While transitional objects themselves are gradually decathected, the emotional investment or attachment they bore is expected — if all goes well — to spread out to the cultural field. It is a question of multiplying connections. Marcel Duchamp, Sixteen Miles of String In the idea of strain we once again find a semantic connection to continuity, and perhaps a specific link to strings maybe even to the social fabric , the social as an elastic but frail fabric. One has to accept separation, to cut the strings, but only insofar as the air itself is soaked with connections material and immaterial , in very much the same way as ether was said to fill in the blanks between known substances.
Ether was the medium, the in-between. And the medium is indeed the message, the whole point of the transitional. But the differences are decisive. The injunction hidden in the transitional is: Not to hold on, not to let go. Or rather: to let go enough for there to be room for change, to hold on enough for change not to break anything. The transitional is, then, a resistance to ends and beginnings. Rather than breaking the thread of filiation, it is filiation by other means.
The escape from the Oedipal triangle, it should be noted, an escape out into the open social field often draws, not incidentally, on a theatrical language. The refusal of the Oedipal triangle is an explicit destruction not only of the closure of the bourgeois family sphere, but of representation itself. We know that modern art tends to realize these conditions: in this sense it becomes a veritable theatre of metamorphoses and permutations.
A theatre where nothing is fixed, a labyrinth without a thread Ariadne has hung herself.
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Deleuze and Guattari appropriate, reconfigure, and radically re-function the concept. I cannot fully address the extent of these transformations here. It is transition, no strings attached. I believe theirs is, in many ways, an illuminating gloss on the concept and, at the same time, a useful corrective to it.
Still, this detour through the transitional leads me back to my initial question: how do we get out of here? And it also leads me to propose a less thrilling, although hardly cozy, form of displacement. An expansive, deterritorializing setting-in-motion has a role to play in displacing us. And I certainly agree with the need to find ways to move beyond representational space. Instead, I want to insist on drawing a line, rather than tracing a line of flight, between the present and something else. If the transitional suggested a saturated space — a full space, or a space that we need to keep filling —, my suggestion is, in the simplest terms, that we need to cut up that space to make room for something else to appear.
Of course our spaces are already cut, namely by the lines drawn around property.
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We need to cut them differently, to cut through the cuts, rather than throw away our knives and leave. We need, in short, to find ways to deactivate the material and affective processes through which subjectivity is produced and reproduced. Not out of some ascetic impulse. This interruption may well be geared towards a re-animation of agency, to the rise of unsuspected valences, but at this point it is equally urgent to find ways to stall the affirmative powers that bind us to the aliveness of the world, to decathect the objects through which our relations are mediated, to interrupt the medium through which our attachments subsist.
This is certainly no dream of a simple, natural, down-to-earth life — for this too jumps too quickly over the interruption, driven by a will to reconnect which already presumes to know what we should attach ourselves to. It is, rather, the first bar of a prolongation of the breakdown, of the moment between disconnecting and connecting again.
We need to experiment with a medium. A medium which does not let things continue as they were: does not let things transition. We need to clear space and to make time 6. We need to open a new, non-pedagogical, theatre of estrangement — strategic processes of formalization that will allow us to loosen the hold of our entanglements. Even framed by the theatrical, there is a close relation between the non-transitional and the intransitive.
The intransitive verb is, of course, one that has no direct object. The non-transitional would then be an experimental grammar, where action has not yet assigned a place for its objects. The line the frame and the stage, also is, in this sense, non-representational.
It is a deictic and cartographical abstraction that brings into being something not already there. It is where you think from. From there we can — and need — to begin the hard work of a new distribution of bodies, of building something out of the wreck of a world drenched of its colours. A thin line, a missed beat. And then we go out into the open. The crossing of this line is nothing if is not a collective experiment. In other words, it turns the materials of the space designated city against the figure of the polis and the attached forms of citizen, politics, and civil society.
Understanding Brecht London: Verso, Crary and S. Kwinter Eds.
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Edited by David Lapoujade; Trans. Mike Taormina New York: Semiotext e ,  : pp. Difference and Repetition , trans. Quero ser notificado de novos artigos por email.
This site uses Akismet to reduce spam. Learn how your comment data is processed. Covers of different editions of D. Charles M. Schulz, Peanuts strip. Rube Goldberg, Simple Alarm Clock. This paper wants to trace three different textual representations of emotional relationships between man and machine. It will start off with E. Within the limited context of this paper, no comprehensive analysis can be achieved. Instead, key moments of each narrative shall be identified to gain insights into how the narratives design the man-machine relationships.
Furthermore, the contrastive potential of the texts might appear enormous. However, the great time gap between the first and the two latter narratives will reveal to what extent the discourse about man-machine emotional interactions has remained the same or has changed over time.
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The following questions shall guide the discussion of the examples: How is the significant other portrayed, i. How does the physical relationship manifest itself between man and machine? Are there identifiable specific aspects of this new kind of emotional interaction?
What prospects do these textual representations formulate regarding man-machine relationships? Hoffmann: Her mechanical nature is first alluded to by the stiff and lifeless eyes and the motionless rigidity of her pose. It is further supported by the coldness of her hands and lips Nathanael senses when touching and kissing her. The warm and aroused man is opposed to the cold and motionless machine. The result is some horror, a innere[s] Grausen ibid.
Several moments in the narrative enable the reader as well as Nathanael and other characters to identify Olimpia as a lifeless doll that is set in motion by some mechanism:. Ihr Spiel, ihr Singen hat den unangenehm richtigen geistlosen Takt der singenden Maschine, und ebenso ist ihr Tanz. Uns ist diese Olimpia ganz unheimlich geworden, wir mochten nichts mit ihr zu schaffen haben, es war uns, als tue sie nur so wie ein lebendiges Wesen Hoffmann: