Chris:
<snip>
At first I did think that some sort of bridge was needed between the
metaphysical set up of autocratic as diametrically opposite democratic,
but have instead thought that perhaps what is needed is a disjunctive
synthesis. [Chris J]
<snip>
If I understand you correctly, you're making a point here about choice
construed as apophasis: a cognitive space repeatedly (re)activated through a
flight from *autocracy*, which lies in one direction, and *democracy, which
lies in another (with 'lies', I suppose, in both senses) in order to escape
what would otherwise be a no man's land. *Disjunctive synthesis* is useful,
I think, in explaining, say, how a triptych works (phenomenologically) as a
triptych. Relating percept to affect in a direct way, getting as far away as
possible from representation and/or container metaphors, seems to me
entirely sensible. (On the same principle, I see texts as sets of cues.)
However, I am much less convinced by the jump to ethical choices.
<snip>
I don't yet know, just a suspicion, but disjunctive synthesis may need to be
thought as interruption? [Chris J]
<snip>
Where writing and/or reading is concerned, 'interruption', in the sense of
epoche, suspension not of disbelief but of _belief_, strikes me as both
related (though not the same) and also very relevant: part of losing
control, becoming the patient of the mechanisms by which *forced movement*
is expressed. But that again seems to be a matter of how it feels and not
(or not obviously to me) about how choices are actually made.
<snip>
So affects as real flesh and blood and hence sensation as
flesh brings me into conflict with Deleuze, for starters. [Chris J]
<snip>
How so? I don't see any conflict either (a) between the *body without
organs* as the social embodiment of *desire* (where, in principle, all
choices are active and none is captive) and the physical embodiment of
*desire* in the individual subject, or (b) between D's concept of the
artwork, prosthetically, rather as McLuhan thought of media, as a *pure
being of sensation* and the physical embodiment of those sensations in the
subject.
But I may have misunderstood.
CW
_______________________________________________
'What's the point of having a language that everybody knows?'
(Gypsy inhabitant of Barbaraville)
|