The role of the Parergon

In The Truth in Painting, Jacques Derrida uses the concept of the parergon to challenge traditional distinctions between what is considered intrinsic and extrinsic to a work of art. The parergon refers to elements like frames, ornaments, or supplements that are typically seen as external to the main work but are, in Derrida’s view, integral to its meaning and interpretation.

Derrida argues that the parergon destabilises the boundary between the inside and outside of the artwork. He suggests that these supplementary elements are not merely decorative but essential to understanding the work as a whole[1][2].

Sources

• [1] The Truth in Painting by Jacques Derrida Innovative Fiction Magazine http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [2] Geoff Bennington and Ian McLeod, trans., Jacques Derrida, The ... https://bq.blakearchive.org/23.2.worrall

• [3] [PDF] JACQUES DERRIDA THETRUTH IN PAINTING The Thing https://www.thing.net/~rdom/ucsd/Borders/jacques-derrida-the-truth-in-painting1.pdf

• [4] Jaques Derrida excerpt from Parergon, The Truth in Painting (1978) https://soundandtrees.wordpress.com/2013/10/03/jaques-derrida-excerpt-from-parergon-the-truth-in-painting-1978/

• [5] The Truth In Painting: 実際には絵画 Daniel Schnee https://danielpaulschnee.wordpress.com/2013/12/21/the-truth-in-painting-%E5%AE%9F%E9%9A%9B%E3%81%AB%E3%81%AF%E7%B5%B5%E7%94%BB/

• [6] [PDF] JACQUES DERRIDA THE TRUTH IN PAINTING https://press.uchicago.edu/dam/ucp/books/pdf/course_intro/978-0-226-50462-9_course_intro.pdf

• [7] The Friction of the Frame: Derrida’s Parergon in Literature https://www.zora.uzh.ch/id/eprint/61835/

• [8] What Is a Parergon? The Journal of Aesthetics and Art Criticism https://academic.oup.com/jaac/article-abstract/77/1/23/5981463

Some examples of the Parergon

Based on the search results, Derrida uses several examples to illustrate the concept of the parergon in “The Truth in Painting”:

1. Lucas Cranach’s painting “Lucretia” (1533): Derrida analyzes various elements of this painting to question what is intrinsic or extrinsic to the work, such as:

• The dagger Lucretia holds to her chest

• The diaphanous veil over her thighs

• The necklace she wears

• The picture frame itself

Derrida asks whether these elements should be considered parerga (supplementary to the main work) or integral parts of the painting.

2. The frame of a painting: Derrida extensively discusses the frame as a key example of the parergon, arguing that it is neither fully inside nor outside the artwork, but occupies an ambiguous position.

3. Ornaments and decorative elements: He considers whether ornamental aspects should be viewed as external supplements or essential components of an artwork.

4. Titles and other textual supplements: Derrida examines how titles and related texts function in relation to visual artworks.

5. A printer’s emblem showing hands holding dividers inscribing a circle: This Renaissance device is discussed in relation to ideas of framing and containment.

Through these examples, Derrida challenges traditional distinctions between what is considered intrinsic and extrinsic to a work of art, arguing that the parergon destabilizes such boundaries.

Sources

• [1] Geoff Bennington and Ian McLeod, trans., Jacques Derrida, The ... https://bq.blakearchive.org/23.2.worrall

• [2] The Truth in Painting by Jacques Derrida Innovative Fiction Magazine http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [3] [PDF] JACQUES DERRIDA THE TRUTH IN PAINTING https://press.uchicago.edu/dam/ucp/books/pdf/course_intro/978-0-226-50462-9_course_intro.pdf

• [4] Jaques Derrida excerpt from Parergon, The Truth in Painting (1978) https://soundandtrees.wordpress.com/2013/10/03/jaques-derrida-excerpt-from-parergon-the-truth-in-painting-1978/

• [5] [PDF] JACQUES DERRIDA THETRUTH IN PAINTING The Thing https://www.thing.net/~rdom/ucsd/Borders/jacques-derrida-the-truth-in-painting1.pdf

• [6] The Truth In Painting: 実際には絵画 Daniel Schnee https://danielpaulschnee.wordpress.com/2013/12/21/the-truth-in-painting-%E5%AE%9F%E9%9A%9B%E3%81%AB%E3%81%AF%E7%B5%B5%E7%94%BB/

• [7] The Logic of Parerga / — Studio Babak Golkar https://babakgolkar.ca/the-logic-of-parerga

• [8] [PDF] Parergon.pdf The Thing https://www.thing.net/~rdom/ucsd/Borders/Parergon.pdf

How does Derrida’s analysis of Lucas Cranach’s Lucretia illustrate the parergon

Derrida uses Lucas Cranach’s painting “Lucretia” (1533) as a key example to illustrate the concept of the parergon in “The Truth in Painting”. He analyzes several elements of the painting to question what is intrinsic or extrinsic to the work:

1. The dagger: Derrida asks whether the dagger Lucretia holds to her chest should be considered a parergon, as it is not part of her “naked and natural body”.

2. The diaphanous veil: He questions the status of the veil covering her upper thighs.

3. The necklace: Derrida wonders if the necklace Lucretia wears should be seen as a parergon.

4. The picture frame: He considers the frame itself as a potential parergon.

Through this analysis, Derrida demonstrates how these elements occupy an ambiguous position - neither fully inside nor outside the artwork. He argues that the lack of “plenitude” in the painting’s content produces meaning through these supplementary elements.

Derrida uses this example to challenge traditional distinctions between what is considered intrinsic and extrinsic to a work of art. He suggests that the parergon destabilizes the boundary between the inside and outside of the artwork, showing how elements typically seen as external can be integral to its meaning and interpretation.

Sources

• [1] The Friction of the Frame: Derrida’s Parergon in Literature https://www.zora.uzh.ch/id/eprint/61835/

• [2] The Truth in Painting / Derrida summary https://culturalstudiesnow.blogspot.com/2021/07/the-truth-in-painting-derrida-summary.html

• [3] Geoff Bennington and Ian McLeod, trans., Jacques Derrida, The ... https://bq.blakearchive.org/23.2.worrall

• [4] Jaques Derrida excerpt from Parergon, The Truth in Painting (1978) https://soundandtrees.wordpress.com/2013/10/03/jaques-derrida-excerpt-from-parergon-the-truth-in-painting-1978/

• [5] The Truth In Painting: 実際には絵画 https://danielpaulschnee.wordpress.com/2013/12/21/the-truth-in-painting-%E5%AE%9F%E9%9A%9B%E3%81%AB%E3%81%AF%E7%B5%B5%E7%94%BB/

• [6] The Truth in Painting by Jacques Derrida http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [7] Derrida, art and https://unisapressjournals.co.za/index.php/jls/article/download/16040/7589/80756

• [8] [PDF] Reading Pictures: Piranesi and Carceral Landscapes CORE https://core.ac.uk/download/pdf/231868563.pdf

In what ways does the parergon concept in Lucretia relate to Kant’s aesthetics?

Derrida’s analysis of Lucas Cranach’s “Lucretia” in The Truth in Painting illustrates the concept of the parergon and its relationship to Kant’s aesthetics in several ways:

1. Ornaments and Accessories: Derrida examines elements such as the dagger, the diaphanous veil, and the necklace in “Lucretia”, questioning whether these should be considered part of the artwork (ergon) or as supplementary (parergon). He uses these elements to show how what is typically seen as external or decorative can be integral to the artwork’s meaning.

2. Frame and Boundaries: By focusing on the frame of the painting, Derrida challenges the clear-cut boundary between the inside (the artwork itself) and the outside (the frame). He argues that the frame, while seemingly external, plays a crucial role in how the artwork is perceived and understood.

3. Kant’s Aesthetics: Derrida draws on Kant’s discussion of parerga in the Critique of Judgment, where Kant refers to frames, clothing on statues, and columns around buildings as examples of parerga that add to aesthetic pleasure but are not part of the essential work. Derrida uses this to show how the parergon complicates the distinction between essential and supplementary, revealing the interdependence of these elements.

4. Deconstruction of Purity: Derrida argues that the parergon reveals the impurity and complexity within the ergon. By showing how supplementary elements are integral to the artwork, he deconstructs the idea of a pure, self-contained work of art.

Through these points, Derrida illustrates how the concept of the parergon challenges traditional notions of what constitutes the core of an artwork, highlighting the interdependence and fluid boundaries between the essential and the supplementary in both art and philosophical aesthetics[1][2][3].

Sources

• [1] The Truth in Painting / Derrida summary https://culturalstudiesnow.blogspot.com/2021/07/the-truth-in-painting-derrida-summary.html

• [2] [PDF] KM Richards, Derrida Reframed. Selection from chapter 2, “Framing ... http://www.michaelorourke.com/PrattCourses/common/Readings/Postmodernism/DerridaReframedCh2_framingparergon.pdf

• [3] Jaques Derrida excerpt from Parergon, The Truth in Painting (1978) https://soundandtrees.wordpress.com/2013/10/03/jaques-derrida-excerpt-from-parergon-the-truth-in-painting-1978/

• [4] The Friction of the Frame: Derrida’s Parergon in Literature https://www.zora.uzh.ch/id/eprint/61835/

• [5] The Truth In Painting: 実際には絵画 Daniel Schnee https://danielpaulschnee.wordpress.com/2013/12/21/the-truth-in-painting-%E5%AE%9F%E9%9A%9B%E3%81%AB%E3%81%AF%E7%B5%B5%E7%94%BB/

• [6] [PDF] Parergon.pdf The Thing https://www.thing.net/~rdom/ucsd/Borders/Parergon.pdf

• [7] [PDF] Women on the Edge of Modernity https://library.fes.de/libalt/journals/swetsfulltext/8331019.pdf

• [8] Piranesi and Carceral Landscapes, FINAL institutional repository https://core.ac.uk/download/pdf/231868563.pdf

What is the significance of the parergon in the context of Kant’s third critique?

In the context of Kant’s Critique of Judgment, the concept of the parergon holds significant implications for understanding aesthetic judgment:

1. Supplementary Elements: Kant discusses parerga as elements like frames, clothing on statues, or columns around buildings, which add to the aesthetic pleasure but are not part of the essential work (ergon). These elements are seen as external yet contributing to the overall experience of the artwork[1].

2. Boundary and Ambiguity: Derrida uses the parergon to challenge the clear-cut distinction between the intrinsic (ergon) and the extrinsic (parerga). He argues that the parergon occupies an ambiguous space, neither fully inside nor outside the artwork, thus destabilizing the boundary Kant tries to maintain[1][2].

3. Deconstruction of Purity: By emphasizing the role of the parergon, Derrida critiques Kant’s notion of pure aesthetic judgment, which prioritizes the intrinsic qualities of the artwork. Derrida suggests that these supplementary elements are integral to understanding the work, thus questioning the purity of aesthetic judgment[3].

4. Interdependence: Derrida posits that the parergon and ergon are interdependent, with each contributing to the meaning and interpretation of the other. This interdependence challenges Kant’s hierarchical distinction between the essential and the supplementary[3].

Through his analysis, Derrida reveals how the parergon complicates Kant’s aesthetic theory by showing that what is considered supplementary can be essential to the experience and understanding of art.

Sources

• [1] The Truth in Painting / Derrida summary https://culturalstudiesnow.blogspot.com/2021/07/the-truth-in-painting-derrida-summary.html

• [2] Jaques Derrida excerpt from Parergon, The Truth in Painting (1978) https://soundandtrees.wordpress.com/2013/10/03/jaques-derrida-excerpt-from-parergon-the-truth-in-painting-1978/

• [3] [PDF] PARERGON AND INDONESIAN MODERN AESTHETICS https://ejournal.unitomo.ac.id/index.php/eckll/article/download/5607/2788

• [4] Kant’s Aesthetics and Teleology Stanford Encyclopedia of Philosophy https://plato.stanford.edu/entries/kant-aesthetics/

• [5] [PDF] Parergon.pdf The Thing https://www.thing.net/~rdom/ucsd/Borders/Parergon.pdf

• [6] What Is a Parergon? The Journal of Aesthetics and Art Criticism https://academic.oup.com/jaac/article-abstract/77/1/23/5981463 [7] Kant’s Theory of Taste, A Reading of the Critique of Aesthetic ... https://ndpr.nd.edu/reviews/kant-s-theory-of-taste-a-reading-of-the-critique-of-aesthetic-judgment/ [8] The Friction of the Frame: Derrida’s Parergon in Literature https://www.zora.uzh.ch/id/eprint/61835/

What are some examples of parerga in modern art that challenge traditional aesthetics?

Examples of parerga in modern art that challenge traditional aesthetics include:

1. Frames in Conceptual Art: Artists like Marcel Duchamp and Joseph Kosuth use frames and contexts to question what constitutes art. Duchamp’s “Fountain” (a urinal) and Kosuth’s “One and Three Chairs” (a chair, a photograph of the chair, and a dictionary definition) challenge the distinction between art and non-art by emphasizing the importance of context and presentation[2].

2. Installation Art: Works by artists like Christo and Jeanne-Claude, who wrap buildings and landscapes, blur the line between the artwork and its environment. The wrapping acts as a parergon, transforming the perception of the ergon (the building or landscape) and highlighting the interplay between art and its surroundings[2].

3. Graffiti and Street Art: Artists like Banksy use public spaces as their canvas, challenging the traditional gallery setting. The walls and urban environment become integral to the artwork, questioning the boundaries of where art begins and ends[1].

4. Mixed Media and Assemblage: Artists like Robert Rauschenberg incorporate everyday objects into their works, making the distinction between the artwork (ergon) and its supplementary elements (parerga) ambiguous. These objects, often seen as peripheral, become central to the meaning of the work[2].

These examples illustrate how modern art uses the concept of the parergon to challenge traditional aesthetics, emphasizing the fluid boundaries between the intrinsic and extrinsic elements of art.

Sources

• [1] [PDF] PARERGON AND INDONESIAN MODERN AESTHETICS https://ejournal.unitomo.ac.id/index.php/eckll/article/download/5607/2788

• [2] The Logic of Parerga / — Studio Babak Golkar https://babakgolkar.ca/the-logic-of-parerga

• [3] [PDF] Editorial. Transitory Parerga : Access and Inclusion in Contemporary ... https://thegaragejournal.org/files/03/364_df66fef65990cf21bd878ddc39a5e75fd364c93b.pdf

• [4] [PDF] KM Richards, Derrida Reframed. Selection from chapter 2, “Framing ... http://www.michaelorourke.com/PrattCourses/common/Readings/Postmodernism/DerridaReframedCh2_framingparergon.pdf

• [5] [PDF] Bridging the Gap between ‘Modern Art’ and Ewe Vodu Aesthetics https://thegaragejournal.org/files/03/354_ba445868a8cb0c453f22403d9bf55ee12b500562.pdf

• [6] [PDF] Derrida, Merleau-Ponty and Contemporary Painterly Practices http http://arno.uvt.nl/show.cgi?fid=155338

• [7] [PDF] The Agency of Display Objects, Framings and Parerga http://wwwhomes.uni-bielefeld.de/jgrave/publ/parerga_leseprobe.pdf

• [8] Aesthetics in Continental Philosophy https://iep.utm.edu/aesthetics-in-continental-phil/

Can you provide examples of parerga in digital art?

Digital art provides interesting examples of parerga that challenge traditional notions of framing and boundaries in art:

1. Interactive elements: Many digital artworks incorporate interactive elements like clickable areas or user inputs. These can be seen as parerga that are integral to the work’s meaning and experience, blurring the line between artwork and interface.

2. Code and algorithms: The underlying code and algorithms that generate or manipulate digital art can be considered parerga. While often invisible to the viewer, they are essential to the artwork’s existence and function.

3. Virtual environments: In virtual reality or 3D digital art, the virtual space surrounding the main subject can act as a parergon, providing context and shaping the viewer’s experience.

4. Glitches and artifacts: Digital glitches or compression artifacts, often seen as flaws, can become intentional parerga in glitch art, challenging notions of what constitutes the “real” artwork.

5. Social media framing: When digital art is shared on social media, the platform’s interface, likes, comments, and sharing features become parerga that influence how the art is perceived and interpreted.

6. Metadata and file formats: The digital file’s metadata and format, while typically hidden, can be considered parerga that are crucial to the artwork’s existence and distribution in the digital realm.

These examples illustrate how digital art often blurs the boundaries between the artwork proper (ergon) and its supplementary elements (parerga), challenging traditional notions of framing and expanding our understanding of what constitutes the artwork itself.

Sources

[1] [PDF] Editorial. Transitory Parerga : Access and Inclusion in Contemporary ... https://thegaragejournal.org/files/03/364_df66fef65990cf21bd878ddc39a5e75fd364c93b.pdf [2] [PDF] Digital’Debris’of’Internet’Art:' An’Allegorical’and’Entropic’Resistance ... https://researchonline.rca.ac.uk/1707/1/NJ%20PhD%20Thesis%20Corrected%20%20copy.pdf [3] Catalogue Raisonné as Artwork - De Gruyter Conversations https://blog.degruyter.com/catalogue-raisonne-as-artwork/ [4] [PDF] The Agency of Display Objects, Framings and Parerga http://wwwhomes.uni-bielefeld.de/jgrave/publ/parerga_leseprobe.pdf [5] [PDF] Parergon.pdf - The Thing https://www.thing.net/~rdom/ucsd/Borders/Parergon.pdf [6] (PDF) Transitory Parerga: Access and Inclusion in Contemporary Art https://www.researchgate.net/publication/349501896_Transitory_Parerga_Access_and_Inclusion_in_Contemporary_Art [7] [PDF] Xi Xi’s Playful Image-texts: Ekphrasis, Parergon, and the Concept of ... https://discovery.ucl.ac.uk/id/eprint/10119486/3/Li_Xi%20Xi%E2%80%99s%20Playful%20Image-texts-%20Ekphrasis%2C%20Parergon%2C%20and%20the%20Concept%20of%20Toy_AAM.pdf [8] Artrage Pear Demo (& comparison of digital and traditional painting) https://www.youtube.com/watch?v=7_F9iTLjlf8

Introduction to Chapters in The Truth in Painting by Jacques Derrida

Passe-Partout

This introductory section sets the stage for Derrida’s exploration of the idiom in painting. The term “passe-partout” (a master key) symbolises the idea of unlocking multiple meanings and interpretations. Derrida begins with a discussion on the idiom, questioning its singularity and exploring how it opens up to various interpretations and contexts.

Chapter 1: Parergon

This chapter delves into the concept of the parergon, which Derrida defines as elements that are supplementary to the main work but essential to its meaning. He examines how frames, ornaments, and other supplementary elements challenge the traditional boundaries between the intrinsic and extrinsic aspects of artworks.

• Lemmata: Derrida discusses subsidiary or intermediate theorems that support the main argument, illustrating how supplementary elements contribute to the overall meaning.

• The Parergon: The focus is on the role of the parergon in art and philosophy, questioning the clear-cut distinction between the main work and its supplements.

• The Sans of the Pure Cut: This section explores the idea of purity in art and how the parergon disrupts this notion.

• The Colossal: Derrida examines large-scale works and how their supplementary elements play a crucial role in their interpretation.

Chapter 2: +R (Into the Bargain)

In this chapter, Derrida extends his discussion on the parergon to include economic and transactional metaphors. He explores how supplementary elements in art can be understood in terms of value, exchange, and surplus.

Chapter 3: Cartouches

This chapter focuses on the concept of the cartouche, a decorative element that frames inscriptions or images. Derrida uses this concept to discuss cultural and historical contexts, particularly referencing the Tlingit tribe and their artefacts. He explores how these supplementary elements carry significant cultural and historical meanings.

Chapter 4: Restitutions

In the final chapter, Derrida engages with Heidegger’s interpretation of Van Gogh’s painting of peasant shoes. He critiques Heidegger’s approach and offers his own analysis, focusing on how the supplementary elements (parerga) in the painting contribute to its meaning. Derrida uses this discussion to explore broader themes of truth, art, and interpretation.

These chapters collectively illustrate Derrida’s deconstructive approach, challenging traditional aesthetics and revealing the complex interplay between the main work and its supplementary elements.

Sources

• [1] The Truth in Painting by Jacques Derrida Innovative Fiction Magazine http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [2] [PDF] JACQUES DERRIDA THE TRUTH IN PAINTING https://press.uchicago.edu/dam/ucp/books/pdf/course_intro/978-0-226-50462-9_course_intro.pdf

• [3] Truth in Painting Amazon UK https://www.amazon.co.uk/Truth-Painting-Jacques-Derrida/dp/0226143236

• [4] Geoff Bennington and Ian McLeod, trans., Jacques Derrida, The ... https://bq.blakearchive.org/23.2.worrall

• [5] The Truth in Painting : Derrida, Jacques, Bennington ... Amazon UK https://www.amazon.co.uk/Truth-Painting-Jacques-Derrida/dp/0226143244

• [6] A-Z complete guide BBC https://www.bbc.co.uk/newsstyleguide/all

• [7] How to approach American English vs. British English spelling in a ... https://academia.stackexchange.com/questions/4857/how-to-approach-american-english-vs-british-english-spelling-in-a-paper

• [8] American and British English spelling differences Wikipedia https://en.wikipedia.org/wiki/American_and_British_English_spelling_differences

How does Derrida connect jazz improvisation to painting in “The Truth in Painting”?

Based on the search results provided, there does not appear to be any direct information about how Derrida connects jazz improvisation to painting in “The Truth in Painting”. The search results focus more on Derrida’s interview with jazz musician Ornette Coleman and do not contain specific details about the content of “The Truth in Painting” in relation to jazz improvisation.

However, we can make some inferences based on the limited information available:

1. In “The Truth in Painting”, Derrida discusses the concept of the “idiom” in painting. The search results mention that this is a reference to the jazz idiom, which refers to a personal style of playing [1].

2. Derrida seems to draw parallels between improvisation in jazz and spontaneity in painting, particularly in relation to Action Painting and Abstract Expressionism [1].

3. The idea of improvisation challenging traditional notions of structure and pre-written frameworks appears to be a theme Derrida explores in both music and visual art [2][3].

4. Derrida’s interest in the concept of “true improvisation” and its impossibility (due to the existence of underlying structures and rules) may be applied to both jazz and painting in his analysis [4].

Without more specific information from “The Truth in Painting” itself, it’s difficult to provide a more detailed answer about how Derrida directly connects jazz improvisation to painting in that work. The connection seems to be more conceptual, relating to ideas of spontaneity, personal style, and the tension between improvisation and pre-existing structures in both art forms.

Sources

• [1] The Truth in Painting by Jacques Derrida Innovative Fiction Magazine http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [2] View of Deconstructin(g) Jazz Improvisation: Derrida and the Law of ... https://www.criticalimprov.com/index.php/csieci/article/view/81/179

• [3] Philosopher Jacques Derrida Interviews Jazz Legend Ornette ... https://www.openculture.com/2014/09/jacques-derrida-interviews-ornette-coleman.html

• [4] Take Apart My Baby’s Heart: Peter Salmon On Jacques Derrida ... https://thequietus.com/culture/books/jacques-derrida-an-event-perhaps-peter-salmon/

• [5] The Fundamental Heteronomy of Jazz Improvisation Cairn.info https://www.cairn.info/revue-internationale-de-philosophie-2006-4-page-453.htm

• [6] Between Thought and Expression: Utopia and Improvisation http://www.redwedgemagazine.com/online-issue/between-thought-and-expression-utopia-and-improvisation

• [7] [PDF] A Critique of Representational Thought in Philosophies of Arts ... https://keep.lib.asu.edu/system/files/c7/Showen_asu_0010E_20725.pdf

• [8] Free Jazz and Democratic Communication multiliteracyrevolution https://multiliteracyrevolution.wordpress.com/2011/06/29/free-jazz-and-democratic-communication/

What specific jazz musicians does Derrida reference in his discussion of “idiom” in painting?

Based on the search results provided, there are no specific mentions of Derrida referencing particular jazz musicians in his discussion of “idiom” in painting in “The Truth in Painting”. However, the search results do provide some relevant context:

1. The concept of “idiom” in painting is compared to the jazz idiom, which refers to a personal style of playing. The text mentions that this relates to “the sophisticated esthetic of jazz music” [1].

2. While not directly attributed to Derrida’s discussion, the search results mention some jazz musicians in this context, including:

   • Cecil Taylor

   • Anthony Braxton

   • Miles Davis

   • Ornette Coleman

   • Don Cherry

   • Eberhard Weber

   • Ralph Towner

   • Paul McCandless [1]

3. The text suggests that the “idiom” in painting might be perceived as the influence of jazz improvisation on painting, particularly in styles like Action Painting and Abstract Expressionism [1].

4. While not directly related to “The Truth in Painting”, it’s worth noting that Derrida did interview jazz musician Ornette Coleman in 1997, where they discussed concepts of improvisation and language in music [2][4].

It’s important to note that these specific jazz musicians are not explicitly mentioned as being referenced by Derrida in “The Truth in Painting”, but rather are used in the text to illustrate the concept of “idiom” in jazz that Derrida apparently draws a parallel to in his discussion of painting.

Sources

• [1] The Truth in Painting by Jacques Derrida Innovative Fiction Magazine http://www.innovative-fiction-magazine.com/2013/01/the-truth-in-painting-by-jacques-derrida_23.html

• [2] Philosopher Jacques Derrida Interviews Jazz Legend Ornette ... https://www.openculture.com/2014/09/jacques-derrida-interviews-ornette-coleman.html

• [3] The Truth In Teaching Deconstruction in music http://www.deconstruction-in-music.com/education/the-truth-in-teaching/600

• [4] Take Apart My Baby’s Heart: Peter Salmon On Jacques Derrida ... https://thequietus.com/culture/books/jacques-derrida-an-event-perhaps-peter-salmon/

• [5] Jacques Derrida interviews Ornette Coleman 1997 SlideShare https://www.slideshare.net/slideshow/jacques-derrida-interviews-ornette-coleman-1997/16665878

• [6] View of Deconstructin(g) Jazz Improvisation: Derrida and the Law of ... https://www.criticalimprov.com/index.php/csieci/article/view/81/179

• [7] [PDF] Derrida, Coleman, and Improvisation https://journal.jctonline.org/index.php/jct/article/download/461/pdf

• [8] Of Jazz Education Deconstruction in music http://www.deconstruction-in-music.com/education/of-jazz-education/630