translation from German Mina Boeva published in the Literary Gazette, issue 5 – 19, 2007

PASSWORDS (Mots de passé, Pauvert, department des Editions Fayard, 2000)   This text refers to a film produced in the concept of Leslie F. Grunberg and directed by Pierre Bourgeois (2000).   Paradoxically, looking back, to paint a panorama of philosophical thinking, which never wanted to be providing. It reminds a bit of Orpheus, who too early approached Eurydice forever and so passed it on to the underworld. So I do so thinking exist before itself and that from the beginning to anticipate an end, as it is closed, as is developing a coherent manner, that always has existed. So I do not see another opportunity to talk about it except in terms of the simulation, a bit like Borges, who reconstruct faded culture fragments of a library. Which means that nothing can not raise the issue of his sociological likely to answer this question, by the way, I would be extremely difficult. You should probably be put in the position of an imaginary traveler who accidentally falls on these writings as a forgotten manuscript and lack of other documents trying to reconstruct described them in society. J. B.   Passwords … I think that phrase while initiation penetrate inside things without asking them cataloged, describing them in detail. Because words are carriers of ideas they generate them, and much more than vice versa. As magical operators and not without a certain charm, they not only mediate ideas and things, but themselves become metaphors and spiral motion are converted each other. So they are carriers and smugglers (passeurs d`idees) .1 For me, words are extremely important. For someone who does not claim that his thinking should apply as final and closed in itself, it is clear that the words have their own life – and therefore mortal. For me at least it’s clear. In the temporality of words is embedded almost a poetic game of death and new birth, coming one after another metaforizatsii do so one idea is becoming more and something different from itself – becomes “thought form”. The tongue thinks it our thoughts and think of us as far as we think through it. Here, too, it comes to an exchange – one perhaps symbolic exchange between words and ideas. We believe that progress with the help of ideas – it is undoubtedly fantasized every theorist, every philosopher. But words alone generate or regenerate ideas, serve as “transmitters” or “speculators.” At such times, ideas are intertwined and mixed at the level of the word, as it already serves – in a catalysis in which a card is inserted language itself – as non-technical operator. Through which at least is becoming at least as important as the ideas bet. As words go on this side and beyond (passent), as die (trepassent), transformed into metamorphoses under unpredictable nekalkuliruemi branches become carriers or smugglers (passeurs) ideas, the expression “passwords” think it offers the opportunity to once again began things on the one hand let them crystallize in their specific gestalt, but also puts them in an open, panoramic perspective.   The Object   It seems to me that the “object” is “password” par ekselans.Oshte the outset chose this angle because I wanted to get rid of the problems of the subject. His alternative was the question for the site, and it remained the horizon in my thoughts. And he had reasons of his time: in the sixties, through the transition from primate to primate production to consumption sites come to the fore. Really interested me less works object itself, as what objects telling each other the sign system and syntax to create. And above all the fact that send away to a world that is less real than we drove to see the quasi omnipotence of consumption and profits. For me, in this world of signs objects very quickly freed from their user value to play with each other, to relate. Behind this semiologichesko formalization undoubtedly played a role and a reminiscent of the disgust of Sartre and so famous root which there is described as a downstream object poisonous substance … It seemed to me that this object has a passion, at least seemed to have its own life and It is able to avoid the passivity of its use, achieving some kind of autonomy and perhaps even the ability to take revenge on the subject, too secure in its dominance over him. In the sites they are always seen motionless and silent world, which, under the pretext that it was created by us, may be disposed. But he always had this world to say something that transcended its use. He stepped into the realm of signs in which nothing happens so simply because the sign is always obliteration of thing. So the object meant the real world, but also his absence – and especially that of the subject. He was interested just in this study flora and fauna of the sites. This takes advantage of all subjects, which then drifted in the air, psychoanalysis, Marxist analysis of production and especially the analysis of language, as did Roland Barthes. But the most interesting object in the analysis was that the requirement through all these disciplines had known transverzalnost (naprechnost). Namely, the object was not reducible to any discipline and challenge them – adding to it to be put into question their very tenets, including those of semiology as far as the object-sign, which accumulate various valuation types is much more ambivalent than sign language. Notwithstanding the self-interest of these different approaches, what fascinated me and still fascinates me is the way in which the object is slipping, that disappears – all that remains “mysterious” in it. The exchange on which the carrier remains unmet. It really is a mediator, but as it is neposrestven and immanent, while it explodes posrednichestvo.Namira on both sides means fulfillment and disappointment simultaneously; maybe this way he refers to that part banished for which Bataille says that can never be anticipated and saved. The site is no salvation, somewhere there is a “remnant” that the subject can not conquer, which he believes that can remove excess and through accumulation, but that only leads to that multiplies barriers in attitude. Early communicate with objects later, this communication is blocked by overgrown. The site plays a dramatic role, he is an absolute artist, which disrupts any simple functionality. And it is in this direction care.

¹ French passeur means both “waterman” and “smuggler”. Comes from a passer, (“Traverse”, “will move to the other shore”), which corresponds to the Greek and metapherein, in the literal meaning (“carry elsewhere”).