By Michel Foucault
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Extra resources for This Is Not a Pipe (Quantum Books)
O ften invented after the very fact and b y o ther humans, the titles interfere into the fi g ures the place their applicability used to be if no longer indicated at the very least licensed prematurely, and the place they play an ambiguous position: supp orting pegs and but termites that gnaw and weaken . The countenance of an abs olutely critical guy, unsmiling , unblinking , "breaks up " with a laughter that comes fro m no five 6 the place . Le Soir qui tombe can't fall with no shat tering a windowpane whose fragments (s until re taining , on their sharp edges and glas s shard s , the sun's reflections) are s cattered at the ground and sill . concerning the sunlight ' s disappearance as a " fall, " the phrases have swept alongside , with the picture they evoke, not just the windowpane however the o ther sunlight, the dual sunlight completely defined at the s mooth and transp arent glas s . Like a clapper in a bell , the foremost stands vertically 7 "in the keyhole" : it ring s forth the regular expression until eventually it beco mes absurd. Mo reo ver, hearken to Magritte : " B etween phrases and obj ects you could create new relatives and speci fy char acteristics of language and obj ects normally missed in lifestyle . " Or back: " So metimes the identify of an obj ect takes where of a picture. A observe can take where of an obj ect in realit y . A n picture can take where of a notice in a proposition . " And the fo llowing assertion, conveying no contradiction yet relating the inextricable rangle of phrases and photographs and to Burrowing phrases 39 the absence of a co mmon flooring to sus tain them : "In a paintin g , phrases are of an analogous fabric as photos . particularly one sees photos and phrases another way in a portray. ,,* of those substitutions, those transubstantiation s , there are various examples i n M a g ritte's w o r ok . In sonnage marchant vers l 'horizon , eight in keeping with there's the well-known fellow visible from in the back of , with darkish hat and coat, arms in his p o ckets. he's positioned close to 5 coloured blobs . 3 o f them res t o n the floor and endure the italicized phrases fosil , fouteuil , cheval ; one other, over nuage ; ultimately, on the terminus of earth and sky, one other vaguely triangular blob is named ho rizon . nine we're far fro m Klee and his regard lecture . 1o this is often certainly not a question of weaving head, is named indicators and spatial figures right into a special and completely novel for m . phrases should not certain on to different pictorial components . they're m erely inscriptions on blobs and shapes: Their distribution above and lower than , correct and left, i s precise t o the normal format of the portray . The horizon is certainly within the heritage, the cloud overhead, the sunlight located vertically and to the left . yet inside this general context , phrases don't change lacking obj ects . They o ccupy no empty or hole areas , as the inscription-bearing blobs are thick, voluminous lots, stones or males hirs whose shadows stretch fo rth at the flooring be part that of the guy. those " word-bearers " are thicker , extra subs tantial than the obj ects themselves .