By Michel Foucault
What does it suggest to jot down "This isn't really a pipe" throughout a bluntly literal portray of a pipe? Ren? Magritte's well-known canvas presents the start line for a pleasant homage through the French philosopher-historian Michel Foucault. far better recognized for his incisive and mordant explorations of strength and social exclusion, Foucault right here assumes a extra playful stance. by way of exploring the nuances and ambiguities of Magritte's visible critique of language, he unearths the painter much less got rid of than formerly concept from the pioneers of contemporary abstraction--"confronting them and inside of a standard approach, a determine right now adversarial and complementary."Foucault's short yet terribly wealthy essay bargains a startling, hugely provocative view of a painter whose impact and recognition keep growing unchecked. this isn't a Pipe additionally throws a brand new, piquantly dancing mild on Foucault himself.
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Example text
Another way similitude is freed from its old c o m plicity with rep resentative affirmation: perfidiously mixing (and by a ruse that seems to indicate j us t the o p posite of what it means) the painting and what it represents . Evidently this is a way o f affirming that the p ainting i s indeed its own model . But in fa ct such an affirmation would imply an interior distance, a divergence, a disj uncture bet ween the canvas and what it is supposed to mimic . For Magritte , on the contrary, there exists fro m the painting to the model a perfect continuity of scene, a linearity, a continuous overflowing of one into the other.
And at the nexus o f these figures and signs, the arrow that crop s up s o often (the arrow, sign bearing a primal resemblance, like a graphic ono matopoeia, and shape that formulates an order)-the arrow indicates the direction in which the boat is trav eling , shows that the sun is setting , pres cribes the direction that the gaze must follow, or rather the line along which it mus t imaginatively shift the figure provisionally and a bit arbitrarily placed here. It is not, in fact, a ques tion of those calligrams that by turns bring into play the subordinatio n of sign to form (a cloud of words and letters taking the shape they designate) , then of form to sign (the figure dis secting itself into alphabetic al elements) .
Despite appea rances, in fo rmi ng a bird, a flower, or rain, the calligram does not say: These things are a do ve, a flower, a downp our. As soon as it begins to do so, to speak and convey meanin g, the bird has already flown, the rain has evaporated . For whoever sees i t , the calli g ram does not say, cannot yet say : This is a fo wer, this is a bird. It is still too much trapped within shape, too much subj ect to representation by resemblance, to fo rmulate such a proposition. And when we read it, the deciphered sentence ("this is a dove, " " this is a rainstorm " ) is not a bird, is no longer a shower.