Darboven and the Semiotic, Part II:
[O]ne should begin by positing that there is within poetic language...a heterogeneousness to meaning and signification (133).
[T]his heterogeneousness to signification operates through, despite, in excess of it and produces in poetic language "musical" but also nonsense effects that destroy not only accepted beliefs and significations, but, in radical experiments, syntax itself..., for though articulate, precise, organized and complying with constraints and rules (especially, like the rule of repetition, which articulates the units of a particular rhythm or intonation), this signifying disposition is not that of meaning or signification: no sign, no predication, no signified object and therefore no operating consciousness of a trancendental ego. We shall call this disposition semiotic (le sémiotique), meaning, according to the etymology of the Greek sémeion, a distinctive mark, trace, index, the premonitory sign, the proof, engraved mark, imprint -- in short a distinctiveness admitting of an uncertain and indeterminate articulation because it does not yet refer or no longer refers to a signified object (133).
--Julia Kristeva, "From One Identity to an Other," Desire in Language: A Semiotic Approach to Literature and Art, trans. Leon S. Roudiez, Thomas Gora, Alice Jardine (New York: Columbia University Press, 1980): 124-147.PHOTO: Hanne Darboven, "Today Crossed Out, a Project by Hanne Darboven", Artforum XXVI/5 (Jan. 1988): 72.
(Tune in tomorrow for part two of Kristeva's text; click on 16 below for yesterday's introduction.).
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