This essay will address Jacques Derrida's concepts of the “line” of drawing. Jacques Derrida explores questions of the faculties of sight, lack of vision, self-representation and their relationship to the draftsman's drawing and sketching, while providing close readings of an extensive collection of images. Selected by Derrida from the drawings and prints department of the Louvre, the pieces represent blindness in biblical, fictional and historical forms. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayFor Derrida, the act of drawing is itself blind. It is a performance rooted in anticipation and memory. Sketches reestablish mediated and direct types of vision. We are faced with a question that assumptions must be deconstructed and deciphered, which thus becomes the content of reading. Derrida shortens writing processes to their most fundamental element identifiable as “the gram” or “the trace”. In Memoirs of the Blind, the trace is identified as the process which makes drawing essential. It is comparable to the miner and his lamp. Articulated by the artist, presenting objects but otherwise rendering them absent through blind sadness. “The treatment must take place overnight. He escapes the field of vision. Not only because it is not yet visible, but because it does not belong to the realm of spectacle.” Derrida then goes on to describe the procedure for creating the drawings and identifying their meaning. Using blindness as a cliché for repeated processes going beyond the meaning of the trace as a measure of the success of artists or art critics. Derrida means an awareness of the drawings themselves. For Derrida, artists producing self-portraits are a journey of introspection and an expression of what the artist is feeling at a specific moment. This affects the meaning of a particular drawing. Each self-portrait is a memoir that reflects history and the story that was, is and always will be. Every drawing is inevitably a ruin, signifying a blurred trace due to deep blindness and insight. When we look at a work, we look but we do not see. We read what the representation of the work is, we make assumptions about what the work means from what we have seen previously. We make a relationship between gesture marks and visual representation. We make sense of this work using descriptive language. But when we are confronted with a question, Derrida insinuates that our assumptions must be deconstructed. This is then derived from the content. The line of the mark indicates blindness. When we see something, art blinds us to something else. We are then bound and limited by linguistic characteristics and preconceived ideas of the world. Derrida speaks of blind men, not that they are visually blind in general, but blind in action. “In the tracing power of the line, at the moment when the tip of the hand advances in contact with the surface, the inscription of the writable is not seen. » Essentially, from an act perspective, you can't see the dot you're drawing, you can never look at the subject and the newspaper at the same time. There is a gap between the relationship between the object and the brand. Overlapping elements create gaps, line drawing flattens the shape of the object. This is described as the first impotence of the eye. James Elkins agrees with Derrida's first declaration of the powerlessness of the eye when he explains that "every brushstroke, pencil line, stain and erasure must.