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Notes
1 Jacques Derrida and Anne Berger, ‘Dialanguages’, in Points… Interviews 1974-1994, trans. Peggy Kamuf et al (Stanford: Stanford University Press, 1995), p.154.
2 Ghost Dance. Dir Ken McMullen (Channel Four Films: UK, 1983).
3 Disturbance (Among the Jars). Dir Gary Hill (France, 1988).
4 Whilst being interviewed by the director Amy Kofman for the documentary film Derrida: The Movie, Derrida contends that whether one is being interviewed or is before the camera on a film set one is subject to the same ‘manipulative’ direction. In the same clip he makes the link between cinema and America, where cinema would be American not just or not simply because our experience of cinema is shaped by American culture, but because films are made on the command of ‘Action!’, which for Derrida is evidence of a utilitarian and manipulative attitude peculiarly American. Derrida: The Movie. Dirs Kirby Dick and Amy Kofman (Jane Doe Films, 2002).
5 Jacques Derrida and Bernard Stiegler, ‘Echographies of Television’ [1993], in Jacques Derrida and Bernard Stiegler, Echographies of Television, trans. Jennifer Bajorek (Cambridge: Polity Press, 2002), p.70.
6 Jacques Derrida, ‘The Ghost Dance’, an interview by Andrew Payne and Mark Lewis, trans. Jean-Luc Svoboda, Public, 1 (1987), pp.60-66.
7 Jacques Derrida, ‘The Ghost Dance’, pp.63-64.
8 Jacques Derrida, ‘Artifactualities’ [1993], in Echographies of Television, pp.1-27. Also published as ‘The Deconstruction of Actuality’, trans. Jonathan Rée, Radical Philosophy, 68 (Autumn 1994), pp. 28-41.
9 Jacques Derrida, ‘Artifactualities’, p.5.
10 Jacques Derrida, ‘Videor’, trans. Peggy Kamuf, in Passages de l'image, eds Raymond Bellour, Catherine David and Christine van Assche (Barcelona: Fundació Caixa de Pensions, 1990), p.176.
11 Jacques Derrida, ‘Above all, no journalists!’, trans. Samuel Weber, in Religion and Media, eds Hent de Vries and Samuel Weber (Stanford: Stanford University Press, 2001), p.85.
12 Jacques Derrida, ‘Artifactualities’, p.6.
13 Jacques Derrida, ‘Echographies of Television’, p.38.
14 Jacques Derrida, ‘No journalists’, p.81. To a response from Mieke Bal in person during a discussion following his paper Derrida remarks ‘You have opposed the teleconference to a conference such as this one, as though we could consider ourselves to be here to be in the presence, fully, of others and of ourselves, without any deferral [différance]. No, I can't agree… More or less, but never fully… I wouldn't say that overall, simply, the living body is present here’.
15 Jacques Derrida, ‘Echographies of Television’, pp.142-43.
16 Jacques Derrida, ‘Echographies of Television’, p.143.
17 Jacques Derrida, ‘Echographies of Television’, p.142.
18 Jacques Derrida, ‘Echographies of Television’, p.143.
19 Jacques Derrida, ‘Echographies of Television’, p.133.
20 Jacques Derrida, ‘No journalists’, p.62.
21 Not least in one of the texts here in question, Jacques Derrida, ‘The Ghost Dance’, see p.62.
22 Jacques Derrida, ‘Echographies of Television’, p.36 (Derrida's emphasis).
23 Jacques Derrida, ‘Echographies of Television’, p.71.
24 Jacques Derrida, ‘The Ghost Dance’, p.63.
25 Jacques Derrida, ‘Faxitexture’, trans. Laura Bourland, in Anywhere, ed. Cynthia Davidson (New York: Rizzoli, 1992), p.24.
26 Jacques Derrida, ‘Echographies of Television’, pp.32-33 (Derrida's emphasis).
27 Jacques Derrida, ‘Echographies of Television’, p.71.
28 Jacques Derrida, ‘Echographies of Television’, pp.87-88.
29 Jacques Derrida, ‘Echographies of Television’, p.70.
30 Jacques Derrida, ‘Echographies of Television’, p.96.
31 Jacques Derrida, ‘Echographies of Television’, p.112.
32 Jacques Derrida, ‘The Ghost Dance’, p.61.
33 Jacques Derrida, ‘No journalists’, p.62.
34 It should be added that in ‘Videor’, a short written piece on Gary Hill's Disturbance (Among the Jars), a work of video art in which, to repeat, Derrida features, Derrida asks himself what the difference is between video and other forms of moving image, and finds wanting an answer premised on the idea that video's specificity, if there is such a thing, is governed by an experience one's own body. The transformative experience of the body undergone by the one filmed would not in itself be sufficient to differentiate between different tele-technologies. Jacques Derrida, ‘Videor’, p.178.
35 Marie-Francoise Plissart and Jacques Derrida, ‘Right of Inspection’ [1985], trans. David Wills, Art & Text, 32 (Autumn 1989), pp.74-75.
36 Earlier versions of this paper were given at the 28th annual conference of the International Association for Philosophy and Literature (IAPL), Virtual Materialities, University of Syracuse, May 2004; and at the first SAIC/DePaul Art Philosophy Symposium, School of the Art Institute of Chicago, March 2009. My thanks go to Sean Kirkland, William McNeil, Martin McQuillan, Michael Naas and Michael Newman for their thoughtful comments.