CREATIVE IMPLICATIONS OF DECONSTRUCTION: THE CASE OF JAZZ MUSIC, PHOTOGRAPHY, AND ARCHITECTURE Francesco Paradiso A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree of Doctor of Philosophy School of Humanities & Languages Faculty of Arts & Social Sciences March 2014 i ABSTRACT The thesis investigates the connection between deconstruction and creativity with regard to three aesthetic fields, namely jazz music, photography, and architecture. The thesis consists of three chapters. Chapter 1 focuses on deconstruction and jazz music. First, the analysis draws a comparison between the linguistic sign and the musical sign in the light of Derrida's analysis of signifier and signified. This supports an investigation of the supplementary character of writing in the specific case of jazz music. Second, the analysis draws an analogy between the deconstructive reading of texts and jazz improvisation to show the relevance that creativity has for both. This is followed by an examination of the similarities between Derrida's notion of différance and the musical figure of syncopation. The analysis is completed by an argument that the jazz event of the jam session is an encounter and creative 'dialogue', with features similar to Derrida's conception of hospitality. Chapter 2 focuses on deconstruction and photography. First, the discussion explores the correlation between truth and photography. It will be argued that deconstruction challenges the logocentric organisation of photographs based on the prominence of what is immediately visible in images and fosters a more creative interpretation, which is based on the play between concealment and unconcealment within photographs. Second, it investigates the implications of Derrida's analysis of temporality for photography. This supports an investigation into how Derrida's notion of responsibility and the future to come can be applied to photography. Chapter 3 focuses on deconstruction and architecture. First, the analysis establishes the links between architecture and language by outlining the creative and transformative outcome that the correlation between function and meaning in the light of deconstruction produces. Second, the investigation examines Bernard Tschumi's idea of architecture as event in Parc de La Villette. Tschumi's work is an example of how the deconstructive approach adopted by architects fosters creativity in users. Finally, the analysis focuses on the transformative and creative character of portable architecture by investigating the correlation between the creative character of deconstructive concepts such as freeplay, parergon, and the axiom of incompleteness, and the transformative features of tents. ii ACKNOWLEDGEMENTS This thesis is the result of a long and personal journey that has changed my life. What I have learned goes well beyond concepts, notions, and philosophical technicalities. But what has been achieved would have not been possible without the help and support of many amazing people. I would like to thank my supervisor, Professor Rosalyn Diprose. Words cannot express all my gratitude for her help and guidance. She is an amazing person, friend, and teacher. Her patience is limitless. She has always been present. She taught me how to master the complexities of Derrida's deconstruction. Without her help and support, I certainly would not have been able to accomplish the daunting task of writing a PhD thesis in philosophy, on deconstruction, and what is more, in another language. I would like to thank my co-supervisor Professor Paul Patton for his help and suggestions. I also thank all the people at the School of Humanities & Languages at UNSW for their support and assistance over the time of my candidature, especially Dr Simon Lumsden, Dr Stefania Bernini, Dr Geoffrey Nathan, and Sally Pearson. I would like to thank Professor John Sallis at Boston College in Boston, who supervised my work during the six months I spent at Boston College. His advice and suggestions have been crucial. I would like to thank my wife, Eleonora. Despite the huge distance that has kept us physically apart for more than two years, she has always been a comforting and supporting presence. Without her endless love, the loneliness and strain that this project has caused would have been unbearable. Also, her expertise has been crucial during the final revisions of this thesis. I would like to thank my parents, Tonia and Nicola. This work is dedicated to them. Without their teachings and infinite love and support, I would not have achieved any of my goals. They taught me how to face and overcome the difficulties of life. They have always encouraged me to pursue my dreams. They have always respected my choices, even the one that changed our lives four years ago, when I chose to move 12 000 miles away from home to pursue my research goals. iii The text of this thesis has been professionally copyedited and proofread only, following the Australian Standards for Editing Practice, by Dr Katy McDevitt AE, for such matters as expression, clarity, tone, grammar, and spelling. iv TABLE OF CONTENTS Introduction. Deconstruction and Creativity 2 1. Preliminary Remarks 2 2. Concept without Concept 4 3. Jazz Music, Photography, and Architecture 10 Chapter 1. Deconstruction and Jazz Music 15 1.1. Introduction 15 1.2. Of 'Musical' Grammatology 18 1.3. Double Reading and Improvisation 27 1.4. Différance and Syncopation 46 1.5. The Jam Session and Hospitality 56 Chapter 2. Deconstruction and Photography 67 2.1 Introduction 67 2.2 Photos/Ontos: Light and Shadow of a Scandal 68 2.2.1. First, a Scandal 76 2.2.2. Haunting Shadows 81 2.2.3. Haunting Words 87 2.3 Time and Photography 94 2.3.1. Coincidence of Points: A Puzzling Question 95 2.3.2. Expanding/Expanded Punctuality 103 2.3.3. From Inheritance to Responsibility 106 Chapter 3. Deconstruction, Architecture, and Incompleteness 110 3.1 Introduction 110 3.2 Architecture, Philosophy, Language, and the Unfinished Tower 111 3.2.1. Between Syntax and Semantics: Architecture and Textuality 111 3.2.2. The Tower of Babel: Incompleteness and Event 123 3.3. Deconstruction at Work: Parc de La Villette/Point de Folie – 128 Maintenant L'Architecture 3.4. Portability and Deconstruction: A Transformative Condition 138 3.4.1. Portability and Freeplay 139 3.4.2. Loosening the Borders 144 3.4.3. Portability and Creativity 153 Conclusion 157 1. Jazz Music: A Dialogue with the New 157 2. Photography: Between Concealment and Unconcealment 159 3. Architecture: Activating Space 160 4. Last Words 161 Bibliography 163 1 Introduction Deconstruction and Creativity 1. Preliminary Remarks This study aims to investigate the connection between deconstruction and creativity, with regard to three aesthetic fields, namely jazz music, photography, and architecture. It will be argued that it is possible to establish a connection between the philosophical elements of deconstruction and the creative features of those disciplines. In the light of that connection, it will be argued that deconstruction fosters creativity. Let me clarify what I mean by creativity. Creativity is about the production of something new. The image that most exemplifies creativity, in this sense, is of artists engaged in the process of creating a new work of art. However, besides that common image, creativity has become also one of the most distinctive and valued human traits, which is currently in strong demand to face the ever-changing character of society. As Richard Florida points out, The real driving force is the rise of human creativity as the key factor in our economy and society. Both at work and in other spheres of our lives, we value creativity more highly and cultivate it more intensely than we ever have before. The creative impulse – the attribute that distinguishes us, as humans, from other species – is now being unleashed on an unprecedented scale.1 Indeed, the features that have always been linked to the artists' creative activity, such as the exploration of new possibilities, forms, and meanings, the search for the unexpected and unpredictable, and the openness to difference and to the unknown are now valued as essential to innovation. Hence, in this study, the notion of creativity refers to those features mentioned above, which are connected with innovation. According to this characterisation of creativity, it might be argued that deconstruction certainly plays a crucial part in the development of a cultural environment that fosters and nurtures creativity, and that consequently stimulates a 1 Florida R., The Rise of the Creative Class, New York, Basic Books, 2012, p. 5 2 form of thinking that seeks innovation. One of the crucial aspects of deconstruction is a questioning process that challenges what is known, in order to open it up to what is unknown. It might be said that, in effect, in philosophical terms, deconstruction has functioned as a sort of 'engine of innovation', insofar as Jacques Derrida has inspired innovation in how we read philosophical texts, how we think of philosophical arguments, and more broadly how we engage with concepts and ideas. In short, this study begins from the assumption that Derrida has invited and encouraged us to be critical, creative, and innovative in our approach to tradition. As Michael Naas points out in his book Taking on the Tradition, we are always preceded, we always think, read, and write 'within a unique and irreplaceable tradition that exerts an almost unthinkable and inescapable influence over us'.2 At