Camérer Fukushima, beetween post-symbolic and film practices

Abstract

The article argues, through an analysis of the Peircean categories (icon, index, symbol), that the question of the post-linguistic can be reconsidered on the basis of the post-symbolic functions of the sign. These functions operate internally within the category of symbol. There is no divestment of the sign, only self-development. Considering the symbol as type, in its instituting function, the icon and the index will be analyzed as destituent phases of the signifying chain. Iconic and indexical moments will create a disassembly between phases allowing the possible and preventing signifying closure in the symbolic chain. In addition, through three examples of filmic practices, it will be shown what is meant by indicating the post-symbolic as a moment of liberation of the possibilities of the sign. In the analogy will be traced a unifying function of disparate cases, which nevertheless present structural similarities; while in the icon will be exhibited a brute power, capable of revealing the incommensurability of events. Finally, Deligny’s ‘camérer’ will be identified as a way through which filmic practice can be read, beyond any subject of practice