parrhesia03_blackburne

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www.parrhesiajournal.org 22

PARRHESIA NUMBER 3 2007 22 32

(Up) AgAinst the (in) Between:interstitiAl spAtiAlity in genet And derridA C a B ackbu

To be against (opposed to) is also to be against (close to, in proximity to) or, in other words, up against. J a a d m 1

C t , m a i g as it d s b th pp siti a d p imity, is c mpa abl t th ambival t gu f thi t stic a d th d c st uctiv ti f spac m t, sha i g i th way th s limit-c c pts blu thdisti cti s b tw i sid a d utsid , s lf a d th , p s c a d abs c . Whilst J a G ts a lyw k (such as th v lsOur Lady of the Flowers(1942) a Miracle of the Rose(1943)) u ua a c awith th b u d d spac f th p is , th hyp vi ility f its i mat s, a d a m l gic auth ial v ic ,2

Jacqu d aGlas(1974) id ti s ainterstitial a c x , a c a av which adically subv ts th ti s f spatial cl su , a cissism a d c p al ss tialism.3 ti t stic th f app a s a p t tial sit f sista c , a imma t s u c f c itiqu that is (dis)l cat d i th ssu s a d c acks f c v ti al a chit ct ics, m gi g f m withi th pa ptica chit ctu a d th supp s dly d cil b di s f th discipli a y gim .4 G ts ass ti f

b a ac m u acc ab b 1940 F c c c u a u ma a av ws lit al a d m taph ical s g gati s, id ti d by D ida as a l m t f c tagi thataff cts th c p al, th spatial a d th t tual alik .5

What is at stak i this discussi is a u p c d t d c u t b tw D idas w k G ta d his w iti gs th d c st uctiv a chit ctu f B a d Tschumi, b i gi g i t li f thspati -c p al mphasis f G ts t ts a d th i implicati s f a c c ptualizati f u built

vi m t. By adi g th s w ks i lati t ach th , w ca pl h w i t stitial st at gitak i t acc u t th mat iality f b di s a d th dy amism f th i g stu s a d i t acti s. Givth c mpl imb icati f th m s i v lv d, a pl ati f th i t stitial shall b c ssa ily i t -discipli a y, t aci g th i t s cti s a d v laps b tw disc u s s i d t s h w fa th y mightush i w ways f thi ki g a d b i g.

Fi st f all, th (i t )t tual atu f Glasshall b pl d, i d t disc th ways i which

its disju ctiv styl ch s that f G ts w k, a d h w th y b th c ssitat a i t stitial stylf adi g. Th l f ab a t m v m t i D ida a d G t shall th b ami d, i thscillat y ti f espacement a d th stl ss vagab dag f th thi f, b f g i g t a discussif c lum s iGlas, b th i lati t G t a d t th a chit ctu al w iti gs f H g l. Th c c ptf i sc ipti shall b c ucial h , a d h w G ts d picti s f tatt s a d g af ti s at with

D idas w iti gs th am t. Fi ally, a discussi f th lati ship b tw a chit ct ics a da chit ctu i D idas w k shall b u d tak , s as t d t mi h w fa i t stitial st at gi s might

abl a thi ki g f a chit ctu its lf, as w ll as f th p litics it might h us .


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(UP) AGAINST THE (IN) BETWEEN


InTer-TexT

I c t ast t J a -Paul Sa t s m um tal w kSaint Genet: comdien et martyr (1952), Glasd s thc v ti s f acad mic disc u s , p ati g f m withi th t aditi but ly s as t act a c itical

ac m ,6 a st at gic i t v ti i t al f actu i g. As G g y L. Ulm bs v s i hisssay S u di g th U c sci us, this is a highly p st-st uctu alist t t which, fa f m wa ti g tlimi at dysfu cti al c ti g ci s, att mpts t w it with th m.7 M v , ak 1991, a c

f i d f G ts, L ila Shahid, claim d thatGlaswas th ly c itical w k h app v d f, th ly h acc pt d. Shahid att ibut s this t a c tai p imit b tw th i m d s f th ught a d

th i c mm p su f th dis d i th syst m: D ida i th alm f phil s phical disc u s ,G t i lati t th lit a y t t.8 This sha d dis d is f a highly t tual atu . n t ly is thbic lum a st uctu f Glasi spi d by G ts C qui st st du r mb a dt dchi p titsca s bi guli s, t f utu au chi tt s,9 but als th dig ssi s, pa th s s, italicizati s a di t t tual citati s that c stitut th m s llat d styl f Glasa all f atu s f G ts uv (alb itt a l ss d g ). As G t w it s i his al w k, Prisoner of Love(1986), adi g b tw th li s isa l v l a t; adi g b tw th w ds a p cipit us .10 This i t stitial m d f adi g is p cis lywhat d c st ucti qui s, i habiti g th st uctu s a d id tifyi g th i i stabiliti s, ath thaattacki g th m f m with ut.

I d t gag with such a f agm ta y t t, th v y m th d f u a alysis is put i t c isis. Asr la d Ba th s w it s iThe Pleasure of the Text , th w it ly (p st-st uctu alist) t t d j uissa c ca

ly b add ss d by a th w it ly t t, a t t w itt i its fashi .11 i , 1986 et a slati f Glasby J h P. L av y J . a d richa d ra d is acc mpa i d byGLASsary, a c c

f ssays by L av y, Ulm a d D ida hims lf, p s t d i a f agm ta y f m that ch s that f th igi al t t. Lik wis , th fact that th is a ti w bsit d dicat d tGlasfu th mphasiz sits hyp t tual quality a d d a c f i t p tativ cl su .12 i Glas, d a mu c a

ft blu i t a th , th i f t t s amputat d. D ma cati s b tw f c s (i cludi g th s t Saussu , Sa t , Bataill , P a d Malla m) a t ubl d, whilst th s u c s f th s aha d t id tify. This l ads t a s m what pa ad ical stat f affai s, i which D idas d a c f i t p tativ mast y is m t with a p lif ati f c itical i t v ti s, att mpti g t id tify v ypath i his laby i thi t t.

H w v , whilst D idas i t t tuality may l ad t cha g s f d lib at bfuscati , it succ ds idisplaci g th c v ti al acad mic mphasis w ship a d c c ptual t it ializati whichatt mpts t d y th diss mi at y atu f th ught. I st ad, D ida i dulg s his wish t makw iti g u g aspabl , p bl matizi g th l f th sig atu i acad mic disc u s by p i ti g tits pa ad ical p siti b th i sid a d utsid th t t.13 I s t d pa aphs (as th abb viati f a pa ag aph: what is w itt th sid , i th ma gi , with this v y d iti giv i pa aphicalf m, i a small f t with ut capitalizati full st ps, a d i capsulat d withi a la g b dy f t t), su a t tual d t it ializati , a w iti g i th ma gi s f ma gi s, as D ida puts it.14 t x ua a u vmise en pageis als c ucial t G ts v ls. Miracle of the Rosea Our Lady of the Flowersc tai a vast umb f f c s t th t ts, such as p is disc u s a d itsa th p m t ic a chiv s i mat s, g af ti, wspap s a d magazi s such as Paris-Soir , DtectiveaCinmonde, th p t y f Vill a d rimbaud, l v l tt s, s g ly ics, p pula adv tu v ls (such asth s f Paul Fval) a d th f agm ta y Divi a ia (iOur Lady of the Flowers ).I c t ast t G d as auth a d a chit ct f th Divi B k f th w ld, D ida a d G t p duct ts that d fy c h c a d u ity, sac il gi us w ks that ssu th id al f ms f b i g a d k wl dg .

A d a c a LOreille de lautre(1982), i b v a a x uc aGlas a ca


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CLAIRE BLACKBURNE


t t a p tic t t, it ci culat s b tw th s tw g s,15 whilst his ass ti iOf Grammatology that th id a f th b k, which always f s t a atu al t tality, is p f u dly ali t th s s f w iti g16 u aGlasis ad as a a ti-b k, a f play f t tual c ss that d s th b u d da d bi di g c c pts f l g c t ism a d ph c t ism a d lib at s w iti g i d a c f telos a d cl su .

Whilst th lati ship b tw t t a d a chit ctu is highly c mpl , a d shall b pl d lat ith ssay i lati t a chit ct ics a d th buildi gs f Tschumi, it is c ssa y t p i t ut h thass ciati s b tw thmise en pagef t t a d a chit ctu al (d )c st ucti . I Le Modulor , ma chit ct L C busi w it s that a chit ctu is t ly la t d bti l s mais s (a d ca s, ships,a d pla s), but als la t typ g aphiqu f wspap s, magazi s, a d b ks,17 a ak u bFu v pa Filoso a e architettura lati t th simila iti s b tw D idas w k a d la chit ttu a

p tica di Malla m.18

Malla msUn Coup de ds( ub um u 1914) a A a Calligrammes(1913-16), which b th dis upt th c v ti almise en pagef p t y, a th f similat th f agm ta y spac s f D idasGlasa d G ts t ts (pa ticula ly C qui st st, but alshis v ls), with all qui i g th ad t ad b tw , ski ti g th i t stic s b tw th black i k

f t t a d th whit spac s f th pap . Whilst D ida, i Positions, c u g f subv siv auth s (f cusi g i st ad ssu s, b ach s a d i f acti s i th w k f Malla m,

Bataill , A taud a d S ll s), his id ti cati f th i c ssiv styl as a st uctu f sista c isc a m a b va g Glas.19 Th c ssiv ti f espacement a uspatiality f that which is supp s dly with ut spac (m st tably, w iti g), al ts us t th highlydy amic atu f th i t stic a m v m t wh s disc ti u us a d ab a t atu qui sfu th a alysis.

ABerrAnT MoVeMenTS In THe InTerSTICe

As c v y d by th D id a c c pt f espacement , w iti g a d spatiality a i t icably c ct d,d spit th ph c t ic t d cy f W st phil s phy t p ss this ass ciati . Simila ly, thg stu s, m v m ts a d impuls s f th b dy a ft gl ct d i fav u f th c b al a d ati al,c v yi g th s mat ph bia f much f W st th ught. ou pl ati s f th i t acti s f b di sa d spac s i G ts v ls is i vitably c mplicat d by th i multipl d iti s. H g ls dial gicalsyll gisms a d th a chit ct ics t which th y giv is 20 imply th c h c a d u ity f aa priori Ka tia spac , g v d by euclid a g m t y a d mi d i th ati ality f th Ca t sia ga d th mativ physiqu f Vit uvia ma . I c t ast, th p ticcriture f G ts c u t -t tsugg sts a adically diff t i t p tati , st ssi g disc ti uity, dy amism a d h t g ity, a dth f m suit d t th (p stm d ) th i s f ei st i , Ma d lb t a d r ima . Simila ly, th(a ti-)typ f subj ctivity that this tails is at dds with th s lf-suf ci cy f a ati alist c sci us ssa d d cil c p ality, gagi g i dy amic p c ss s, i c h c a d c t adicti i st ad. Thisc u t -t t is c ssiv , with its i t stitial dy amic m biliz s by th th y f espacement . As D ida

w it s iGlas:L t us spac . Th a t f this t t is th ai it caus s t ci culat b tw its sc s. Thchai i gs a i visibl , v ythi g s ms imp vis d ju tap s d. This t t i duc s bya u a a a m a , b c u a c u , u a u u [ en accollant et en dcollant ] a a b x b c u u , a a a ca , uc v ,suff cati g c ssity f a discu siv h t ic.21


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Spaci g is th f a u stabl c c pt, with th c f tati b tw th tw ju tap s d but s pa atc lum s f Glas(b tw H g l a d G t, th ca ical a d th c imi al), s tti g up a ambival tdy amics f c tami ati a d c t ast - a ci culati that adically d stabiliz s th c v ti alli a ity f acad mic disc u s a d its ass ciat d styl f adi g. Th bic lum a a chit ctu f Glas, with its u qual c lum s, th y say distyl [ disent-ils ] ach f which v l p( )(s) sh ath( s),

ca cu ab v , u u , ac , ma k , v a [ recoupe ] , m a a t t is c sta tly put i t c isis by th i it ci culati f g al quival c that p at s i sid

ach s t c , b tw th i dividual stumps f w iti g, a d als withi ach c lum , a d f m c lum t th th .22

Th pa th sis plai i g D idas pu (th h m ph ic lati ship f th a chit ctu al t mdistyl a d th F ch f th y say disent-ils ) al ts us t th way i which th t a slati f Glas

e glish fu th mphasiz s th ci culati f la guag s it puts i t play. t a a , m cad iv d f m th Lati ca yi g ac ss, li s th p ati s f th i -b tw , as pp s d t ti sf stability a d s lf-suf ci cy, a d w uld th f s m t s at with th d c st uctiv p j ct f

t tual f play a ddiffrance. I d d, whilst D ida admits i th p fac tGLASsarythat h had wa t dt w it a u t a slatabl b k, t a slati is i fact always al ady at w k. Th is pu , igi alla guag , s that th t a slati s withi D idas t t (such as Malla ms L s cl ch s t a slati g ThB lls f edga All P23 ) a ch d i th p lif ati f pa th s s that th e glish t a slatihas t p vid i d t plai D idas w d-play. Ultimat ly, as D ida g s t ack wl dg iGLASsary, is v cl s d i th c lum f si gl t gu .24 P haps h w might c sidth tw c lum s f Glasas a f m f bliqu t a slati , a biza dial gu b tw th u lik ly c upl

f H g l a d G t, as th ad s att ti shuttl s back a d f th, t ly b tw c lum s, i astyl av tt , but als b tw th u p dictabl spaci gs f th t t a d th s m tim s i plicabl ju tap siti f w ds.

Espacement als v k s th ambigu us gu f th i t stic , a d is lat d t th qually c mpl d id ati s f chora, diffrance, th t ac a d th suppl m t. D idas adi g f th Plat icchora Chora

L Works(a s i s f discussi s with th a chit ct P t eis ma ) as s m thi g which d s th l gics f -c t adicti a d bi a ity, impli s th i t al h t g ity a d i stability f all st uctu s, ith

s sibl i t lligibl but a thi d g us which scap s c c ptual captu .25 C uc a ,chora, ac ,m a adiffrancea highly dy amic c c pts, i v lvi g hyb idity, a g i g c upti f

cat g i s, a d a basta d as i g.26 D ida id ti cati f diffrance Margins of Philosophy, a au app p iabl c ss that p at s th ugh spaci g as th b c mi g-spac f tim th b c mi g-tim f spac ,27 chim s with his d sc ipti f choraas a u id ti abl c ss that is th spaci g which is th c diti f v ythi g t tak plac , p i g up th i t val as th plu iv city f w iti g i d a c f igi a d ss c .28 I this u f ldi g f diffrance, ac ua ca va ,29 agai al ti g us t th c ucial l f th i t stic i d c st ucti , a d, as D ida

b v Positions, m ac a a m v m , a ac m a ca a uc b a :Spaci g is th imp ssibility f a id tity t b cl s d its lf, th i sid f its p p i t i ity,

its c i cid c with its lf. Th i ducibility f spaci g is th i ducibility f th th .30

This m v m t f c ti ual dis-plac m t is simila t J atha D llim s ti f th p v sam c Sexual Dissidenceas th a ti-t l l gical a d ab a t m v m t f displac m t, d viati

a d p -v si .31 D llim s ass ciati f a g i g i g f b di s a d th ught with a dissid ts uality ca b ad i t th spac s a d b di s f G ts t ts. I t stitial spac s (dy amic,t a siti al a d i -b tw f cially c g iz d s cial sit s) a a mai f atu f b th Miracle of the Rose a Our Lady of the Flowers. I th latt , th attic wh th t a sv stit p stitut Divi liv s, v l ki g


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CLAIRE BLACKBURNE


M tma t c m t y, is susp d d b tw h av a d a th,32 whilst th p is stai w lls i Miracleof the Rosea d sc ib d as vib ati g with th ch f th tic c u t s that ccu th , th igida chit ctu f th p is d stabiliz d by a subv siv dy amics f d si .33

C id s, th ba s f th citysbas quartiers(such as Pigall ), all yways, backst ts a d thterrains vagues f Ba c l a i A Thief s Journal , as w ll as public pa ks such as th Tuil i s i Pa is, f ti s, c astli s

a d p i sulas, all fu cti as t a siti al spac s that d fy su v illa c a d c t l, c sta tly sh tth ugh with th u p dictabl a d subv siv m v m ts f u -d cil b di s: pha s, c imi als,t a sv stit s, pimps, t ait s, c upt p lic m , a d b gga s.

G ts ill gitimacy (aba d d by his m th s aft his bi th) a d his vagab dag ( v w i g p p ty, c sta tly m vi g f m h t l t h t l, c u t y t c u t y), is ch d i th al at y atu f

his p s as w ll as th basta d path f Glasits lf.34

As D ida w it s i th H g l c lum , it is a t tthat p at s by d hisc c , zigzaggi g by -c ups, ts a d sta ts, littl succ ssiv j ks, whil t uchi g,tamp i g with th b d s,35 a g i g va- t-vi t that d s s g gati (lit al m taph ical),with th c ativ f c f th vagab d g stu s a d m v m ts f th thi f.

This dy amism, h w v , is als pa ad ically at w k i th b u d d spac f th p is c ll. C ucially,diss mi ati is t ly a m v m t, dig ssi al d via c f m a i g, but is als a sista cf m withi th syst m,36 mi di g us that th i t stic is always al ady i t al t a syst m, d spitth syst ms att mpts t p ss it. Th m g c f G ts t ts f m withi th p is c ll is ch dby D idas w p s al p i c , c u t d iCounterpath. of his i ca c ati i P agu i 1981,D ida says that it c stitut d th v yag that, i my wh l lif , was th m st w thy f th am , withth m g c f what was m st w ccu i g f m withi th a w spac f th p is .37

grApheMes And grAFFiti

i Glas, D idas pl ati s f th g aph m gl c t ibut s t what H y Sussma (i H g l, Glas,a d th B ad M d ity) calls his phil s phy f ma ks, ci culati g b tw w ds a d m a i gs,disl cati g th li a ity f s ma tics with th f play f t tualdiffrance.38 Th m tif f ma ks isc ti u d i that f g af ti a d i sc ipti s, b th i lati t H g ls w iti gs a chit ctu i Pa tTh f his Aesthetics,39 a d t G ts d picti s f p is g af ti a d tatt s i his v ls. I sc ipti ,

ath tha imp s d a p - isti g su fac , is c stitutiv f th ti f su fac its lf, p bl matizi g u p c pti f i sid a d utsid , a d ass ti g c agai th ambiguity a d u d cidability f th

i t stic . As such, it is simila t th d id a ti f thsupplement a a u a m u ,ith a utsid th c mpl m t f a i sid , ith accid t ss c , tc.40 t mmi isc t f th d bat su u di g am t i a chit ctu . Th Vi s a chit ct Ad lf L s

fam usly c d m d it i his 1908 t t,Ornament and Crime, a a a ca m ,with tatt s a d g af ti as p f f its c imi al d g acy.41 H w v , as Ma k Wigl y p i ts ut iThe

Architecture of Deconstruction, D ida pp s s this c d m ati , c t adicti g Ka ts vi w i hisCritiqueof Judgment a am a m a f m f i auth tic y. I c t ast t this, D idaa gu s that am t is t a d tachabl additi , but is i fact c stitu t. A d I qu t h f mWigl y: Th am t is a utsid that always al ady i habits th i sid , a i t i sic c stitu t f th i t i f m which it is m a t t b ba ish d.42 I d a c f th whit wash d walls f p is a chit ctu a d m d ist buildi gs, g af ti mphasiz smat iality its sc awl d li s a d w ds b a i g th t ac f c p al g stu s. rath tha thdiscipli a y aims f f cial i sc ipti (th am s f p is b fact s layi g claim t th m alizati


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f i mat s), g af ti t ubl s th f cacy f cl su . Th p i di s pi c , a l s sh af f t tadd d t th igi al diti f Glas, d aws u att ti t th a chit ctu al m tif f its typ g aphicalc lum s, igi ally b w d f m G ts t t r mb a dt a d f d t i th p i g pag s.D idas w c lum s a t u cat d at b th t p a d b tt m, b gi i g a d di g mid-s t c , a da i sc ib d with i t p lat d claus s, tatt i gs, i c ustati s.43

This th m f i sc ipti is mi isc t f a passag iOur Lady of the Flowers, wh th a atd sc ib s th p is itual f tatt i g:

Th usa ds a d th usa ds f littl jabs with a dl p ick th ski a d d aw bl d, a dgu s that youw uld ga d as t avaga t a au t d i th m st u p ct d plac s. []

Th g imaci g f all that blu a whit ski impa ts a bscu but p t t glam u t th

child wh is c v d with it, as a ut al, pu c lum b c m s sac d u d th tch s f th hi glyphs. Lik a t t m p l . S m tim s th y lids a ma k d, th a mpits, th h ll wf th g i , th butt cks, th p is, a d v th s l s f th f t.44

Th f c t c lum s a d hi glyphs calls th s i H g ls Aesthetics. S ki g ut th igi f a t i symb lic a chit ctu , H g l f s t egyptia b lisks a d th phallic c lum s f I dia,

i sc ib d with p i gs a d h ll ws( ffnungena Aushhlungen, c b d a Glas45 ). H w v ,as D ida disc v s, this is a ssu d igi , lia t what v H g l ack wl dg s as a wav i g b tw A chit ctu a d Sculptu (d spit th latt s p st i ity i H g ls v luti a y acc u t

f a t). A middl g u d ha d t d t mi ,46 as D ida puts it, this d stabiliz s H g ls p c ptif th a tistic Id al as a i h tly s lid u ity.47 i a , a c c u m a a c m a

imp f ct discipli , c mpa d t th imp f ct, t a siti al a d imp t t f ms f atu , such ashyb ids a d amphibia.48

I G ts d sc ipti f p is tatt s (c ativ a d subv siv , as pp s d t th discipli a y imp sitif p al b a di g), th a chit ctu al m taph l g app a s p ssiv , si c its a th p m phic

f cus is displac d. Biza imag y u p ct d pa ts f th b dy blu s th b u da i s b tw thhuma a d -huma , b tw th b dys b u da i s a d th utsid w ld, calli g th hyb idf ms allud d t by H g l, as w ll as his d sc ipti s f tharabesqueas dist t d pla t-f ms a d a imala d huma f ms g wi g ut f pla ts a d i t mi gl d with th m.49

G af ti a d i cisi s als ais th th m f w u ds a d g afti g that D ida id ti s as k y t G tst ts, a d th l f p sth s s (such as th w d l g f a imp is d child iOur Lady of the Flowers,

th bu ch f g ap s that th -a m d Stilita puts i t his t us s iThe Thief s Journal ). As f msf pa a th s s i th b dy, th s g afti gs dis upt th i t g ity a d p f ct p p ti s f Vit uvia

ma a d th C busia M dul , i dicati g alt ativ m d s f mb dim t i st ad. Lik wis ,Glas p at s by stumps f w iti g (i spi d by th i c mpl t j mc f G ts C qui st st ),

a d th i g afti gs, cutti gs a d glui gs:

ev y th sis is (ba ds ct) a p sth sis; what aff ds adi g aff ds adi g by citati s( c a u ca , c [ coupures ], , uc , c , u , c ,

c [ coutures ], sca i gs, g afts, p stich s, ga s with ut th i w p p b dy, p pb dy c v d with cuts [ coups ], t av s d by lic ).50

F m ut f th ssu s a d c acks f th s f agm ta y b di s, f m th s ams [ coutures ] which d th ld at a y p ic , th z s th p ss d mat iality f th t t, th uid sp m, saliva, glai , cu dl dd l, t a s f mil, g l f v mit. that D ida disc s i G ts w k.51 ra a u


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pat ia chal phallus, w hav a a th cti ,52 a (d )c st ucti that fus s what w ca t aditi al psych -a chit ctu al l gic f cti .53 I st ad f th auth ita ia a d m um talizi g l gic f phall g c t ism,Glasba ds ct, sh t th ugh with ssu s, p f at d with a va i ty f i laid judas h l s, c ls, V tia shutt s [ jalousies ], l ph l s.54

ArChiteCtoniCs And ArChiteCtUre: FroM the pAnoptiC tothe postModern?

U d lyi g this discussi f th i t stic is th qu sti f th auth ity f th a chit ctu al m taph ,a d th supp s dly a al g us lati ship b tw a chit ct ics a d a chit ctu i W st th ught.t a c ca Aufhebung f H g ls sav i abs lu, a d Ka ts a chit ttu a d lla agi (t qu tFulvi Papi) a ampl s f a gativ adi g f a chit ctu , s i g it as c mplicit with la p igim ta sica, th m taphysical p is that i ca c at s th ught i a A ist t lia a t f syst ms.55

As D is H lli w it s i Prise de la concorde(1974) ( b k g Ba a ub am a a Glas, a a a e a Against Architecture ), Bataill vi w d a chit ctu as a

p is -wa d c mplicit with auth ita ia hi a chi s, c stituti g th k yst f syst maticity ig al, a d ga izi g th c c d f la guag s i t u iv sal l gibility.56 H qu t s f m Bataill s1929 a ticl f Documents, a ac m aarchitectural compositiontu s up s m wh th tha im um ts, wh th it is i physi g my, c stum , music, pai ti g, may i f a p vaili g tastf divi humaauthority.57

H w v , whilst D ida ft plicitly j cts th a chit ctu al m taph , claimi g i a f t t i Roguesthat a chit ctu is t a chit ct ic. All c h c is t a d has t always b syst matic58 (a a Psych a , c a a a a c , c uc a a c c u a m a 59 ),

issu is much m c mpl tha a simpl d ial. I A chit ctu Wh th D si May Liv D idaca amb u : o c u a a m a c c u a a c ucbut als thi g l ss a chit ctu al.60 What is at stak h is a thi ki g f a chit ctu agai st its lf a d i d a c f th auth ita ia ass ciati s f a chit ct ics, qu sti i g th c c pts f syst ma d st uctu . S , f ll wi g H lli s p fac t th 1989 diti f his b k Bataill , ath tha thsp ctacula a chit ctu f Bataill s a alysis, a d ath tha th vigila t a chit ctu d sc ib d byM c F ucau Discipline and Punish(his w k th p is i th ni t th C tu y), w mightc c iv f a a chit ctu i -b tw , plicitly id ti d by H lli as that f B a d Tschumi, withits a chit ctu al d pl ym t f d id aespacement .61 Ultimat ly, si c D ida admits i c v sati with eis ma that w ca t av id m taph s. Wk w th y a i ad quat but w ca t simply av id th m, just as w ca t av id buildi gs,62 w must

t simply j ct th a chit ctu al m taph , but ath d stabiliz it, v ali g its i h t ssu s a dth way i which it ca g at a alt ativ typ f buildi g, t p ssi g th i t stic , but putti g

it i t play. As Wigl y bs v s, d c st uctiv disc u s s gag i a c tai ki d f i t f c withth i stituti al m cha isms that c c al, if tincarcerate, a c tai f bidd , imp p , a d, ab va ,illegitimatea c c u 63 (italics my w ). With th s th m s f i ca c ati a d ill gitimacy wa c agai tu d t th w k f G t. Just as Bataill admits i a th a ticl f Documents that, d spit th ff ts f phil s ph s, l spac st st v y u64 ( ma a u a a ad s c c ptual captu ), s t d G ts th fts, vagab d m v m ts a d subv siv t ts d fy thpa ptic a chit ctu f th ca c al i stituti a d th ig us di c 65 f th b u g is s ci ty thatsupp ts it. I c t ast t th Pa ptic imagi d by Utilita ia phil s ph J my B tham (c.1787)


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a d us d by i t th-c tu y F ch a chit ct Ab l Bl u t i th c st ucti f La P tit r qu tti Pa is a d th Mais Pat ll at M tt ay (with G t sp di g tim i b th i stituti s), w mustth f c c iv f a dis- b di t a chit ctu which d s igid spatial s g gati s a d th p su

f i mat s t a c t lli g c t aliz d gaz . I st ad, w might imagi a basta d a chit ctu f u -d cil , ab a t b di s, which w uld p at i /with th i -b tw .

D idas ssay Tschumi, P i t d f li : mai t a t la chit ctu , is c ucial h . w Tschumis Pa c d la Vill tt (Pa is, 1985), D ida calls th dist t d cub s f its f li s a a chit ctu

f th v t a d th p i c f spaci g its lf a p st-st uctu alist a chit ctu that ch s thp st-st uctu alist t ts f d c st ucti .66 Whilst D ida mi ds us that th is a a chit ctu f a chit ctu , a mativ t aditi (f u d d i Vit uvia p p ti a d th t l l gy f dw lli g) that gulat s all f what is call d W st cultu , h g s t ass t that d c st ucti w uld d littl if

it did t g aft a chit ctu as much as a chit ct ics, t i d t d st y, but s as t d stabilizc v ti al st uctu .67 w foliesscatt d ac ss a p i ts-g id a d abli g th disju ctiv play f c a c v a v v c mb a , t c um a a c c u v a c ucits lf, si c th v was such a thi g, but ath , as D ida c t ds, what ca i s its j lt b y ds ma tic a alysis, c itiqu f disc u s s a d id l gi s, c c pts t ts, i th t aditi al s s f th t m.68 Lik th littl c ti u us j lts f G ts t ts, th j lts f Tschumis folies ac a adisl cati , d c st ucti g th s ma tics f a chit ctu with th diss ciativ ff cts f spaci g (ldis-j i t, th mad ss f th t ait).69

w Aesthetics, H g l vi ws p t y as th p la pp sit f a chit ctu 70 (with p t y scapi g th h avy spatial matt f th latt , its d mat ializati a d dis mb dim t i pp siti t tha chit ctu al f m), i th cas f G ts highly p tic p s , th mat iality f a chit ctu a d b di sis t d i d, but put i t play with p tic i v ti . As with Tschumis c c pt f c ssp g ammi g(i which a buildi g is us d i ways that c t adict its i t d d fu cti ), G ts p tic imagi atisubv ts spac s, disl cati g th m f m th i c v ti al us . Tha ks t this i t stitial a d imagi ativa t, th a at f The Thief s Journal ma k ath m st m ag sh lt b cam habitabl . I w ulds m tim s ad it with a a tful c mf t d aw f m what was p culia t it: a b [ loge ] a ,th chap l f a c m t y, a cav , a aba d d qua y, a f ight ca a d s .71 A d whilst th

a at app a s t wish h w suit d t th uti g [ cannelures ] f th fak c lum s that am tfacad s, [] th ca yatids, th balc i s a d th f st , a d als t th h avy b u g is assu a cwhich th s thi gs p ss, h als g s t admit that this is t th cas , j cti g th cl su f th b u g is i t i f a g i g vagab d ist c .72

ConClUsion

What D ida calls Tschumis a chit ctu f h t g ity, i t upti , -c i cid c 73 a asimila t Mich l F ucaults c c pt f th h t t pia i D s spac s aut s.74 A f m f th spac ,

a c u t spac c t stat y spac capabl f ju tap si g i c mpatibl l m ts, th h t t piahas b ad pt d by p stm d u ba th ists such as edwa d S ja t mphasiz that s cial spac ism u a a a c,75 s that, ass ciati g this id a f th c u t -sit with th subv siv ( )

spac f th i t stic , w might th f b abl t visag th i -b tw as a s u c f sista c .As G t w it s i Miracle of the Rose:

Th igi th ts f th g at s cial m v m ts ca t p ssibly li i g d ss [...] A ma must d am a l g tim i d t act with g a d u , a d d ami g is u s d i da k ss.[...] A d what w s f just a d h abl i stituti s at th su fac f th a th is ly th


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CLAIRE BLACKBURNE


p j cti , c ssa ily t a s gu d, f th s s lita y, s c t g ati cati s.76

Th s p ss d i t stic s f s ci ty, if ass t d, ca d stabiliz th appa t s lidity a d h m g ityf th syst m a i sist t tu f th p ss d f m withi . As with th syst m f p i g a d

cl si g f th F ucauldia h t t pia, p ati g as a scillat y hi g -sit , G ts styl av tt a d a c uc vespacement tak plac i a d as th i -b tw , i habiti g th st uctu sthat th y wa t t c itiqu . Acc h su ma , g ca ca bad quat ly app ciat d ly t th d g that it is ad agai st th backd p f th mai st am p st-e light m t W st id l gy wh s t ms it b ws, mpti s, subv ts, a d c gu s,77 withg mac , c m a , m xua a va ab c h a va u

f family, (h t mativ ) civil s ci ty a d Ch istia ity. Th v lati byGlas f G ts subv sivst at gi s a d als what Sussma calls th s ismic i stabiliti s i H g l t78 ca a mma

sista c that, ath tha s ki g ut fug th ma gi s, p at s f m withi .h c d a a mGlas t t a st th ca f a G t, t k p his subv siv f c u b idl d, admi i g his p liticalactivity with th Pal sti ia s, a d th way h l aps wh that pl d s [ a saute ] i th w ld.79

I spi d by th subv siv m v m ts, c u t -disc u s s a d -i sc ipti s act d by G tscha act s, a c c ptualizati f a chit ctu agai st th mativ id als f b u g is s ci typ mis s a wid - a gi g impact th discipli s. F , as D ida w it s:

D c st ucti s w uld b f bl if th y did t st m asu th ms lv s agai st i stituti s ,at the place of their greatest resistance: p litical st uctu s, l v s f c mic

d cisi , th mat ial a d pha tasmatic appa atus s which c ct stat , civil s ci ty, capital,bu auc acy, cultu al p w a d a chit ctu al ducati 80

Ultimat ly, as Wigl y w it s, d c st uctiv disc u s i v lv s ccupyi g th c acks i th f ciala chit ctu , th hidd c ss s f th i stituti s st uctu ath tha a y f its f cially d sig at dspac s, f ci g th c acks t s what th y hid .81 Th c ativ i t acti s f b di s a d spac s i G tst ts, f g u d d i D idasGlasa d acc mm dat d by th a chit ctu f Tschumi, c stitut s a p i c f spaci g, mai tai i g a disju ctiv stat i which uptu a d ass ciati a i c ti ual

c a : a socius f diss cati , a lati with ut a lati , as D ida puts it.82 Th sy th sis f H g lia dial ctics is av id d, maki g su that diff c p sists, subv ti g th d si d s lf-suf ci cy

f id l gi s, i stituti s a d id aliz d c c pts f b dy a d spac . Aft all, th c ack is what mustccu 83 a d it is i th ambival c f th i t stitial that w a c f t d with th ss, with ut

a d withi , always up agai st th i b tw .

Cla Blackbu c mpl t d h BA i F ch a d Italia at n w C ll g , o f d, b f m vi g t Ki gsC ll g L d t d h Mast s i F ch Lit atu a d Cultu . H MA add ss d a b ad a g

f t pics, i cludi g C itical Th y, Film Studi s. H PhD, titl d St at gic (Dis)l cati s: I t stitialB di s a d Spac s i th P is n v ls f J a G t, was awa d d by Ki gs i Ja ua y 2007.


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notes

1. J atha D llim ,Sexual Dissidence. Augustine to Wilde, Freud to Foucault (o f d: Cla d P ss, 1991), 229.2. I pa ticula , J a -Paul Sa t , G g s Bataill a d F a is Mau iac.3. Jacqu s D ida,Glas. (Li c l : U iv sity f n b aska P ss, 1986), 270.4. A c b b M c F ucau Discipline and Punish. (L d : All La , 1977)5.Glas, 1.6.Glas, 5.7. G g y L. Ulm , S u di g th U c sci us. I J h P. L av y J ., d.,GLASsary. (Li c l : U iv sity f n b aska P ss, 1986), 27.8. L ila Shahid, i J m Ha ki s, d.,Genet Chatila. (Pa is: S li , 1992), 18-66 (62).9. What mai d f a r mb a dt t i t small, v y gula squa s a d amm d d w th shith l .Glas, 1.10. G t, Prisoner of Love.(n w Y k: nYrB, 2003), 3.

11. r a Ba ,The Pleasure of the Text.(L d : J atha Cap , 1976), 22.12.www.hyd a.um . du/d ida/glas.1.htm13.Glas, 64 a d 4.14. Ibid, 25 a d 45.15. Qu t d by L av y, 97.16.d a,Of Grammatology. (Baltim : Th J h s H pki s U iv sity P ss, 1974), 18.17. L C busi . Le Modulor.(B ul g : diti s d la chit ctu dauj u dhui, 1954) i.18.Fu v pa ,Filoso a e architettura. Kant, Hegel, Valry, Heidegger, Derrida. (C m : Ibis, 2000), 77.19.d a, Positions. (n w Y k: C ti uum, 2002), 69.20.Glas, 4.21. Ibid, 75.22. Ibid, 1.23. Ibid, 150-155.24. D ida,GLASsary, 17.25. Qu t d i J ff y Kip is a d Th mas L s , ds.,Chora L Works. Jacques Derrida and Peter Eisenman. (n w Y k:Th M ac lli P ss, 1997), 15.26. Ibid, 25.27.d a, Margins of Philosophy. (B ight : Th Ha v st P ss, 1982), 6 a d 13.28. D ida,Chora L Works, 19 a d 10.29. Ibid, 203.30. D ida, Positions, 94.31. D llim , 113.32.g ,Our Lady of the Flowers. (n w Y k: G v P ss, 1991), 79.33.g , Miracle of the Rose. (L d : P gui , 1971), 218.34.Glas, 6.35. Ibid, 5.36. D ida, Positions, 46 a d 84.37. Cath i Malab u a d Jacqu s D ida,Counterpath. Traveling with Jacques Derrida. (Sta f d: Sta f d U iv sityP ss, 2004), 32-33.38. H y Sussma , H g l,Glas, a d th B ad M d ity, f m Stua t Ba tt, d., Hegel After Derrida. (L d :r utl dg , 1998), 260-292 (282).

39. G.W.F. H g l, Aesthetics. Lectures on Fine Art, Volume 2. (o f d: Cla d P ss, 1974).40. D ida, Positions, 43.41. Ad lf L s, o am t a d C im , f mThe Architecture of Adolf Loos. (L d : Th A ts C u cil f G atB a , 1985), 10242. Ma k Wigl y,The Architecture of Deconstruction: Derridas Haunt . (Camb idg , MA: Th MIT P ss, 1993), 84.43. Qu t d by L av y iGLASsary, 28.44. G t,Our Lady of the Flowers, 213.45.Glas, 254.46. Ibid, 3.


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47. H g l, 641 a d 614.48. Ibid, 628.49. Ibid, 658.50.Glas, 168.51. Ibid, 209 a d 139.52. Ibid, 130.53. Wigl y, 76.54.Glas, 3.55. Papi, 19 a d 77.56.d h , Against Architecture. The Writings of Georges Bataille. (Camb idg , MA: Th MIT P ss, 1989), i a d33.57. Bataill qu t d i H lli , 115.58. D ida, Rogues. Two Essays on Reason. (Sta f d: Sta f d U iv sity P ss, 2005), 171.59. Qu t d i Claudia B dsky Lac u ,Lines of Thought. Discourse, Architectonics, and the Origin of Modern Philosophy.(Du ham: Duk U iv sity P ss, 1996), 2.60. D ida, A chit ctu Wh th D si May Liv , i n il L ach, d., Rethinking Architecture. A Reader in Cultural Theory. (L d : r utl dg , 1997), 319-323 (321).61. H lli , i.62. Qu t d iChora L Works, 70.63. Wigl y, 22.64. Bataill , espac , f mOeuvres compltes I . Premiers crits 1920-40.(Pa is: Gallima d, 1970), 227.65.g , Journal du voleur . (Pa is : Gallima d, 1949), 205.66. D ida, P i t d f li , f m B a d Tschumi, d., La Case vide. (L d : A.A, 1986), 5.67. Ibid, 8-9.68. Ibid, 13 a d 15.69. Ibid, 19.70. H g l, 968.71. Glas, 9.72.g , Journal du voleur , 191.

73. D ida, P i t d f li , 15.74. S F ucault, D s spac s aut s, f m Dits et Ecrits: 1954-88 , (Pa is: Gallima d, 1994).75. edwa d W. S ja H t t p l gi s. A r mb a c f oth Spac s i th Citad l LA, f m S phi Wats a dKath i Gibs , ds., Postmodern Cities and Spaces. (o f d: Blackw ll, 1995), 14-31.76. G t, Miracle of the Rose, 34.77. Sussma , 265.78. Ibid, 273. I stabiliti s i cludi g th u assimilabl , u classi abl l f A tig i th syst m f ki ship.Glas,150.79.Glas, 36. G ts b k th Pal sti ia v lt,Un Captif amoureux, was publish d i 1986, th sam y a as the glish t a slati f Glas.80. Ibid, 15.81. Wigl y, 53-54.82. Ibid, 17.83.Glas, 207.