Fever THE ARCHIVES - Short Romance

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On account of their publicly recognized authority, it is at their home, in that place which is their house. It is thus, in this domiciliation, in this house arrest, that archives take place. The key point of interest in this description is that the archive was originally situated in a privileged space in this case, the household over which the archons or magistrates traditionally governed.

For Derrida , the consequence of this is that the archive became both a place of commencement and of commandment: Or, in other words, an archive took place as an event because it could be kept in place, both physically and politically. This is because the archive worked by storing data by placing it under the control of the archons , and by situating it in a private space that at the same time had a degree of public access. There is one big difference, however.

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This interplay of public and private space remains of contemporary interest. This is because private lives are now routinely displayed and archived in public spaces that often have free and unrestricted access and which are governed in the loosest sense by their users. This development is tied to the emergence of Internet technologies that not only enable lay-users to have unprecedented access to public data, but also to archive their own lives almost in real-time.

These examples suggest that the archive is changing in basis, as is the relation it forges between public and private space.

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Archive Fever: A Freudian Impression by Jacques Derrida

While this might seem trivial, it is one instance of a broader change in the underlying social or cultural structure of the archive, which is becoming increasingly individualized. For instead of existing as public, state-governed technologies that are located in guarded private spaces, archives increasingly are public forms that are open to individual construction, maintenance and control — something we will discuss in further detail in a moment. This takes us a long way from the work of Derrida , which focuses more on changes to human memory and the human mind that are brought about by different sets of technologies rather than on archives per se.

This is clearly stated in the opening chapter Exergue of Archive Fever , where he poses the following question:. This led him, in turn, to draw a parallel between this primitive technology of re inscription and the deeper structures of the human psyche. This connection might well be intriguing, especially if it were to shed light on the ways in which new media technologies structure our capacity for thought and communication.

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Instead, Derrida returns to Freud in order to explore a different line of argument. In a key passage he protests that. The archivization produces as much as it records the event.

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This is also our political experience of the so-called news media. This means that, in the past , psychoanalysis would not have been what it was. And in the future it will no longer be what Freud and so many psychoanalysts have anticipated, from the moment E-mail, for example, became possible.

Archive Fever: Uses of the Document in Contemporary Art

The main thrust of this passage is that media technologies are not passive conveyors of content or representations, but actively structure archives and perhaps even their users. Derrida here appears to fall into line with McLuhan , who famously proclaims that the medium is the message, by which is meant that media structure the content of the messages they communicate, along with the basis of human culture more generally.

The problem for Derrida is that he falls foul of his own argument. For to understand the current connection between media technologies and the content they circulate, or the connection between archives and the data they store or memories they produce, knowledge of contemporary archiving technologies is needed, along with some technical understanding of the ways in which such technologies produce their effects which are not always intended.

A Corpus in Fever: Archival Impulses in Theory, Literature, and the Arts

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