the semiotic chora

By happy coincidence, the string instrument kora resounds in Julia Kristeva’s rereading of the chora as the semiotic chora, a receptacle for the unconscious that embodies our being in the world. And this chora, this otherness, can be heard in the rhythms of our language, in the body’s movement…, and in the compositions we create.

Sources

Kristeva, Julia. Revolution in Poetic Language. Translated by Margret Waller. Columbia UP, 1984.

from Shades of Cogs

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About the site

freewheelin.nu is a site where e-lit, installations, digital art, blogs and other texts are linked in a hyperdimensional space of underpasses, highways, rivers, bridges, tunnels that intersect in the art project Plastic Spaces whenever possible.

And there is more. Image music text and technology intertwined in digital art and textual [dis]pleasures - in the erratic vibrancy, evanescence and intangibility of the text/work - that interfaces with the erotic body [electrified].

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