The rise of the diaristic mode in contemporary art might seem like the return of the dead author in a particularly self-absorbed frame of mind. Yet the diary is a form of writing that relinquishes authorial control to the passing moods and contingencies of the day. The diarist writes hastily, automatically, involuntarily, thereby giving access to insights unavailable to deliberation. An account of Roland Barthes's Mourning Diary, 2009, and his reflections on the diary as a form of writing serve to introduce the diaristic work of two contemporary artists, Moyra Davey and Susan Morris. Their work is directly informed by Barthes's and others' experiments with a mode of address that is intimate, but also de-centred and fragmentary.

中文翻译：

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巴特之后当代艺术的日记模式

当代艺术中日记模式的兴起似乎是已故作者在一种特别自我陶醉的心态中的回归。然而，日记是一种写作形式，它将作者的控制权交给了当天的情绪和突发事件。日记作者匆忙、自动、不由自主地写作，从而获得了无法深思熟虑的见解。罗兰·巴特 (Roland Barthes) 2009 年的《哀悼日记》以及他对日记作为一种写作形式的反思有助于介绍两位当代艺术家莫伊拉·戴维 (Moyra Davey) 和苏珊·莫里斯 (Susan Morris) 的日记作品。他们的作品直接受到 Barthes 和其他人的实验的启发，他们采用一种亲密的、分散的和零散的称呼方式。