Reading the Figural, or, Philosophy after the New Media by D. N.Rodowick, Stanley Fish, Fredric Jameson

By D. N.Rodowick, Stanley Fish, Fredric Jameson

In analyzing the Figural, or, Philosophy after the recent Media D. N. Rodowick applies the concept that of “the figural” to numerous philosophical and aesthetic matters. encouraged via the cultured philosophy of Jean-Fran?ois Lyotard, the figural defines a semiotic regime the place the excellence among linguistic and plastic illustration breaks down. This competition, which has been the philosophical origin of aesthetics because the eighteenth century, has been explicitly challenged by means of the hot digital, televisual, and electronic media. Rodowick—one of the key movie theorists writing today—contemplates this problem, describing and critiquing the recent regime of indicators and new methods of pondering that such media have inaugurated.To absolutely understand the emergence of the figural calls for a genealogical critique of the cultured, Rodowick claims. looking allies during this attempt to deconstruct the competition of be aware and picture and to create new thoughts for comprehending the figural, he trips via various philosophical writings: Thierry Kuntzel and Marie-Claire Ropars-Wuilleumier on movie idea; Jacques Derrida at the deconstruction of the classy; Siegfried Kracauer and Walter Benjamin at the ancient photo as a utopian strength in images and picture; and Gilles Deleuze and Michel Foucault at the emergence of the figural as either a semiotic regime and a brand new stratagem of strength coincident with the looks of electronic phenomena and of societies of control.Scholars of philosophy, movie idea, cultural feedback, new media, and artwork background should be drawn to the unique and complicated insights present in this e-book.

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The same may be said of Lyotard’s earlier position. Here the limits of a ‘‘utopia of desire,’’ which mark Lyotard’s concept of the Event no less than that of the figural, are also the limits of a psychoanalytic politics. What is the problem of making the primary processes a first principle or the unrepresentable site of difference itself ? Because an unlocatable or always already decentered origin (what Lyotard calls the an-arché) is nonetheless an origin. Desire or the primary processes have a site, a territory, and a horizon: the subject as defined by psychoanalysis.

It has been fed into the memory machine. The duration of time it occupies is, so to speak, instantaneous’’ (‘‘Sublime’’ ). Ironically, then, capital has placed itself in direct competition with art for all that used to be called aesthetic experience. For Lyotard, the avant-garde is always at risk through either rejection, repression, or co-optation, but its place now has never been more fragile. Not only does capitalism collude with the avant-garde and seduce the artist, but now that the Idea of capital identifies itself with the sublime, it wants to render the avant-garde in art unnecessary.

Phantasmatic images, or thing-presentations, are ‘‘perceptions’’ unanchored by recognizable objects present in the external world. Moreover, the self-identity of images is fractured and polysemic no less than verbalizations that are rendered polyvocal. ‘‘The images the matrix generates are both sharply defined and blurred at the same time. 9 Every phantasmatic ‘‘representation’’ is a figure of paradoxical sense whose outlines are clear, yet subject to continual change, for even the most singular image superimposes multiple sites, whose origins are contradictory drives and part-objects, and multiple temporalities in the confluence of (achronological) memory traces.

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