Knitting, stitching, beading, stuffing, placing, arranging, mending: some of the actions Deborah Prior takes to make her work — work which could be called penance, fascination, redemption, therapy: also thinking, calling-up, casting (a spell), reading (signs). In the video Deborah sits, unravels and knits that which she has knit before. More can be read about her work here soon, with images!
Inscription as word/act implies marking and indentation; cutting into material matters and leaving an impression (imprint); an impression which acts as proof, thereby becoming material for the archive that makes history in Gregorian Time.
The prefix in signifies within (a location) or into (a movement) and is encumbered with its Latin derivation where it signifies a 'privative or negative force' (Webster’s New Twentieth Century Dictionary, 1953. 870). And from another dictionary; 'to inscribe is to write or engrave words, characters, etc.; to mark a surface...especially in a durable or conspicuous way; to address or dedicate a book or an image, especially [This can’t be done (inscribed) more succinctly than the dictionary] with a handwritten note [and this still holds—an email, a twit, a post—just doesn’t appeal to the same kind of authenticity as a letter written with chosen pen and paper, a typewritten text, or a stitched letter]; geometrically to inscribe is to draw or delineate (one figure) within another figure so that the inner lies in the boundary of the outer at as many points as possible.'
Finally the Macquarie Concise Dictionary (3rd ed, 2000) also gives inscribe as a derivation from the Latin, 'to write in or upon [two crucial prepositions and conjunctions in this text] in(side) up-on (a surface). Inscription always calls attention to the monument and the archive, and at the same time (with a sense of history), to the act of engraving by the one who makes the movement that engraves, scratches, or scores a surface. The remainders of the action are the clues used by anthropologists, archaeologists, and archivists to fashion historiographies. Giorgio Agamben articulates understandings, and thus usage, of the archive in three ways: ' ...the storehouse that catalogs the traces of what has been said, to consign them to future memory...the Babelic library that gathers the dust of statements that allows for their resurrection under the historian’s gaze' and thirdly by using Foucault’s relational and inclusive notion of archive, as 'the positive dimension that corresponds to the plane of enunciation, the general system of the formation and transformation of statements.' (Agamben, Remnants of Auschwitz, 143).