불확정성의 기호로서의 프레임

초록

Immanuel Kant has determined the concept of parergon as an extra appetizer that comes in addition, outside the field clean, namely incidental business, activity or operation that comes next or everything against ergon. He cited as examples the frames of the paintings, the clothes of the statues or the columns around the architectures. But Jacques Derrida considered that as a parergon, the frame in painting works not only as frame-object, frame-limit and frame-window, but also as edge which, neither simply outside nor simply inside, separates the inside from outside into same time does not stop linking them. Then, it emphasizes that the frame is not an addition hors d’oeuvre that will eventually be forced to disappear, to sink, to fade and merge into the realm of significance, at the moment when it deploys his greatest energy. The framework must therefore be considered as an edge of indecidablility, or as a sign of difference, whose general principle is no longer a mechanical law of the nature, of the agreement, or of the harmony of the immanent signs, but a certain repeated dislocation or a regulated and irrepressible deterioration which makes it crack in general, the corner abyss in its angles and its articulations, returns its internal limit in external limit.

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