Re: [-empyre-] digital baroque

[eugenie <eugenies@onetel.net.uk>]

hi christina,

i'm literally throwing things into a suitcase at the moment! will think
about this from 30,000 feet.

in the meantime however, yes, lacan as far as i'm aware totally denies the
agency of the affective - there's a brief mention of it in his early
writings but it's very quickly dropped in favour of the screen model. for
lacan, agency is pretty much entirely based in the visual/discursive
interface. there's some fascinating stuff by borch-jacobsen on this, i'll
try and bash something together while i'm on the plane.

speak soon

eugenie

on 4/10/03 9:41 AM, Christina McPhee at christinamcphee@yahoo.com wrote:

> hi Eugenie, Tim et al
> 
> Tim writes...
> 
>> The digital user now almost literally incorporates
>> the interface of
>> anamorphosis itself to become the site of
>> spit-vision. 
> 
> 
> Such an intriguing idea, that the user becomes the
> site of split-vision.. having taken some shots at
> trying to describe this sensation of user  = site as a
> Mobius strip in "Net Baroque" at
> <http://www.naxsmash.net/public_html/texts/netbaroqueMcPhee.htm>
> ..  For if user and machine interface as a split vision
> and split subject that makes a kind of dynamic
> architecture that seems to have baroque
> features....the extremes, the recursions.....the
> doublesided...
> perhaps Eugenie can comment a bit more on the Lacan
> connection within all of this.  I am sure you have
> read Lacan tossing around the Mobius form somewhere in
> connection with this problem of the subject within the
> visualized space (in Ecrits ?) but  doesn't he
> neglect, or even deny,  the environmental, or embodied
> sense that you (Eugenie) insist on as a key dynamic of
> the gamespace as subjective presence?  Surely you go
> further.  Is this anamorphism, that delivers a
> both/and  place that is, or in which, the subject
> (user) can be/not be simultaneously, like an
> Orlan-like self as the site of the game as Tim
> implies? and as Eugenie writes.......
> 
> It foregrounds the subject in its
>> environmental sense: a mobile, embodied agent that
> acts in the real world of
>> objects. As a concept of transformation, then,
> anamorphosis allows us to
>> understand subjectivity as a ?dynamic? condition, a
> matter of a constantly
>> changing body schema rather than a fixed body image.
> 
> an anamorphic performance architecture...
> 
> -Christina
> 
> 
> 
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