|interior/ limit||Derrida writes: "[...] to keep the outside out
is the inaugural gesture of 'logic' itself, of 'good sense' insofar as it accords with the self identity of "that which is": being is what it is, the outside outside and the inside inside. Writing must return to being what it should never have ceased to be: an accessory, an accident, an excess." (Derrida 1981:128)
Writing the accident, designing with the remainders
The writing/design of the interior, in this case, is an intimate, one-to-one thing. It is written to be seen, via action, to be experienced, in experience, in the way of the cinematic. The small screen invites this sort of exchange, between the writer, reader, the one who moves through the text, with the text. And a cinematic exchange for the one who builds the environment - there are always swift moves between softwares - between the one that makes the code for the screen, the imaging and audio softwares and the ones that process words and the research - so the milieu of the associational network of effects that is the web environment.
writing a p p e a r s on the screen
Writing is literally the material of building, the making of what the site (cite) is and what it wants to be. It's design is integral to the performance . . . Each letter, each word, each element, has a thing-ness. The language itself has some affinity with the Language School writers of New York - the work is written to be looked at - it is written, before speech, it is visual before aural. Its components are assembled, held and installed. The environment makes itself up as it goes along from a variety of sources that include sound, image, word: inter-ruptions, accidents, repetitions (cut n' paste) that are really iterations. These words make it seem grand but really its simple - in the way of duration - it wants to make a tone, or an atmosphere.