difference, information, language, sign

Machine Fusion

Simona Pries, "black heart" (2011)

Simona Pries, “black heart” (2011)

You can simulate transparency, but behind your back an overheated network will condition your component lines. It is remarkable indeed the degree of encryption, not to mention extreme speeds and slowness, which a signal may be made to endure. Gentle decelerations, frenzied accelerations, stationary null journeys: real movements which the machine or a part undergoes — or else sudden breaks, unforeseen shutdowns, severed lines. The differential logic of the signal system mutates continuously according to the functioning of a semiological machine which does not resemble what it creates, crystallizes, shatters or sets into flight. Expression, insofar as it frames or signs itself, is always-already conditioned and operated by a grammatical field of semiological dynamisms redoubling encounters-affects into visions and auditions, possible worlds. The receiver is symmetrically encrypted, a recursive and resonating labyrinth: translating wild variations of rhythms, interpolating approximately-decrypted sub-signals, differentiating referential opacity where it is not constitutive. A signal is always-already composed of instructions, an actively-encrypted network of orders: a volumetric control field radiating from multiple command cores, enmeshed with the transmissive and receptive apparatus. The virtual line is incorporated into the machine; actual resonating devices become attuned to the most subtle or rarefied waves. Desire, dreams, delirium are signals as real production: a construction of new senses or problems, new distributions of the interesting and uninteresting, the surprising and unsurprising, the tolerable and the intolerable. Reattributing the cosmos, dreams create problems… What nourishes the bad dream, that the void should dominate? What distributes scarcities, interpolates lack, interposes this alien and monstrous ontology of interrogation-judgment-punishment? Who wishes this interrogation of delirium, this interpretation of desire and dreams according to need, wish-fulfillment? It is astonishing that reactionary madness should have had such wild success; that low truths, base dreams, sick desires should be able to appear high, noble, affirming; that entire discourses of these broken and enslaved truths should attain cultural hegemony. How is it that it could occur, what happened? How can it be that this slow suicide, this disinterested love for whatever is fucking you, can masquerade as life? Capital Tyrannus, or Oedipus Rex: the self-immolation of desire, the diminution of dreams, the toxification of the sky. The signal communicates with a virtual substrate organizing deeply-nested or encrypted signs, conditions expressive lines which are also lived forces or affects: sadnesses or joys. The dream is open to becoming a nightmare as a condition of its possibility; desire goes all the way. The delirious and wandering line of decoding, of the adventure of decryption, does not only face certain disaster or death; but also sings seductively, in minor keys; it is melancholy, and itself a risk. But while it is easy to botch their construction, only cartographies of the virtual, planes of consistency at the limit of consciousness or the common, can emancipate new images of the collective, mobilize and restructure conditions of possibility…


Lecture on Huxley contra Freud 4/1/13; ACLA Paper on Guattari

On April 1st of this year at 11:30 I will be giving a talk on my paper concerning Huxley and Freud. For those of you in the area, it’d be great to see you at Emory. For those of you outside of that area, I’ll try to see if we can get a recording of the event. Joe that could be something you can handle :). This lecture is a PSP luncheon meeting, and it finishes out my requirements for the PSP certificate (psychoanalytical studies).

Also, on April 8th at Toronto for the ACLA I will be giving a paper on Guattari and components of passage. I am already contemplating reflecting on Huxley or Proust for Guattari’s examples. Brave New World would have everything one would need to trace most of the transformations of the schizoanalytic fields Guattari envisions in Machinic Unconscious.


Constant’s Seductive Education, or Adolphe’s Astonishment (with translations)

[Update: I have taken the liberty of translating, by my own limited and critically biased means, the French citations of Constant in this essay. I hope that this makes for a more enjoyable and comprehensible experience! :)].

Benjamin Constant’s Adolphe presents the reader with the guiding inspiration behind its genesis, which is that what is at stake here is a narrative that would feature only two main characters. In his preface to the third edition of the novel, Constant himself broaches this idea in relation to his attempt to thwart the counterfeit versions of his novel by writing that the work concerns “la possibilité de donner une sorte d’intérêt à un roman dont les personnages se réduisaient à deux, et dont la situation serait toujours la meme” [the possibility of giving a sort of interest to a novel that would be reduced to two characters and whose situation would always be the same] (32). If we take this claim seriously, it is a question of what emphasis is to be given to the notion of “sameness” in the situation of the novel. According to the third preface, what seems to be the “same” in the narrative is also coincidentally indicated by how often Constant himself is approached by his readers with testaments of how they identify with the narrator and titular character Adolphe: “ce qui me ferait croire au moins à un certain mérite de vérité, c’est que presque tous ceux de mes lecteurs que j’ai rencontrés m’ont parlé d’eux-mêmes comme ayant été dans la position de mon héros” [what made me believe at least in a certain merit of truth {for Adolphe} is that almost all of my readers whom I've encountered have spoken about themselves to me as having been in my protagonist's position] (33). Furthermore, at this point one should also ask: which situation is the same, which situation is the model for the sameness of the text, and to which two personages is the narrative reduced? In other words, what is the general situation of the novel that leads to such a universal identification on behalf of its readers? Although in a first reading of the novel the answer appears to be quite obvious that the two characters in question are Adolphe and Ellénore, perhaps “le moule universel” [the universal mold] of these two personages is more abstract and not necessarily easy to identify with proper names.  In order to shed more light on this subject, we will investigate what it means for the reader or anyone to claim to be—or more specifically and crucially “to have been”—in the position of Constant’s “protagonist”.  The guiding thread for this reevaluation of Constant’s famous claims in his third preface will be the extent to which the generalized theory of seduction regarding the “allogenetic” conception of the unconscious put forth by Jean Laplanche in his reading of and with Freud can be put to good use in rereading and resituating the orientation of Adolphe’s narrative thrust.

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To Read or Love as She Pleased: Dream-Reading ‘Dora’ through Dora’s Reading-Dream

2012-10-12 00.19.42

They do it in fear and trembling, with an uneasy look over their shoulder to see if some one may not be coming.—Freud, Dora: An Analysis of a Case of Hysteria, Touchstone: New York, 1997, p. 92.

How are we to approach the singular genre of the case history that Freud develops early on in his psychoanalytic and writing career? This genre is all the more striking in his first case history Dora: An Analysis of a Case of Hysteria precisely because it remains in fragmentary form for several reasons. Although the text is divided into five parts—which might spark in the literary critic the desire to see the structure of a Shakespearean play—the plot and subplot of the work is not necessarily easy to locate, for the action seems to encroach on the divisions and overflow on all sides. Perhaps this is another consequence of the fragmentary nature of this first case history or an indication that Freud has not mastered the genre with his first attempt, but it is necessary to remember that there is a multiplicity of narratives at play simultaneously throughout the work whose compositeness requires careful analysis before suggesting any unproblematic theoretical wholeness or unity.  But it is also the fragmentary status of Dora’s desire indicated by the fragments of her memory that sustains and also complicates the narration of this case history.

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becoming, black holes, capitalism, creation, difference, language, metaphysics, ontology, power


Francis Bacon, Tryptych (Inspired by Oresteia)

What is modern? It can perhaps be discerned in the radical questioning of the status of piety, a questioning which slowly infects every discipline and discourse — a questioning, in other words, coextensive with a generalized instrumentalization, experienced at the psychic level as a new asceticism. Modernity in this sense includes souls no longer living; it embodies achromatically the spirits of wildly disparate eras. In this way we may perhaps be permitted to speak of the modern both as a regime of forms and as a series of powers — a question of celestial purity and terrestial madness. Thus every people participates in an eternal modernity, or perhaps it is that the modern is always arriving or yet to arrive.

The stable conception of identity is the central problem and “utopian” promise of modernity. Very early on, relatively speaking, the problem was decisively proved to be undecidable. It perhaps took longer to realize that the promise could not be kept; that the modern enacts the irreversible rending of the identical from individuation, that it will not (and perhaps cannot) be halted. The modern is then not irreversible in the sense that a regression is not possible, but rather irreversible in the sense that once intiated we cannot determine when the involution, the deferral, the sickness will stop.

The modern is a health and a sickness of cosmic proportions; a dream of infinitely-deferred waking, which is perhaps to say a nightmare. The modern assembles war machines, and the uncanny and passionate hunger of modernity is the thirst of virtual incorporealities for actualization. This hunger perhaps accounts for a certain globalizing impulse; for the modern at its best populates or resingularizes, it directly engages processes of subjectivity; yet at its worst this same tendency perhaps accounts for the propensity of the modern to provoke the shocking encouragement of complicity with horror and the cynical dissolution of the subject in a transcendent universality.

The symptoms of modernity are radical involution, future shock, motion sickness and infinite deferral. The modern is then perhaps a variety of dreamsicknesses; the dangerous problem of a daybreak eternally deferred. Yet is this very eternity not suspiciously excessive, the deferral not strangely disjointed? Are we, fractured group-subject of modernity, not untimely, not continuously on the verge of actualizing and thereby exceeding  it?

Francis Bacon, “Fragment of a Crucifixion”

Living. The intolerable ignominy of possibilities of life under capital should not be permitted to cause us to forget the reality of infinite becoming. Evolution and genesis, or the development of contiguous spacetimes and automorphisms, are powers of the infinite; and a life is always already this infinity. It is never simply a question of an organism but rather a problem of pure variation: infinite movements compose and condition living; infinite speeds permeate a life. Inorganic life lives exclusively at these speeds, in a hyperaesthetic eternity that traverses history. It moves across a slice of a time, through a supple segment of a world; yet a life is not merely the traversal of a spacetime or a form (territories and landscapes, organisms and faces) but it is also the direct reality of flows and forces: rhythms and speeds, signifying regimens and variable frameworks of production. It is not individual or collective but infinite, neither alter nor ego but singularis. We do not know the limits of what it can do or will become — in fine: what living, thinking, feeling could be. Though the risks of an errant involution are grave and even incalculable; yet any life, any feeling, any thought whatsoever is destined to find itself at some longitude or latitude on the plane of immanence — that is to say, always already in flight, swept up by a line of continuous variation, facing infinite risks with limitless potential.

Mapmakers. Desire becomes perceptible to a schizoanalytic cartography only because such a mapping undertakes anew in each case the cautious assembly of a map of the unconscious with everything included: experimentally activating and quantifying virtual lines of flight, calculating the gravitational acceleration of semiotic black holes — and determining the structural characteristics of white walls.

Geosophy. Geology and geometry both initate absolute surveys; and in their own ways they are each aerial formal analytics, turned inward and outward in a reciprocal relation; at infinite speeds might they not fuse? The earth may be both speculated stratigraphically, or evaluated strategically in terms of virtual movements; and so a geometer offers unknowingly a dangerous secret to a geologist, and vice versa. In both there is the unnoticed presence of an unexplored sense of or practice within the discipline, which when fully articulated would make it possible to organize both evaluative and speculative faculties otherwise. In any case, of course, an enormous divergence has already occurred from their common origin and destiny — the earth and theory each as a life in communication with the other: not the philosophy of genesis but philosophy as genesis. The vertiginous collapse and interfusion of the hard and soft precede the gentle birth of a geosophy, joyous science of the (maladies afflicting the) body of the Earth — perhaps at the end of an arc traced by the flight of a golden ball…

noise, subjectivity, truth, violence


Irrealism. Modernity can be seen as a kind of victory for realism, but this victory was always already betrayed by capitalism, disseminated to death. Despite all appearances, the masks and pseudonymity of the postmodern era indicate not an abandonment of the war against cynicism and superstition, but rather a renewed undertaking of this same battle with a greater degree of caution, pragmatism and assiduity than the modern age could have imagined necessary.

Will to think. Philosophy at its very best is saddening, a cautious disenchantment: a deciphering of the hidden resentment with which we have crafted our values, the nihilism behind the idealities humanity has raised above itself. Yet how could philosophy ever have taken hold and prospered without a certain artistry in masking its true purpose from us; how could it not begin by seducing us to another reality — seducing us to reject this life and this reality? Consider that the will to think must partially close the “field” of thought, in this way allowing it to acquire definite shape and form: the force of thought severs thought from becoming, reducing the chaos of becoming into an organized noise. In this sense, the force of thought disjoins not only a given thought from what it can do but transforms the very categories of thought in order to render existence inert, harmless and ready for transmission. The innate becoming reactive of thinking is what philosophy opposes in all ages and throughout all its disguises.

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coding, Deleuze and Guattari, dream, freud, joyce, production, psychoanalysis, unconscious, writing





“When I’m dreaming back like that I begins to see we’re only all telescopes.”

Joyce, Finnegans Wake



Dream-analysis does not necessitate an affirmation of the existence of universal structures of expression; it need not amount to the tiresome interpretation of the same hidden message over and over again, wherein the forms of thinking and speaking and finally reality itself are rendered identical, cruelly reduced to a single and all-encompassing formula. It suffices to mention that the good doctor Freud would have us believe the dream-work is essentially uncreative, that it amounts in the end to an organic process of coding, one of unsteady translation between the sleeping consciousness and the passive unconscious, producing a kind of dense hieroglyphic writing which must then be interpreted through an analytic exchange. 

The dream understood as writing (even schizowriting) becomes poisoned; the dream taken as representation leaves us only with a kind of mindless condensation and confusion of many distinct memories. Even so, the messages are too free; Freud always seems to lose sight here, missing the material process of decoding unfolding before his eyes. We miss the dream-work entirely, we find only translation instead of production. Freud is neither the last nor first scientist to seek relentlessly to crush singularity in favor the universal — a strange moment where it seems reason itself has gone mad, engaging itself in an infinite and searching analysis “beneath” for some powerful and profoundly-hidden writing. It is this desire for some universal “meaning” disseminating itself through the dream in a distorted form which necessitates the uncreativity, the non-productive character Freud ascribes of the dreamwork. And thus the dream has already frozen, and becomes a little analysis in itself.

The interminability of the analysis corresponds precisely with this frozen process, this hideous arresting of the infinite circulation of the dream. It is only possible to open psychoanalysis to the outside by arresting its own process of continuous interpretation: “No longer are there acts to explain, dreams or phantasies to interpret, childhood memories to recall, words to make signify; there are colors and sounds, becomings and intensities… There is no longer a Self that feels, acts and recalls; there is a ‘glowing fog, a dark yellow mist’ that has affects and experiences movements, speeds.” (ATP 180) It is clear enough a non-productive unconscious could not produce a cure; such an unconscious could only accept one imposed from without, a cure intended to code and crush desire — to normalize our unconscious, not to assist its process of production.