Published Jul 24, 2020
The palimpsest has gone so far as to precondition not only the contemporary ways of thinking but also the ways art is made, disseminated, and performed. Just seven quarter centuries after Quantamerre de Quincey’s groundbreaking text, “The Palimpsest of our Brains” (1845), the word has shifted from the level of a scratching surface to the horizon of screen technology.
Palimpsesting is the term of action that gains its meaning across all the diagrammatical equipping of the architectural studio and does not cease at that point –it goes far beyond and to such an extent that all the present-day computerization of architectural processes are nothing more than the palimpsesting of our mediums. Palimpsesting is twofold –the immaterialization of the screen and the intensification of the screen. The screens get thinner, are liquified, folded, elasticized on one hand and imaging technology enhances sharpness by led and high definition, on the other.
The kaleiodo-graphic (a word game on kaleidoscope and graphics) imaging era has not dawned yet which will enable any artistic product to be rearranged for each individual in a different version. This will be the death of the author for the second time, a murder rehearsed again, in terms of originality and uniqueness of an artwork. All artworks will be differentiated endlessly and falsely to such a degree that no one will ever remember the original that used to be once at the museum.
Barthes, R. (1978). The Death of the Author. Image Music Text. Trans. Stephen Heath. Hill and Wang, New York.
de Quincey, T. (2011) . The Palimpsest of the Human Brain. Suspiria de Profundis and Other Writings. Digireads.com book Publishing.
Genette, G. (1997). Palimpsests. Literature in the Second Degree. Trans. Channa Newman, Claude Doubinsky. University of Nebraska Press, US.