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By Patricia Ticineto Clough
Explores the relationship among new theories, new applied sciences, and new methods of thinking.
In this publication, Patricia Ticineto Clough reenergizes severe concept by way of viewing poststructuralist suggestion throughout the lens of “teletechnology,” utilizing tv as a ordinary case learn to light up the altering relationships among subjectivity, know-how, and mass media.
Autoaffection hyperlinks diversified sorts of cultural criticism—feminist idea, queer concept, movie conception, postcolonial concept, Marxist cultural stories and literary feedback, the cultural reports of technological know-how and the feedback of ethnographic writing—to the transformation and enlargement of teletechnology within the past due 20th century. those theoretical ways, Clough indicates, became the cars of subconscious proposal in our time.
In person chapters, Clough juxtaposes the likes of Derridean deconstruction, Deleuzian philosophy, and Lacanian psychoanalysis. She works during the writings of Fredric Jameson, Donna Haraway, Judith Butler, Bruno Latour, Nancy Fraser, Elizabeth Grosz-to identify just a few-placing all in discussion with a teletechnological framework. Clough indicates how those cultural criticisms have raised questions about the basis of inspiration, permitting us to reenvision the connection of nature and expertise, the human and the computing device, the digital and the true, the residing and the inert.
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Additional info for Clough: Autoaffection. Unconscious Thought in the Age of Teletechnology
46 In this 1993 essay Silverman raised a question that had not been asked in feminist film theory. She questioned the historic ity of the camera, and in doing so she brought feminist film theory up against the historical specificity of the relationship of technology and unconscious fantasy. Although Silverman makes no mention of teletech nology, it seems to me that it is the machine metaphors of teletechnol ogy, television especially, that draw her to rethink the camera's historical specificity and thereby to recognize the possibility of different cameras, screens, subject identities, and social realities.
But if there are ontological implications arising from the thought of differance, there is something that prevents Derrida from fully artic ulating them here, when first following Freud. Derrida hesitates. He turns back from ontology or turns ontology to the historical production of technology. It is here that Derrida wonders how it is that Freud did not notice that besides the child's toy machine, there already are machines "in the world" that more closely resemble memory- "machines for stor ing archives:' Derrida goes on to propose that Freud failed to address the question his treatment of unconscious memory raised; he failed to ask about the analogy between the psychic apparatus and the machine in the context of what Derrida describes as the "historico-technical production" of technology.
It also permits an understand ing of Freud's treatment of unconscious memory as anticipatory or, better, compensatory, that is, as compensating for what could not be thought without the machine metaphors yet to come in the future, but which future, nonetheless, drew Freud's treatment of unconscious mem ory to it- from neurology to writing machine. And if Freud's treatment of unconscious memory may be grasped in this way, what of recent cultural criticism, specifically film criticism of the 1970S and the 1980s?
Clough: Autoaffection. Unconscious Thought in the Age of Teletechnology by Patricia Ticineto Clough