What kind of an event, what kind of machine, is the Holocaust? What figure, what medium is ash or before it fire? What are these for Derrida? Among the “controversies” surrounding Derrida and deconstruction (“media”), and for overdetermined reasons, few have matched the contradictory intensity of Nazism and the Holocaust. Is deconstruction a “Jewish science” emerging out of post-Holocaust concerns (ashes), or is it a “left Heideggerianism” all too forgiving of Nazi proclivities (“Spirit in Flame”)? What kinds of questions are these? What archive burns through them? What remains? What remains of Derrida’s Holocaust?

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Derrida and the Hauntology of Media

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Jacques Derrida had an abiding engagement with the temporalities, spatialities and inscriptions of the mediatic, beginning with his work on genesis and phonology in Husserl through his subsequent development of the following themes and concepts that have…


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Jacques Derrida had an abiding engagement with the temporalities, spatialities and inscriptions of the mediatic, beginning with his work on genesis and phonology in Husserl through his subsequent development of the following themes and concepts that have re-oriented and disoriented our understanding of semiosis, communication/excommunication and interfacing/defacing: arche-writing, the trace, iterability, parricidal mimesis, phonocentrism, the dangerous supplement, the pharmacology of writing, dissemination, the play of repetition, Freud’s magic writing pad, otiology, on touching, atomic missives and missiles, the shibboleth, inspectacularity, echography, secrecy, the alibi, the maddened subjectile, the ethnography of paper, spectrality, the pathogenic archive, the event, and autoimmunity among many others.

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