Surfaces of inscription may include such things as sheets of
paper, computer screens, digital writing pads, scrolls, tapestries, bank
notes, invoices, receipts, postage stamps, licenses, certificates, diplomas,
sheets of cardboard, and sheets of canvas.
Surfaces of inscription may also
include such things as windowpanes, glass bottles or jars, coffee mugs, watch
or clock faces, cement or asphalt surfaces (such as streets and sidewalks),
street signs, blackboards, posters, and billboards.
They may also include wooden surfaces (such as furniture, walls, doors, and floors), medicinal tablets or capsules, surfaces of the human body, and articles of clothing.
They may also include blocks of
stone (such as pillars, columns, gravestones, statues, and monuments), stone
walls (such as cave walls), blocks of soap, wax, clay, or brick, and coins,
medals, insignias, badges, tools, and weapons.
Surfaces of (metaphorical) inscription
may include such things as thoughts, impressions, memories, emotions, feelings, attitudes, and (moral, aesthetic, and cultural) sensibilities.
Inscriptions may vary in their
legibility and durability. Some may be relatively permanent, others merely
temporary.
Instruments of inscription may include
pencils, pens, needles, styluses, crayons, paint or ink brushes, spray guns, pieces
of chalk, drills, computers, video or movie projectors, and printing presses.
To inscribe may be to write, print,
draw, paint, carve, engrave, stamp, paste, or burn words, letters, symbols, or
images onto something. It may also be to write a signature, personal message,
or dedication (e.g. inside the covers of a book, on a photograph, or on a work
of art).
The body surface may
be a site, locus, or medium of self-inscription, self-identification, self-representation,
and self-expression. An interesting exception to this rule, however, may be
when people inscribe other people’s names (such as the names of friends, lovers, or
family members) on their own bodies.
We may inscribe or map our social
identities onto our own bodies (e.g. through the use of makeup, lipstick, nail
polish, jewelry, tattoos, and body piercings). Cosmetic surgery may be another
means of inscribing or altering the surface and contour of the body. Bodily
inscriptions may be markers of not only social identity, but also social and
cultural difference.
Growth or shaving of facial or body hair, and the wearing of wigs, toupees, and particular hairstyles
may also be ways of inscribing particular aesthetic, religious, political, social,
and cultural values and attitudes onto the surface of the body.
Modes of inscription may be governed
by textual (aesthetic, interpretive, stylistic, and rhetorical), social,
and cultural codes. The wearing of a bodily inscription may be a kind of
performance that may be governed by social performance codes (as when bodily
inscriptions have to be disguised or concealed in certain social settings).
Michel Foucault (1977) describes the
human body as a surface of inscription of events that are traced by language
and dissolved by ideas.1 History inscribes or imprints itself on the
human body. The body is the site of a dissociated self, insofar as genealogy
(as an analysis of ancestral descent) requires us to maintain past events in
their proper dispersion. Genealogy requires us to identify the accidents that
gave birth to what exists and has value for us, and to discover that at the
root of what we know and what we are there is not truth or being, but the
exteriority of accidents.2,3
Jacques Derrida
(1974) says that writing signifies inscription, insofar as it is taken to
mean something durable and something occurring spatially. The world may be seen as a space
of inscription.4
Gilles Deleuze (1986) says that the
human face may be a surface of inscription, insofar as thoughts, feelings, and
emotions may be inscribed on it.5
Ernesto Laclau (1990) argues that
structural dislocations in society provide spaces of representation for
individuals, and that those spaces of representation may function as
alternatives to the socially dominant forms of structural discourse. The suturing of structural dislocations may in turn create new spaces of representation.
These new spaces function as surfaces on which structural dislocations and
social demands are inscribed. Structural dislocation is therefore a source of
freedom for the individual subject. The individual subject’s acts of
self-identification and self-determination are made possible by structural
indeterminacy and undecidability. The relation between the surfaces of
inscription constituted by spaces of representation and whatever is inscribed
on them is therefore essentially unstable. The incomplete and unfinished nature
of surfaces of inscription is the condition of possibility for the constitution
of social imaginaries (which in turn are horizons of possibility for the
emergence of the world of objects).6
Elizabeth Grosz (1993) distinguishes
between two kinds of approach to theorizing the human body: (1) the inscriptive,
and (2) the lived body. The inscriptive approach conceives the body as a
surface on which social law, morality, and values are inscribed, while the
lived body approach is concerned with the lived experience of the body, and
with the body’s internal or psychic inscription.7 Grosz explains
that “the body can be regarded as a kind of hinge
or threshold: it is placed between a psychic or lived interiority and a more
sociopolitical exteriority that produces interiority through the inscription of the body’s outer
surface.”8
Grosz (1994) also explains that “the
body’s psychical interior is established as such through the social inscription
of bodily processes, that is, the ways in which the 'mind' or psyche is
constituted so that it accords with the social meanings attributed to the body
in its concrete historical, social, and cultural particularity.”9 This
does not mean that the self or ego is “an effect of which the body or the
body’s surface is the cause…The ego is derived from two kinds of 'surface.' On
the one hand, the ego is on the 'inner' surface of the psychical agencies; on
the other hand, it is a projection or representation of the body’s 'outer
surface.'"10
Margo DeMello (2000), in discussing
the social significance of tattoos, notes that the human body may be both
inscribed and reinscribed by culture and society. Tattoos may be a means for
individuals to write themselves into a particular kind of social context, and also to be “read” within that context. People may construct “tattoo narratives”
about their own tattoos in order to provide others with an appropriate social
context within which to determine their meaning.11 Tattoos (and surgical
scars, and other kinds of bodily inscriptions) may “tell a story” about their
wearers, and their wearers may in turn “tell a story” about them.
FOOTNOTES
1Michel Foucault, “Nietzsche, Genealogy,
History,” in Language, Counter-Memory,
Practice: Selected Essays and Interviews, edited by Donald F. Bouchard,
translated by Donald F. Bouchard and Sherry Simon (Ithaca: Cornell University
Press, 1977), p. 148.
2Ibid.,
p. 146.
3Foucault, “Nietzsche, La Généalogie,
L’Histoire,” in Hommage À Jean Hyppolite,
edited by Suzanne Bachelard, et al. (Paris: Presses Universitaires de France,
1971), p. 152.
4Jacques Derrida, Of Grammatology, translated by Gayatri Chakravorty Spivak
(Baltimore: The Johns Hopkins University Press, 1974), p. 44.
5Adrian Jonston and Catherine Malabou, discussing
Deleuze’s Cinema 1 (1986), in “The
Face and the Close-Up: Deleuze’s Spinozist Approach to Descartes,” in Self and Emotional Life: Philosophy,
Psychoanalysis, and Neuroscience (New York: Columbia University Press,
2013), p. 46.
6Ernesto Laclau, New Reflections on The Revolution of Our Time (London: Verso,
1990), p. 63.
7Elizabeth Grosz, “Bodies and Knowledges:
Feminism and the Crisis of Reason,” in Feminist
Epistemologies, edited by Linda Alcoff and Elizabeth Potter (New York:
Routledge, 1993), p. 196.
8Ibid.,
p. 196.
9Elizabeth Grosz, Volatile Bodies: Toward a Corporeal Feminism (Bloomington: Indiana
University Press, 1994) p. 27.
10Ibid.,
p. 37.
11Margo DeMello, Bodies of Inscription: A cultural history of the modern tattoo
community (Durham: Duke University Press, 2000), p. 12.