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“God is dead”/”Writing is dead”/”Marx is dead” - this article draws the (im)possible perimeter of a confrontation between Neo-Hegelian plastic mourning, Deconstructive affirmation, and artistic experimentation. Reading ‘the end of history” in Catherine Malabou, the persistence of graphosphere in Jacques Derrida, and the citation of contemporary social events in Zoulikha Bouabdellah, this chapter focuses on the notion of dialectical “kenosis”, the resistance of writing, sculptural “inscriptions”. In this focus of reading, the perimeter-line of classical thinking turns into a ‘spiral” of traces and motifs, (un)set by the limits between philosophy and (neuro)science (in-difference,) writing and politics (the question of the ‘sans papiers”), art and culture (gender and “revolution”). The aim is an attempt to (un)read Malabou’s dialectical “pro-ject”, Derrida’s disseminating “pro-gram,” Bouabdellah’s plastic “jet.”

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