Richard Burt

Louis Luethis, On the Slef-Reflexive page

Conflates literary effects with mateiral (newspaper etc effects. Points out that there missing pages in tristram Shandy were originally marbled to incidcate inside cover mateirals in the wrong place. Now they are reproduced very differently. Readres mis it. Turns on the facsimileThe subtlety of this device is . . . more or les lst on readers f contemporary paperback ediitons of the novel, which include black-and-white facsimiles in monotype prints: each marbled page and therefore eachcopy if the original volume was uniquue .. . Sterne hasnt inserted an image here (as contemporary editions of Tristram Shandy at first glance lead one tobeleive: he has reappropirated a convention of printing and bookbinding . . . p. 47

radical philology is wriitng philology into a hisotry of the book, material book, book as object, and so on. Sean Gurd. Also his Philology and Its Histories. Most contributors go to Saids reading of Auerbachs Mimesis and ignore the rest of Auerbachs work. Similarlyignore Curtius, etc.

Deconstructive returns in On Philology collection ed. Jan Zialowski

Or Tuska Bene tries to writea hisotry19th ct, as grafton does with the renaissance.

But little work on de mans own interest in ohlology and philoosphy, esp iHeidegger.

IanBalfour on Adorno, Benjamin, and Shclegel.

Gumbrecth, The Powers of philologyoffers a brief, reaguard refense.

Issue of PMLA 2010 on medieval philology and speical issue of Speculum 1990 on htenew philology.

Also, In Praise of the Variant. And The Future of the Middle of the Ages

And Agambenon Dante, The End of the Poem. Philology and theology.

On ht enotionof the senses and matter,

Objectal Idealism misrecognizes itself as object / materialism, as empiricism, post-metaphysical, post Heidegger, post-Derrida, post-Lacan.

On Touching Jean Luc Nancy

Being singular Plural

Derrida on the distinction, if there is one, between typo and Slip concering dessein and desitn in Crebillon and Poe citing Crebillon

But that in any event carefully rfrained form qualifying as typographical error or as slip, evensupposing, you are going to see why I am sayn gthis, that a somewhat enlightened analtic reading could lightheartedly content itself with sucha disitnction, I mean between typop and slip. The Post Card, p. 513. See also p. 514

Dead letter office the Post Card, p. 124-25

Posting and death The Post Card, p. 33

library and history are precisely but posts, sites of assage or of relay among others, states, moments or effects of restance, and also particular representations, narrowe and anrrower, shorter and shorter sequences, proportionality, of the Great Telematic Network, and the worldwide connection. What would our correspondence be, and it is secret, the incecipherable, in this terrifying archive? Archive p. 18, telematicometaphysical archives, in our library, for example,themarvelus Bodlean 20

burn everything p. 23Post Card, p. 27

burn immediately, p. 11

destroyed by fire, 3.

Tells about a dream he has about reading and unfolding pp. 36-37 that calls up Fichus, WBs dream

Passportfrom single sheet of paper to bookletfrom vertical reading to horizontal readingand to soft cover rather than hard for printing purposes.

Machine readable has to be readable to the human eye. No secret information stored about you that you dont know about. Not a tracking device.

Lloyd, Martin. 2003. The Passport: The History of Mans Most Traveled Document.

Mller-Sievers, Helmut. 1997. Self-Generation : Biology, Philosophy, and Literature around 1800. Stanford, CA: Stanford UP.

Muller-Wille, Staffan and Hans-Jorg Rheinberger, Ed. 2007. Heredity Produced: At the Crossroads of Biology, Politics, and Culture, 1500-1870. Cambridge, MA: MIT Press.

Genes, heredity, bloodcomes back to racist discourseof destiny

--personal, if not national (as in Gattica). See Philippe Lacoue-labarthe on Heidegger and the Politics of Poetry.

Jones, Steve. 1996. In the blood : God, genes, and destiny.

London : HarperCollins,

Tlatli, Soraya. 2009. Algeria as an archive in Pheng Cheah and Suzanne Guerlac, ed. Derrida and the time of the political. Durham, N.C.: Duke UP.

Animot Sacer

homo sacer can be transferred to animot sacer. Chernobyl zone

and wilfe life as well as humans. So waste and national park / theme

parkare on a continuum.

Adorno oon national park and hteme park.

Freud and files--Derrida didnt read that passage either.

Extending homo sacer to Chrebonyl zone--waste site versus wildlife /

theme park for tourists.

Still a "zone" (as important as the camp itself.

Again, notes, many of them lost, are central.

Zoo and natural history museum in la jette

Is Chernobyl a Wild Kingdom or a Radioactive Den of Decay?

By Adam Higginbotham April 14, 2011

http://www.wired.com/magazine/2011/04/ff_chernobyl/all/1

Archon as guards in shadows, barely visible, like statues. La Jetee is hteothe rfilm to mention.

Subjetile is alsoa storage devicelike the mystic writing pad. Files Freud usesalso whenhe says his casebooks read like novels?

Tiqqun and Joshua David Jordan this is not a program(May 20, 2011)

Ed Cohen, A Body Worth Defending: Immunity, Biopolitics, and the Apotheosis of the Modern Body Duke University Press 1, 2009)

What does worth mean? That is the problem of homo sacer.

DNA fingerprinting as a metaphor.

Files carry DNA evidence, but whatever happens to them is not used as evidencefingerprints on a file cover.

The Mexican Suitcase - Cynthia Young

Eric L. Santner The Royal Remains: The People's Two Bodies and the Endgames of Sovereignty 2011.

The archon on stautes in EOTute la memoire-the people and stuatues asre as alive and as dead as the other.

Rarity is based on what has been filed and what has not yet been filed.

Behind door 2 and behind door 3.

Force of the book is to rethink human excepitonalism and posthumanism and speculative realism in relation to writingas speculative spectralismbiobiblioprocessinganimal machine, reaction versus response, organic death versus return of the dead 9uncanny) all at stake in an undrstanding of posthmopghy and life. Things to Do with Derrida When Youre Dead. Videos as opposed to cryonicsactually happenedArt Buchwald. The person and body and the paper. The subjectile and palimpsest (thing that is now a metaphor of atext thatis in now way literary) but now unreadablelike mystic writing pad except that the writing on the surface can be read and except that the pad is asotorage until, like files but not like files. Go from Freud files back to Visman and phantasm of complete documents of the Staisno ned.

Derrida on writing as communication and organic death Signature Event Context and Limited Inc (signature) The Post Card (destination, addressing), and Pharmakon (writing and recording, memory, external and the dead Thoth).

But Derida on the death certificate. Already a gap between paper and organic death due to spectrality of what is dead. So the human versus machine, human and animal shifts, life and death shifts to the spectrality of writing and asks the ask quesiton fo what is life,bare or not, as what is life since life is traversed by death and writing?

Not going to historicize. Going with Derrida at the end of Beast and Soeverign.

Also he virtual state is to beunderstood as actuvirtual statevirtual and realtoo needs to be deconstructed\ed. See Echographies.

Richard Rosecrance, Bertrand Badie et Pierre Hassner, ed. Debat sur LEtat virtuel Paris: Presses de Science Po, But storage is concealed. The trope of the palimpsest reveals but also conceals.2002.

Incarceration and lencartement:

The Carded Society versus the Carceral society?

Richard Burt

Lost Tracks: Posthumography and the Biopolitics of the Archive

File Under Life: Posthumography and the Biopolitics of the Archive

Resnais two files share an interst n documents, classification, and catalouging, and prisoners. The library as a camp. . Go the end of Toute al Memoire, where reading turns into insects.

Then contrast the deanthropoziation of readers (insects) to the anthropomorphization of the book as prisoner.

Inapssport, documents scenes in Night and fog, the documents are opened, but most of htem are not visible. They are not catalogued. Its hteir mass-their scale that matters. Whereas in the other case, the singuoar book is visible and traced like a person. The story of the books produciton is not left outits hat ahppens between production and reading that the film focuses on, with repsect to the national library as national memory. The beginning of the film starts underground, then moves above, then insidethe film ends outside the lreading room,, the happy face recalling het animated microphone wwith absent speaker and absent speakers. The miscrophone appears to be a talking head of sorts, and is diegetic soruceof the extra-diegetic narration. Refusing of human and animal, human and machine. After the books have been ctalogued and retrieved, theirreading is not hteir libration but their paper crunching. A bit like the Third Man ferris wehel scene looking donw on people comparing them to ants. Comapre memory and stauues in Resnaiss other films also concerned with memory and national memory. Hiroshima, mon Amour (hteh muusem).

Wild Grass and the airfield and movie theater. (animal) tracks versus (human) traces) undergroundthe yet to be processed, the yet to be read. But reading as the construciton of a colelctive memoryof insects. Ironic tone of the ending.

Merimees Lokis as an example of misreading and translationPushkin trasnlated Merimees fake / forged Dainnos, ad hten Merimee trnaslated Puskins translations mistakenly thinking they were authentic.

Is the library comparable to a camp, in Agambens sense? If so, why make two films? Why not collapse the two spaces? From camp to office to library.

Cuttlefishthe theing, the animal as writing machine. Leaves traces of ink,if not footprints or fingerprints.

Agamben versus Derrida:

Remnants versus Aporias

Homo Sacer versus TATTIA

Friendship versus Beast and Sovereign

The (Un)Open(ed)

Files contain evidence but are not entered into evidence. They are just stuff. No one looks at fingerprintsthey look at what is in the file or what is missing from it. Persistence of the stroage unti in Max Payne, even when evidence is digital, or the superquick fax in Bourne is about referent effects. See the data. Thus the thing, when turned into material, like parchment, becomes graphs, photos, photos of intrusments, illustrations of close ups, a surplus, just as the book produces more paper as it is entered into the library and retrieved.

What Agamben forgets in his habeas corpus in Homo Sacer discussion is the paper itself, the writ. In a snese Foucualt does too. And not about biometrics and bodies, as Santner and other Foucauldians think. Life is not biopolitics or biopower in the abstract or even in relation to the meaning of Artistoles use of bios. Or about Julian Barnes, Human Information Retrieval. It is about biopiblioprocessing. Sometimes Derrida says unrecedented (fax in Arhcive Fever), other times, nothing relaly new (Beast and the Sovereign). Artauds substrate are colelcetedcannot be trnaslated eitherdifferent property rights.

But there is no document itselfthere is the delviery of the thing via the facsmilethe fauxsimile since it serves as the referent. Media is about transfer, like translation, not merely instrumental, not simply physical material, and tropes.

Derrida on mystic writing padhe doesnt quite work out how the pad is both a sotrage device and unreadable. The freudian impression depends on a noiton of tracing or retracing, of backtracking, Get to this at the end when I turn to Freud and files and casebook notes.

Markus Krajewski, Paper Machines: About Cards & Catalogs, 1548-1929 (History and Foundations of Information Science) [Hardcover] By: Peter Krap

Aproias and marranos versus Remnants of A and Mussleman

SurvivreWB on survial (survival andsotragea kind of vial or valise)and JD on a suivre.

Derrida versus Ginzburg on tracking.

Also contrast Agamben to Derrida (paarlel to Derrida and Lacan)divibility of lifea limit of are lifefor Aamben it is indivisblethe musselman is the limit case. For Derrida is it sidivisbe the marannos is the figure of no limits, or of aproia, aporetology, aporiaography.

The Instant of my Death vesus Homo Sacer Both about WWIIinside the camp, outside the campresistance or collaboration. For Agaben, homo sacer I indivisble, finite. Boundary always redrawn, but there is always a boundary or a boundary within the boundary zone. For Derrida, life (bios-zoe) is infinitely divisible, death traverses life, reaction and reponse (machineand animal versushuman). Testimony / witnessing and fiction.

.

The thinging of the document / book / cards, cataloguing sstem , produces non-reading0--or

What happens in Vismanns positive history is analogous to what happens to the book as prisoner in Toute la memoire. Memory is occasioned thorugh metaphors, relays, papercards, identity cards. Pursuing this may alter our sense of bare life--the camp (it has to include the office and files) as well of the history of the book (the coming of the book versus the book to come), the media of matter, and the necessary resistnace to reading, clos/d reading. Resnai is not producinga proper memory but derailing it in order to recover it; the opiste of animation is the radio speakeror aniomating it is deanimating the voice. The radio as a head; the alst shot as a happy face. Even more poingnant with the memry cards and identiy cards of victims of the Nazis. The passports stand in for the victim without allowing for identificationthe nameless remain namelessthere is no attempt to catalogue evidence the way Raoul Hidenberg did (also film not like fake ID / identification cards at Holocaust museum). Not body Paper Fire MeMadness and Civilization versus Derridas Paper, or Me . . You KnowDerrida says he nevr sues modern,but he did. He is against Focuault and Agamebn in B and S, yet he uses unprecedented in Genome essay in Negotiations and aso points to the fax inArchive Fever. NeoKittlerian moments.

Posthumography and Textual Faux-rensics:

Shelf-Life, File-Life, and the Biopolitics of the Archive

I rather believe the idea came to me one day in the Bibliotheque Nationale when I was reading an internment register drawn up at the very beginning of the eighteenth century.

--Michel Foucault, "Lives of Infamous Men," (76)

From Biopolitics to Biobibliopolitics

The narrative of the bookas thingit becomes personifiedthe Fortress of the library. We are talking here about a conscious emtaphorisof biblioprocessing as biopressing, but not an actual biometrics. When you start talking aobut the thing, you are in the world of narrative and tropes. The thing generates nex texts, where it can be filed or shelved. A certain kind of fauxresinc effectyou have the thing in filmindexical relation of image to what is filmed, yet the editing and voice over and cinematography, all make use of referent effectsit is there yet not there.

Bios and zoethe human becomes insect at the end of Tout la memoire.

Trinagulate Amgamben, Visman and Derrida, but triangulate Derrida as well Archive Fever, Post Card (not just address but self-addressing never arrives at theaddressee but not not quite at the unconscious either), and Paper Machine (when you ask what is paper? Eevryting goes wrong.

Film as media interruption of the objectopens up a narrative that is linear and documentary yet not historical. The shadows or slips of papers, the hidden archons or guards. All people are silent in the film.

Also not corpus, or body and he book (neither entirely different nor exactly the same).

Close/d reading then of the unconscious metaphoris, but as a practice of living bare life virtually.

Not human exceptionalism for Agambenstate ofexception for homo sacersince anthroplogical machine is also a problemin addtion to the camp.

Begin with passport sequence in Alain Renais's Night and Fog with a sequence in which a book is processed as prisoner of the Nationale Biblioteche in Renaiss Toute la memoire du monde. Bibliotechque Nationale Resnais and the book as prisoner, papers, stamped; juxtaposed to scene with passports in Night and Fog. Persons become paper; papers become Persons.

Book as prisoner; person as passport, photographed, tattooed, their names written into accounting books and then crossed out when they were dead

Toute la memoire du Monde (Alain Renais, 1956)

Toute la memoire du Monde (Alain Renais, 1956)

Toute la memoire du Monde (Alain Renais, 1956)

Night and Fog (Alain Renais, 1956)

Toute la memoire du Monde only belated came into circulation when it appeared ass an extra on the BFI DVD of Rivettes Julian Go Boating; then it appeared as an extra on the Criterion and blu-ray ediitonof Last Year at Marienbad. Frederic Jameson discusses it briefly in The Geopolitical Aestehtic, in relation to an overhead shot of the Library Congress in All the Presidents Men (1974). Primitives is available in French Dvd edition of Hiroshima, mon Amour without English subtitles.

Resnais films remodel the Foucaults biopower, elaborated by Agamben as bioplitics biopoliticalmodelnot just a biometric, an instrument for disciplining bodies (as in This is Not a Program) or as located in the (concentration) camp.

Use film to reorient Foucault and hence Agamben to files, media, via Visman. She uses 1945 etc. as an important date, also collapses Nazis into East Germans (anti-Nazis). Her move is not the camp but the office. Put further pressure onteh archive via Derrida oand onmedia (actuvirtuality). To arrive at the paper as subjectile-physical support htat is neverthlesss not a physcal thingArtauds paprs are works of art. Vismann talks about works of art. (Submerged Heideggerian connection between technology and the work of art). But the challenge is to book history versus the book to come. Trace the unconscious metaphoricsin order to ask a question that follows from Agambenwhat does it mean to live a bare life virtually? How is that practice related to the library and to the camp, to storage as well as to writing? Or to the migrating space of the camp, that also includes the office space within in it.

Then haeas corpusthe writ itself. But no history of the for

biopolitics and homo sacer related to the way Agamben defines himself as a Foucauldiandoing what Foucault never didthat entails moving from the prison to the camp as the paradigmatic space of modernity from an instrumental, apparatus genealogical account of power. Before addressing Derridas account of the archive and electronic media, we turn first to his notions of arche-writing and to his medium specific notion of the substrate (Paper Machine), or writing as an impression (Archive Fever) that does not leave a trace and that hence cannot be reconstructed or reconstituted archeologically. At first glance, Derridas distinction between arche-writing (a non-phenomenal trace) and vulgar writing may seem analogous to Agambens distinction between the camp as space and the camp as place. One might mistakenly think that Derrida is indifferent to the materiality of the substrate in the same way Agamben is indifferent to the materializations of the camps essence and to the camp as a crime scene. The important differences between Agamben and Derrida are first that arche-writing is not a metaphysical essence and second that the substrate of arche-writing is rather is medium specific, hence Derridas continued interest in electronic and digital print media as well as his interest in the other writing media of what he calls the graphosphere in Paper Machine: painting, drawing, photography, television, and film. We then connect his medium specific account of writing (not empirical sense of materiality, but of formal materiality as in impression, a contact zone that can only be traced and retraced) to the mediatization of the archive in Archive Fever, in turn putting pressure on Derridas concept of the archive and media by posing the archive as an uncanny space not only of living and dead, of bios and thanatos, of bios and zoe, but of the human and inhuman, media capable of being figured, disfigured, configured as human, and in turn capable of being humans figured, disfigured, configured as a machines.

Archive or office: one merges in the other, for in both cases the simple fact of storage generates work with and on that which has been stored (59).

Will end with Freud and Spieker on the topology of the archive.

Posted (add relay networkpostallike Derrida on kidnapping). The Poste-Identite-Carte.

Posted (add relay networkpostallike Derrida on kidnapping). The Poste-Identite-Carte.

The Birth of Biopolitics: Lectures at the College de France, 1978-1979 by Michel Foucault, Michel Senellart, Arnold I. Davidson, and Alessandro Fontana (Hardcover - June 10, 2008)

compare to Chris Markers La Jetee (1963) and to Resnais documentary on primitive statues, even statues and freeze frames in One Year at Marienbad. (also about Germans and memory) Becomes a question of survival of documents. Technical termsuvive as synonymous for lost. But also Derrida on survival. WB on the afterlives of things.

Agamben actually invites the confusion of the concentration camp with the camp as a space in general by beginning with Foucault and a model of incarcerationF should have done the concentration camps. So Agamben will do this now. But then, Agamben uses Schmittand 1930s to deNazify the state of exception and desacralize the holocaustconcentration camps only one manifestation of a political space of the camp. Agamben keeps returning to the Nazis to show how they were not exceptional, just the worst. The Jews are not the same thing as Homo Sacer. He makes a similar move in The Time That Remains. He is and is not making a historical argument in which 1933 is the key year (for the state of exception and the creation of the death camps)and an ahisotircal argument about the structure and essence of the camp. The concept of the camp as the most totally biopolitical space only has purchase when the essential, hidden structure of biopolitics / the camp is (to be) recognized as such among its various metamorphoses and transformations.

For Ronell (PMLA Misery of Theory), it is the refugee, not the citizen, and sacred alien that allows for a hailing that is not a heiling (a polis that is not Greek, but includes brown skinned womenfrom Holderlins Andenken), a departing that doesnt stay behind, a listening rather than an overwhelming stupefying wonder.

Agamben distinguishes his position . . . from that of deconstruction (54) after reductively characterizing deconstruction as follows: The prestige of deconstruction in our time lies precisely in having conceived the entire text of tradition as being in force without significance, a being in force who strength lies essentially in its decidability and in having shown that such a being in force is, like the door of the Law in Kafkas parable, absolutely impassable (54). For something like a rejoinder by Derrida, see Derridas comments on Agambens repeated use of the word first in Homo Sacer in The Beast and Sovereign, Vol. 1 (U of Chicago P, 2009), 92-96. There are many more contradictory instances of the use of first that Derrida notes. In a similar way, Agamben makes contradictory claims about the originary structure of bare life and the invocations and inauguration of new developments, such as the Declaration of the Rights of Man and the third Reich: Inaugurates a new . . . paradigm in which the norm becomes indistinguishable from the exception (170). See also Agambens somewhat comical essay about Derridas refusal to cite Agamben in The Friend, What is an Apparatus? And Other Essays (2009), 25-37.

Agamben unreflectively adopts metaphors for technology to describe the hidden space of the camp: a link secretly governs; hidden mechanism; lethal machine; hidden regulator; lethal machine. The arche-archive sheds light on the sacrificial economy required for the camps archivalization to work: what is destroyed has to be boxed and locked in the box of the archive. Reconstructing the camp as a storage archive in general necessarily means that a camp will have to be created within the camp in order to establish a serviceable library and set of research and exhibition practices differentiated as normal and pathological.

Yet the setting of norms requires endless selection of what needs to be tr/ashed. Agamben attempts to make an end run around the archive by defining remnants not in terms of media or records but negatively: the remnants of Auschwitzthe witnessesare neither the dead nor the survivors, neither the drowned nor the saved. They are what remains between them. (164). Even these negative remnants have to be archived, however, in order to become readable: they have to filed, classified, labeled, organized. Given the endlessness of the production of unarchivable ashes within the archive that are nevertheless exterior to it precisely because they are unarchivable, the very drive to classify and establish norms for archival use paradoxically makes the archival fever of pathologization rise even higher as resistance among the resisters multiplies.