{"id":31796,"date":"2021-03-01T06:00:43","date_gmt":"2021-03-01T05:00:43","guid":{"rendered":"http:\/\/a-desk.org\/magazine\/el-desorden-del-discurso\/"},"modified":"2023-07-09T14:45:22","modified_gmt":"2023-07-09T12:45:22","slug":"el-desorden-del-discurso","status":"publish","type":"post","link":"https:\/\/a-desk.org\/en\/magazine\/el-desorden-del-discurso\/","title":{"rendered":"The disorder of the discourse"},"content":{"rendered":"<p>\u2026 or maybe there is. Because a certain contradiction exists between thinking and writing about obsolescence and ruin with a well-constructed text: one comprising an introduction, development, and conclusion. As if it were a building (as Proust said with his <em>textual cathedral<\/em>), wanting to <em>construct<\/em> a text in order to talk about two notions invoking precisely <em>deconstruction<\/em> could seem insensitive (or lacking \u201crigour\u201d, maybe, lacking in language politics, perhaps)<em>: <\/em>ruin and obsolescence invoke, indeed, the deconstruction of something regarded both as a spatial whole and a temporal whole. A building, a commodity, or any other entity, even a text as a whole of meaning, spatial and temporal. A whole as a unit, as a presence.<\/p>\n<p>\u2026 sometimes, always. Maybe, too, in what Blanchot said when he wrote that there must exist some complicity between a text and what it talks about, beyond content. Or, to use terms I have been working on for years: the way something is said means more than what is said. The <em>how <\/em>of a text is therefore a component of more importance in the politics of meaning than shared content itself. Ranci\u00e8re writes: \u201cwhat we have ultimately proven is that a theory\u2019s political effect depends less on its phrasing than the position it adopts in enunciation\u201d. And, thus, a theory of writing perfectly appropriate for this text on ruin and obsolescence: \u201cin the same way the proletarian becomes split into himself and into a bourgeois, in which the plebeian becomes split into himself and a patrician, a <em>split <\/em>takes place there too, within the language. A split takes place, on the one hand, in theory, content, and on the other hand, in praxis, in ways of enunciation: the <em>how <\/em>of writing becomes split in itself and the \u2018what\u2019 to interrupt that non-equality of meaning in the textual community. Language praxis would say, then, to theory: \u201cI, like you (I count too in what the text accounts for, I am also capable of meaning, I, too am capable of politics, etc)\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_1');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_1');\" ><sup id=\"footnote_plugin_tooltip_31796_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_1\" class=\"footnote_tooltip\"> First, Jacques Ranci\u00e8re; then, myself. See Jacques Ranci\u00e8re and Javier Bassas, <em>El litigio de las palabras. Di\u00e1logo sobre la pol\u00edtica del lenguaje<\/em>, NED Ediciones, Barcelona, 2019, p. 12 and 13.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0As if, out of ruin and obsolescence, it were only possible to construct a text from ruin and obsolescence: without an effective whole, fragmented, suspending its <em>causa finalis<\/em>.<\/p>\n<p>\u2026 just as there are materials in here (notes, quotations, reflections) but there is no text if we take that unit of meaning that is introduced, developed, and concluded as \u201ctext\u201d. There is no \u201ctext\u201d here according to that sense. There are other senses, such as the one collecting the echo of other voices, because an echo is, also, the ruin of voice. Just as our voice speaks of ruin and obsolescence, reprising the echo of other voices: here, in a <em>here\u00a0<\/em>deconstructed in thought and writing, nothing begins and nothing is to be constructed for any given end. Reprising Foucault: \u201cI wish I could have slipped surreptitiously into this discourse which I must present today, and into the ones I shall have to give here, perhaps for many years to come, I should have preferred to be enveloped by speech and carried away well beyond all possible beginnings, rather than have to begin it myself.\u00a0 I should have preferred to become aware that a nameless voice was needed to join in,\u00a0 to continue the sentence it had started and lodge myself, without really being noticed, in its interstices, as if it had signalled my pausing, for an instant, in suspense. Thus there would be no beginning, and instead of being the one from which discourse proceeded, I should be at the mercy of its chance unfolding, a slender gap, the point of its possible disappearance.\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_2');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_2');\" ><sup id=\"footnote_plugin_tooltip_31796_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_2\" class=\"footnote_tooltip\">Michel Foucault, L\u2019ordre du discours, Gallimard, Par\u00eds, 1971, p\u00e1g. 7-9. Reprising here Alberto Gonz\u00e1lez\u2019s translation into Spanish, El orden del discurso, Tusquests eds., Buenos Aires, 1992.&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_2');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>Reprising and displacing Foucault. Because of my lack of a beginning, of my ruin of an obsolete text, the echo of a voice being strung together here is not a result of the <em>order of discourse<\/em>, developed in this quotation by Foucault. The lack of a beginning is a result of the <em>disorder of <\/em>discourse, indeterminacy containing the politics of ruin and obsolescence.<\/p>\n<p>\u2026and before my voice, Derrida\u2019s voice was also there: \u201cIt\u2019s like a ruin which doesn\u2019t come after a piece of work but which is produced, <em>from the origin<\/em>, by the advent and structure of the work. In its origin, there was ruin. Ruin extends to the origin, that\u2019s what came first, in the origin. Without a promise of recovery\u201d\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_3');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_3');\" ><sup id=\"footnote_plugin_tooltip_31796_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_3\" class=\"footnote_tooltip\">Jacques Derrida, M\u00e9moires d\u2019aveugle. L\u2019autoportrait et autres ruines, \u00c9ds. de la R\u00e9union des Mus\u00e9es Nationaux, Par\u00eds, 1990, p\u00e1g. 69. I have translated Derrida the only way he can be&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_3');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.\u00a0The politics of ruin is the ruin of origin, of presence, of subjectivity. The ruin of any text which talks about ruin.<\/p>\n<p>(\u2026)<\/p>\n<p>\u2026 in order to concur with this art against the grain by Miguel A. Hern\u00e1ndez, because we are among the ruins of Modernity. I would also say that Postmodernity is something like obsolete Modernity. But this is our joy because \u201cit is in spoils, in catastrophe, in the fossil of a fetish, in the ruin of dreams where Benjamin finds the energies which are necessary for revolution. In these \u201cspoils of history\u201d, Benjamin notices real potential. With the obsolescence of objects, with the revelation of its hidden face, we could say that dreams are also \u201cdistilled\u201d. In some way, dreams, promises, seeing themselves as a failure, are clearly identified. And in this way, it is clearly ascertained that there are still dreams and promises. That is to say, that history is still open. When we see their destruction is when their potency is revealed\u201d.<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_4');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_4');\" ><sup id=\"footnote_plugin_tooltip_31796_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_4\" class=\"footnote_tooltip\">Miguel \u00c1ngel Hern\u00e1ndez, El arte a contratiempo. Historia, obsolescencia, est\u00e9ticas migratorias, ed. Akal, Madrid, 2020, p\u00e1g. 56. A capital book for understanding contemporary art from the point&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_4');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script><\/p>\n<p>There is only potency there in the time we are living in, in art-literature-philosophy-politics-etc: signalling the politics of ruin and obsolescence oils recovering lost time, rewriting History in such a way that it remains open and, thus, in the indeterminacy of meaning\u2026<\/p>\n<p>\u2026 because \u201cthe reference to the critique of progress by Benjamin [\u2026] has become a cliche in contemporary art history, which keeps this attitude of rescuing the obsolete and outmoded as a critical position. However, [\u2026] changes in production politics and the reinforcement of the strategy of programmed obsolescence transform completely the critical meaning of the use of the past, which has now become integrated within the logic of consumerism. [\u2026] The point would be to find ways to avoid integration or, at least, when one becomes aware of its perils, identifying them, battling them, instituting critical distance, avoiding, by all means, to be blinded by nostalgia.\u00a0<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_5');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_5');\" ><sup id=\"footnote_plugin_tooltip_31796_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_5\" class=\"footnote_tooltip\">Ibidem, p\u00e1gs. 44 y 49.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>.<\/p>\n<p>\u2026even if not this way, because it wouldn\u2019t be so much about \u201cawareness\u201d, or about \u201ccritical distance\u201d. It would have more to do with living in an obsolete way (\u201c<em>Il faut \u00eatre absolument obsol\u00e8te\u201d, <\/em>Rimbaud would say today) with a <em>ruined <\/em>subjectivity, living like ruins and everything obsolete. It would have to do with suspending determinacy at all levels, dwelling in that oceanic circulation between what I am, my determinacies, and what I am not, the indeterminacy of ruin which is there in origin, like the endless stare at an obsolete object which talks to us from a different time \u2026<\/p>\n<p>Louise Ackermann writes\u2026.<\/p>\n<blockquote><p><em>Jet\u00e9 par le hasard sur un vieux globe infime,<br \/>\nA l\u2019abandon, perdu comme en un oc\u00e9an,<br \/>\nJe surnage un moment et flotte \u00e0 fleur d\u2019ab\u00eeme,<br \/>\n\u00c9pave du n\u00e9ant.<\/em><\/p>\n<p><em>Thrown by chance to a dismal old globe<br \/>\n<\/em><em>To oblivion, lost like at an ocean<br \/>\n<\/em><em>I drift for a moment, then float,<br \/>\nA wreck of nothingness.<br \/>\n<\/em><\/p><\/blockquote>\n<p>\u2026that is what maybe Ranci\u00e8re\u2019s <em>in-between <\/em><span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_6');\" onkeypress=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_6');\" ><sup id=\"footnote_plugin_tooltip_31796_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_31796_1_6\" class=\"footnote_tooltip\">&#8221;A process of subjectivation is thus a process of disidentification or declassification. Or to put it another way, a subject is an in-between, a between-two&#8221;, in J. Ranci\u00e8re, Aux bords&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_31796_1('footnote_plugin_reference_31796_1_6');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_31796_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_31796_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> referred to: the movement between determinacy and indeterminacy I am proposing, the praxis of emancipation and, also, political art when\u2026<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_31681\" style=\"width: 1930px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/a-desk.org\/en\/magazine\/el-desorden-del-discurso\/2-foto-adesk-texto-xavier-bassas\/\" rel=\"attachment wp-att-31681\"><img aria-describedby=\"caption-attachment-31681\" decoding=\"async\" class=\"wp-image-31681 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS.jpg 1920w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-595x335.jpg 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-768x432.jpg 768w, https:\/\/a-desk.org\/wp-content\/uploads\/2021\/02\/2.FOTO-ADESK-TEXTO-XAVIER-BASSAS-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\" \/><\/a><p id=\"caption-attachment-31681\" class=\"wp-caption-text\">Ruina y obsolescencia de una pel\u00edcula que muestran otros tiempos de la imagen. Fotograma de <em>Light is calling<\/em> (35mm, 8 min, 2004) de Bill Morrison.<\/p><\/div>\n<p>(Imagen destacada: Fuego pol\u00edtico: ruinas y obsolescencia de los contenedores urbanos).<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"applewebdata:\/\/356A68EF-E92C-4FEE-A4A0-A6ACA4A96F57#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_31796_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_31796_1();\">[<a id=\"footnote_reference_container_collapse_button_31796_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_31796_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_1');\"><a id=\"footnote_plugin_reference_31796_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\"> First, Jacques Ranci\u00e8re; then, myself. See Jacques Ranci\u00e8re and Javier Bassas, <em>El litigio de las palabras. Di\u00e1logo sobre la pol\u00edtica del lenguaje<\/em>, NED Ediciones, Barcelona, 2019, p. 12 and 13.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_2');\"><a id=\"footnote_plugin_reference_31796_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">Michel Foucault, <em>L\u2019ordre du discours<\/em>, Gallimard, Par\u00eds, 1971, p\u00e1g. 7-9. Reprising here Alberto Gonz\u00e1lez\u2019s translation into Spanish, <em>El orden del discurso<\/em>, Tusquests eds., Buenos Aires, 1992. As a matter of fact, this book recreates Foucault\u2019s opening lecture at the Coll\u00e8ge de France, given on the 2nd of December of 1970. <\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_3');\"><a id=\"footnote_plugin_reference_31796_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">Jacques Derrida, <em>M\u00e9moires d\u2019aveugle. L\u2019autoportrait et autres ruines<\/em>, \u00c9ds. de la R\u00e9union des Mus\u00e9es Nationaux, Par\u00eds, 1990, p\u00e1g. 69. I have translated Derrida the only way he can be translated, ruining the original: \u201c<em>C\u2019est comme une ruine qui ne vient pas <\/em>apr\u00e8s<em> l\u2019\u0153uvre mais reste produite,<\/em> d\u00e8s l\u2019origine<em>, par l\u2019av\u00e8nement et la structure de l\u2019\u0153uvre. \u00c0 l\u2019origine il y eut la ruine. \u00c0 l\u2019origine arrive la ruine, elle est ce qui lui arrive d\u2019abord, \u00e0 l\u2019origine. Sans promesse de restauration<\/em>\u201d.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_4');\"><a id=\"footnote_plugin_reference_31796_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">Miguel \u00c1ngel Hern\u00e1ndez, <em>El arte a contratiempo. Historia, obsolescencia, est\u00e9ticas migratorias<\/em>, ed. Akal, Madrid, 2020, p\u00e1g. 56. A capital book for understanding contemporary art from the point of view of obsolescence, a book from which I have made a montage of quotations here.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_5');\"><a id=\"footnote_plugin_reference_31796_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">Ibidem, p\u00e1gs. 44 y 49.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_31796_1('footnote_plugin_tooltip_31796_1_6');\"><a id=\"footnote_plugin_reference_31796_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">&#8221;A process of subjectivation is thus a process of disidentification or declassification. Or to put it another way, a subject is an in-between, a between-two&#8221;, in J. Ranci\u00e8re, <em>Aux bords du politique<\/em>, Gallimard, col. Folio, Paris, 1998, p. 119.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_31796_1() { jQuery('#footnote_references_container_31796_1').show(); jQuery('#footnote_reference_container_collapse_button_31796_1').text('\u2212'); } function footnote_collapse_reference_container_31796_1() { jQuery('#footnote_references_container_31796_1').hide(); jQuery('#footnote_reference_container_collapse_button_31796_1').text('+'); } function footnote_expand_collapse_reference_container_31796_1() { if (jQuery('#footnote_references_container_31796_1').is(':hidden')) { footnote_expand_reference_container_31796_1(); } else { footnote_collapse_reference_container_31796_1(); } } function footnote_moveToReference_31796_1(p_str_TargetID) { footnote_expand_reference_container_31796_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_31796_1(p_str_TargetID) { footnote_expand_reference_container_31796_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"<p>\u2026 or maybe there is. Because a certain contradiction exists between thinking and writing about obsolescence and ruin with a well-constructed text: one comprising an introduction, development, and conclusion. As&#8230;<\/p>\n","protected":false},"author":2703,"featured_media":31680,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6096],"tags":[],"coauthors":[6638],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The disorder of the discourse &#8211; A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/a-desk.org\/en\/magazine\/el-desorden-del-discurso\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The disorder of the discourse &#8211; A*Desk\" \/>\n<meta property=\"og:description\" content=\"\u2026 or maybe there is. Because a certain contradiction exists between thinking and writing about obsolescence and ruin with a well-constructed text: one comprising an introduction, development, and conclusion. 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