The Cubism of Picasso and Braque: "Anastrophe" from the Instant of Enunciation

Abstract

The material of which the signifying substance draws from to formulate a system of differential oppositions and values seems not only to keep their inherent qualities in that transaction in which those material qualities are negotiated in order to occur in a systemic unit, but that this same material would actively incorporate itself into the metabolism of the signified in an operation whose behavior disarticulates the whole idea of sign as a bipolar unit and, from that delicate membrane that separates the utterance of what will never be said, from the instance of the enunciation, this materiality of the signifier spills all of its signification on the text to which it is incorporated. Such would be part of the relevance of the semiotic analysis of the cubist work of Picasso and Braque.