And isn’t this the strength of Lacan, to have saved psychoanalysis from the frenzied oedipalization to which it was linking its fate - to have brought this salvation even at the price of a regression, and even though it meant the unconscious would be kept under the weight of the despotic apparatus, that it would be reinterpreted starting from this apparatus, the Law, and the signifier - phallus and castration, yes! Oedipus, no! - the despotic age of the unconscious.
Anti-Oedipus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari
Anti-Oedipus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari
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Second, we make no distinction between man and nature: the human essence of nature and the natural essence of man become one within nature in the form of production or industry, just as they do within the life of man as a species. Industry is then no longer considered from the extrinsic point of view of utility, but rather from the point of view of its fundamental identity with nature as production of man and by man. Not man as the king of creation, but rather as the being who is in intimate contact with the profound life of all forms or all types of beings, who is responsible for even the stars and animal life, and who ceaselessly plugs an organ-machine into an energy-machine, a tree into his body, a breast into his mouth, the sun into his asshole: the eternal custodian of the machines of the universe.
Anti-Oedipus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari
Anti-Oedipus: Capitalism and Schizophrenia, Gilles Deleuze and Félix Guattari
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Carolee Schneemann, Fuses, Self-shot, 16mm film, 1964-1967.
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
«…I wanted to see if the experience of what I saw would have any correspondence to what I felt– the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense– as one feels during lovemaking… It is different from any pornographic work that you’ve ever seen– that’s why people are still looking at it! And there’s no objectification or fetishization of the woman.»
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
«…I wanted to see if the experience of what I saw would have any correspondence to what I felt– the intimacy of the lovemaking… And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense– as one feels during lovemaking… It is different from any pornographic work that you’ve ever seen– that’s why people are still looking at it! And there’s no objectification or fetishization of the woman.»
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