By Patricia Ticineto Clough
During this booklet, Patricia Ticineto Clough reenergizes serious conception through viewing poststructuralist inspiration in the course of the lens of "teletechnology", utilizing tv as a habitual case learn to light up the altering relationships among subjectivity, know-how, and mass media.
Autoaffection hyperlinks diversified kinds of cultural feedback -- feminist conception, queer conception, movie concept, postcolonial concept, Marxist cultural reviews and literary feedback, the cultural reports of technology and the feedback of ethnographic writing -- to the transformation and growth of teletechnology within the overdue 20th century. those theoretical ways, Clough indicates, became the automobiles of subconscious suggestion in our time.
In person chapters, Clough juxtaposes the likes of Derridean deconstruction, Deleuzian philosophy, and Lacanian psychoanalysis. She works throughout the writings of Fredric Jameson, Donna Haraway, Judith Butler, Bruno Latour, Nancy Fraser, Elizabeth Grosz -- to call just a couple of -- putting all in discussion with a teletechnological framework. Clough indicates how those cultural criticisms have raised questions about the root of inspiration, permitting us to reenvision the connection of nature and expertise, the human and the laptop, the digital and the true, the residing and the inert.
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Additional info for Autoaffection: Unconscious Thought in the Age of Technology
Backs of knees and elbows, 24 Television bits of arm and slices of thigh are cut out by the piano's vision. It is not yet a sex, this vision from below, shooting up into me. It is not because it is sex that it excites me. It is that I can't see myself like the piano sees me. Its eye is the eye of the outside. It has its own eye. The piano lives, and it gives its music to me. And when it does become a sex, one sex, my sex, it is all but unbearable. So, it is not until I am nineteen and already for some time a Roman Catholic nun, wrapped tight in black from head to toe and coifed in starchy white, that I dare approach the church organ for the first time.
So, it is not until I am nineteen and already for some time a Roman Catholic nun, wrapped tight in black from head to toe and coifed in starchy white, that I dare approach the church organ for the first time. I tremble before the doubled set of keys at my fingertips. There also is a keyboard beneath my feet, and pipes rise up into the heavens, as if growing out of my backside. Once the organ is turned on, I can hardly move without making music. Even the sound of my breathing is in harmony with the aves ringing through the organ's pipes.
It is in the machine metaphors of teletechnology, I want to suggest, that Derrida draws Freud's treatment of unconscious memory to the future to register the dynamism of matter out of which nature and culture are given, always already interimplicated. In other words, I want to suggest that in following Freud's steps, Derrida has a tele-vision. Step by Step to a Tele-vision at the Scene of Writing The mystic writing-pad, although a child's toy, is a writing machine. It is made of a wax slab to which is attached, on one end, a sheet made of two layers; one layer is celluloid, and it protects the other layer, a waxed paper.