being amputated from staid centres of status and restricted participation. Drawing on the writings of Deleuze and Guattari, Derrida and Badiou, this paper seeks to unsettle any simplistic approach to the notion of edge, reinscribing it within the repetitiveness of our situations, to argue that right in the middle of the so-called mainstream, there might be the fine rivers of aporia that when encountered in thought can constitutes gates to that which is most radical in writing and other creative practices.

The devil in high heels : drugs, symbolism and Kate Moss

This paper contributes to critical voices on the issue of organisational responses to employee drug use. It does so by exploring symbolic readings of organisations’ relations with drugs and drug-taking. Our focus is recent coverage of, and organisational responses to, the UK tabloid media’s exposé of fashion supermodel Kate Moss’s alleged cocaine use. We consider that the celebrity endorsement in this particular case highlights the ambiguities created by the symbolic associations between the organisation and the ‘image’ projected by the celebrity. Overall, we use this case to explore symbolic relationships between drugs, sex, femininity and organisation. Through highlighting these connections, we question further the rationality of organisational responses to employee drug use and, utilising Derrida’s (1981) extension of Plato’s notion of the pharmakon, consider whether workforce drug testing might be fruitfully seen as a symbolic mechanism for scapegoating and sacrifice in order to protect the organisation’s (masculine) moral order.