Philosophy, Art, and the Specters of Jacques Derrida By Gray Koc ...

are becoming more deeply embedded in the circuits of electrophony, I will trace what Derrida calls the “yes-yes” of literature and philosophy, as well as the biomorphic shift of the posthuman that is represented in The Matrix. As Heidegger has argued:

Physis, the arising of something from out of itself, is a bringing-forth, poisis. Physis is indeed poisis in the highest sense….Through bringing-forth, the growing things of nature as well as whatever is completed through crafts and the arts come at any given time to their appearance….Techn [too] belongs to bringing-forth, to poisis….It is as revealing, and not as manufacturing, that techn is a bringing-forth. (QCT 10–11, 13)

Physics, poetics, and technology are conjoined as forms of bringing-forth, differentiated gatherings that Heidegger calls “destining.” A revealing is occurring, but one will need to proceed slowly to think the form of this revealing and its relationships to manifestation, appearance, the apparent, the phenomenon, and the phantom.

“Nature” and “culture” are two words for the folded one-sidedness that looks as if it has at least two distinct sides. “Spectrality allows any action (transitive or intransitive) or occurrence—which is to say, production and also creation in general—to take place,” Pheng Cheah explains.

But it is also the inscription of techn within the living body: it opens up every proper organic body to the supplementation of artifice. We commonly understand culture as an alteration we introduce into nature through rational artifice. Spectralization is a form of inhuman culture, before culture and nature, that makes both possible. (388)

It makes them both possible and thereby, paradoxically, insures that the twist of double exposure is constantly occurring and opening toward possible futures, even if it does not insure that the possibility of such exposure might not be absolutely ended for human beings, without remainder.