By Patricia Ticineto Clough

During this ebook, Patricia Ticineto Clough reenergizes serious thought via viewing poststructuralist proposal throughout 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 sorts of cultural feedback -- feminist conception, queer conception, movie concept, postcolonial idea, Marxist cultural experiences and literary feedback, the cultural stories of technological know-how and the feedback of ethnographic writing -- to the transformation and growth of teletechnology within the overdue 20th century. those theoretical methods, 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 on the root of proposal, permitting us to reenvision the connection of nature and expertise, the human and the computing device, the digital and the genuine, the dwelling and the inert.

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Extra resources for Autoaffection: Unconscious Thought in the Age of Technology

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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. The device is worked by lifting the sheet at the side where it is not attached. This completely clears the writing while leaving traces only on the deepest layer, the wax slab, which Freud proposed might be compared to the unconscious "behind" perception.

It is not life already present that is protected by resistance to the discharge of energy. Rather, life is made possible in the repetition of the protective resistance. But if life is not an originary presence, life also is not-life. In this sense and only in this 34 Technical Substrates of Unconscious Memory sense, Derrida argues, life is death, just as memory is forgetting or repression or the force of impression. Or to put this another way, this lifegiving repetition, like the compulsion to repeat a trauma in order to forget and master it, which Freud called the death drive, is internal to unconscious memory and to life as well.

Although Silverman makes no mention of teletechnology, it seems to me that it is the machine metaphors of teletechnology, 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. In what follows I want to offer a reading of feminist film theory and Silverman's grand summation of it. I want to propose that in rethinking the camera, Silverman, like Derrida, has a tele-vision and that it al- Technical Substrates of Unconscious Memory 47 lows her to show, albeit inadvertently, that feminist film theory has all along been drawn to the future by teletechnology.

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