“To write is to implant,” as proclaimed by Derrida in his work “Dissemination.” In order to explain the methodology underlying my own literary endeavors, it is necessary to distinguish between post-critique and conventional collage. Therefore, the mere provision of samples by Numbers, despite the temptation to label them as “quotations,” “collages,” or even “illustrations,” is insufficient to achieve this objective. If the act of cutting is linked to the concept of “castration,” implying a violent and arbitrary incision, then the assembly and dissemination of fragments within a novel framework are irrevocably linked to the concept of “invagination.” Collage and montage embody, at their core, a bisexual form of writing — an artistic technique that transcends the boundaries of copyrighted intellectual property and the inherent properties of a given concept.

In response to this dilemma, I propose an intentional overlay effect in which one textual layer is superimposed on another. Through the use of a “double bind” technique, text is transformed into a “palimpsest” or a “macula,” challenging the prevailing assumptions in the fields of criticism and pedagogy. As described in “Glass,” one progression superimposes another, accompanying it without actually doing so. Nonetheless, it is essential to recognize that the act of quoting generates overly lengthy texts. Consequently, the model for a writing style that transcends simple juxtaposition and advances into the realm of superimposition is not to be found in the realm of collage, but rather in photography.

In analogy to the “Limtrofes,” the translation problem can be compared to a “developed film” or “processed film.” This transforms the text into a “progression,” emphasizing the concept of superimposition. Derrida emphasizes that this superimposition is still comprehensible by referencing a double-exposed photograph. By introducing the concept of photography, Derrida proposes an alternative perspective, one that transcends the limitations inherent to conventional collage.

When considering this topic, one is astounded by the transformative power generated by superimposition and its capacity to challenge conventional notions of authorship and textual integrity. Derrida argues that the act of grafting requires the extraction of a given element from its original context and its subsequent placement within a new framework, thereby transgressing the boundaries of “property” in numerous ways. In doing so, we not only undermine the concept of private property, but also question the authority of a particular concept.

The concept of collage writing as a form of theft conjures up a complex relationship between artists, critics, and the creative process itself. As an artist, I am keenly aware of the fine distinction between inspiration and appropriation. The act of assimilating elements from diverse sources and integrating them into a cohesive whole requires a delicate balance — an awareness of the transformative potential inherent in art and the necessity to acknowledge and respect the origins of those fragments.

By embracing the idea of superimposition and departing from the limitations of conventional collage, we embark on a journey that transcends the realm of simple juxtaposition. It is a journey that necessitates the exploration of new dimensions, eschewing linear progression in favor of photography’s visual and conceptual possibilities. This approach challenges the established norms of criticism and pedagogy, uncovering novel meaning layers and fostering a profound dialogue between texts and ideas.

By assimilating superimposition, I am able to transcend the limitations of traditional collage and enter a realm where diverse narratives and visual languages coexist in harmony. This technique enables me to create compositions replete with layers that transcend mere juxtaposition, thereby inviting viewers to investigate the interconnectedness of various elements within a single work of art.

Specifically, grafting has a profound impact on my creative process. Similar to how a graft involves attaching a branch from one plant to the rootstock of another, my objective is to combine disparate elements and ideas to produce a novel and thought-provoking result. This process of grafting enables me to transcend the limitations of singular narratives by investigating the possibility of hybridity and metamorphosis.

I am, however, keenly aware of the ethical considerations that accompany this artistic strategy. The concept of collage writing as a form of theft serves as a powerful reminder of the importance of acknowledging and respecting the origins of the elements I incorporate into my work. Rather than appropriating ideas and concepts devoid of their contextual underpinnings, I strive to give credit where credit is due, engaging in a fruitful dialogue with the original sources.

The violation of the concept of “property” in relation to intellectual concepts compels me to question the very essence of ownership in the realm of art. In a world where ideas and influences flow and intersect incessantly, it is necessary to foster a culture of collaboration and shared creativity. By embracing collage writing as a form of artistic expression, I hope to contribute to this ongoing dialogue by recognizing the communal nature of creative inspiration and the permeable nature of artistic boundaries.

In my artistic practice, superimposition serves as a conduit for visual and conceptual exploration. It enables me to create works that transcend the limitations of singular narratives, inviting viewers to engage with multiple layers of meaning and to question their preconceived notions. Through the use of photographic techniques like double exposures and layered compositions, I attempt to visually represent the concept of superimposition.

By superimposing one text or image on top of another, I hope to spark a dialogue between disparate elements, thereby unearthing unanticipated connections and generating novel insights. The resulting artwork takes the form of a palimpsest, containing traces of multiple narratives and perspectives. It compels viewers to examine the interaction of ideas, to question their own presuppositions, and to engage in a deeper level of interpretation.

The concept of superimposition and collage writing as a form of theft strongly resonates with me. It enables me to embrace the transformative potential inherent in the fusion of dissimilar elements, resulting in compositions with multiple layers that transcend conventional boundaries. By engaging with borrowed fragments ethically and meticulously acknowledging their origins, I hope to contribute to a collaborative artistic landscape in which ideas flow, intersect, and develop.

“Dissemination” by Jacques Derrida (France)
“Glas” by Jacques Derrida (France)
“The Space of Literature” by Maurice Blanchot (France)
“Camera Lucida: Reflections on Photography” by Roland Barthes (France)
“Collage: The Making of Modern Art” by Brandon Taylor (United Kingdom)
“A Thousand Plateaus: Capitalism and Schizophrenia” by Gilles Deleuze and Félix Guattari (France)
“The Writing of the Disaster” by Maurice Blanchot (France)
“The Arcades Project” by Walter Benjamin (Germany)
“The Photographic Message” by Roland Barthes (France)
“Simulacra and Simulation” by Jean Baudrillard (France)