Pub Date : 2023-03-01DOI: 10.1353/dis.2023.a907669
Amin Erfani
Artaud’s Contagious Cries: Virtuality as Aurality Amin Erfani (bio) The plague takes dormant images, latent disorder and suddenly carries them to the point of the most extreme gestures. Theatre also takes gestures and develops them to the limit. Just like the plague, it reforges the links between what does and does not exist, between the virtual nature of the possible and the material nature of existence. —Antonin Artaud, “The Theater and the Plague” The viral and the virtual bear an uncanny affinity in an age marked by a deadly global pandemic and a profusion of new media. Two works by Antonin Artaud are particularly timely to think through contagion and technology together in the current environment, where the shock effect of real life exceeds the foresight of artistic representation. During a global scourge, life itself aligns with what Artaud describes as the Theater of Cruelty: it “disturbs our peace of mind, releases our repressed subconscious, drives us to a kind of potential rebellion.”1 The first work by Artaud that calls our attention is his seminal essay “The Theater and the Plague,” [End Page 117] first published in La Nouvelle Revue Française on October 1, 1934, a few years before his long-term internment in the asylum. The second work is the now notorious and initially censured radio performance “To Have Done with the Judgment of God,” first recorded in 1947 not long after his excruciating nine-year internment came to an end. These works, read together, demonstrate an approach to “theatricality” that exceeds the theater as a mere discipline. They also establish the realm of the virtual as a liminal space between media technology and life, one that is hospitable to the advent of the unpredictable and radical Other. This emergence, within the “non-space” of the virtual, occurs in an aural mode insofar as it fundamentally overwhelms preestablished modes of representation. For Artaud, virtuality and aurality are intimately bound together: neither fully present, nor completely absent, the Other emerges yet lacks recognizable form. Its advent is cataclysmic because it occurs unpredictably, threatens the established order, and reawakens repressed and incomprehensible delirium. Theater, in Artaud’s terms, proves to be neither sheer technical contrivance nor mere natural phenomenon. As such, it unsettles foundational dichotomies at the heart of Aristotelean precepts—techne versus physis, the technological versus the biological, art versus life—and establishes itself as a generative supplement to those binaries. Artaud’s redefinition of theater as being, not opposed to but supplemental to life, draws a parallel between virality and the virtuality. Its mode of communication, distinct from narrative discourse and mimetic representations, is one of virtual contamination, which Artaud describes here as “psychic” and “oneiric.” The aural modality responsible for such virtual contamination—most evident through but not limited to the radiophonic med
阿明·厄法尼(生物)瘟疫将潜伏的图像、潜在的紊乱突然带到最极端的姿态。戏剧也会把手势发挥到极致。就像瘟疫一样，它重新建立了存在与不存在之间、可能的虚拟本质与存在的物质本质之间的联系。——安东宁·阿尔托，《戏剧与瘟疫》在一个致命的全球流行病和新媒体泛滥的时代，病毒和虚拟有着不可思议的联系。安托宁·阿尔托的两件作品，在现实生活的冲击效应超过艺术表现的预见性的当下环境下，特别及时地将传染与技术结合起来思考。在一场全球性灾难中，生活本身与亚陶所说的“残酷剧场”一致:它“扰乱了我们内心的平静，释放了我们被压抑的潜意识，驱使我们走向一种潜在的反叛。”1亚陶第一部引起我们注意的作品是他的开创性论文《戏剧与瘟疫》(The Theater and The Plague)，最早发表于1934年10月1日的《法国新评论》(La Nouvelle Revue francaise)上，那是他被长期关押在精神病院的前几年。第二部作品是现在臭名昭著的、最初受到谴责的广播表演《结束对上帝的审判》(To Have Done with The Judgment of God)，这首歌录制于1947年，当时他的九年痛苦监禁刚刚结束。这些作品，一起读，展示了一种“戏剧”的方法，超越了戏剧作为一门单纯的学科。他们还建立了虚拟的领域，作为媒介技术和生活之间的一个界限空间，一个好客的不可预测的和激进的他者的到来。这种出现，在虚拟的“非空间”中，发生在一种听觉模式中，因为它从根本上压倒了预先建立的表现模式。对亚陶来说，虚拟和听觉紧密地联系在一起:既不完全在场，也不完全缺席，他者出现了，但缺乏可识别的形式。它的出现是灾难性的，因为它的发生不可预测，威胁到既定的秩序，并重新唤醒压抑和难以理解的谵妄。戏剧，用亚陶的话来说，既不是纯粹的技术发明，也不仅仅是自然现象。因此，它动摇了亚里士多德戒律核心的基本二分法——技术与物理、技术与生物、艺术与生活——并将自己确立为这些二分法的生成补充。亚陶将戏剧重新定义为存在，不是与生活对立，而是对生活的补充，在病毒性和虚拟性之间画了一个平行。它的交流方式不同于叙事话语和模仿表现，是一种虚拟污染，亚陶在这里将其描述为“精神的”和“幻觉的”。造成这种虚拟污染的听觉形态——最明显的是通过但不限于无线电媒介，正如他1947年的录音所说明的那样——订阅了一种偏执的结构，一种通过记录他刺耳的哭声和仪式化的舌语来预测不可预测的他者的到来在亚陶1934年的文章中，为了把握戏剧(作为技巧)和瘟疫(作为自然的副产品)之间的复杂联系，我们必须首先把握它的历史性，这反映在亚里士多德的《诗学》中已经存在的艺术(技术)和自然(物理)之间的紧张关系中。“techne”一词通常被翻译为“手艺”、“技能”或“艺术”，指的是一类知识，尤其是应用知识，亚里士多德认为这是人类而不是动物的知识。根据他的观点，动物拥有一套本能的技能，但缺乏批判性的判断力来掌握这些技能背后的基本原理。例如，海狸知道建造大坝所需的技术，但对亚里士多德来说，人类不仅知道如何建造大坝，还知道为什么应该以某种方式建造大坝。技术为动物本能增添了“一种由对其内在原理的理解所告知的生产能力”，这将是一种适当的人类属性戏剧作为艺术(技术)，更具体地说，在诗学中，悲剧属于一种应用知识，它依赖于模仿，模仿生活或自然(物理)。在他对悲剧的理论阐述中，亚里士多德提出了……
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Pub Date : 1999-01-01DOI: 10.5040/9780571291786.40000081
Jalal Toufic
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Pub Date : 1999-01-01DOI: 10.5040/9781474275729.ch-091
J. Nancy
And Life Goes on is, in its French translation ("I will come back to it"), the title of the film made in 1992 by Abbas Kiarostami.1 Among ordinary expressions, among current ways of speaking, that is to say, ways that have an immediately recognizable value and that can be exchanged without difficulty (that are exchanged for nothing, for their own echo and that, therefore , are worth nothing . . . ) , this one speaks of this constant and inevitable flow of life, which continues its course in spite of everything, in spite of mourning and catastrophe. In fact, the film tells us from the beginning, by means of a voice on the radio: "The magnitude of the disaster is enormous" (it's about the 1990 earthquake in Iran). The expression says that it has to continue and it also says that it is good that it continues, that life is really, perhaps, also that: that it goes on. The expression says nothing about "life," its goal, its meaning, its quality; it does not say that it is the life of the species, or that of the universe that would unfold itself above that of individuals (no doubt, in the middle of the film, we will see a young couple getting married after the catastrophe, but we will not see the birth of a child) ; the expression does not imply an indifference to death, or to any form of completion or accomplishment. Quite the contrary, in a sense, the film is itself this accomplishment, it accomplishes, it shows that: the catastrophe, the continuity, and also something else, the image that the film both represents and designates at the
{"title":"On Evidence: Life and Nothing More by Abbas Kiarostami","authors":"J. Nancy","doi":"10.5040/9781474275729.ch-091","DOIUrl":"https://doi.org/10.5040/9781474275729.ch-091","url":null,"abstract":"And Life Goes on is, in its French translation (\"I will come back to it\"), the title of the film made in 1992 by Abbas Kiarostami.1 Among ordinary expressions, among current ways of speaking, that is to say, ways that have an immediately recognizable value and that can be exchanged without difficulty (that are exchanged for nothing, for their own echo and that, therefore , are worth nothing . . . ) , this one speaks of this constant and inevitable flow of life, which continues its course in spite of everything, in spite of mourning and catastrophe. In fact, the film tells us from the beginning, by means of a voice on the radio: \"The magnitude of the disaster is enormous\" (it's about the 1990 earthquake in Iran). The expression says that it has to continue and it also says that it is good that it continues, that life is really, perhaps, also that: that it goes on. The expression says nothing about \"life,\" its goal, its meaning, its quality; it does not say that it is the life of the species, or that of the universe that would unfold itself above that of individuals (no doubt, in the middle of the film, we will see a young couple getting married after the catastrophe, but we will not see the birth of a child) ; the expression does not imply an indifference to death, or to any form of completion or accomplishment. Quite the contrary, in a sense, the film is itself this accomplishment, it accomplishes, it shows that: the catastrophe, the continuity, and also something else, the image that the film both represents and designates at the","PeriodicalId":40808,"journal":{"name":"Discourse-Journal for Theoretical Studies in Media and Culture","volume":"13 1","pages":"5"},"PeriodicalIF":0.5,"publicationDate":"1999-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87522314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over three decades ago, the existentialist philosopher Karl Jaspers, author of an important and much ignored book about German guilt ( Die Schuldfrage , 1946), claimed that the history of German nationalism was finished and done with. National unity, he argued, was forever lost as a result of the guilt of the German state, and the demand for reunification to him was nothing but a denial of what had happened during the Third Reich.1 Jaspers' s critique was directed against a then strident conservative discourse of reunification which was coupled with the bellicose nonrecognition of the GDR and the demand, especially by the organizations of Eastern refugees ( Vertriebenenverbande) , to keep the question of the Eastern borders open. He was the first to articulate an argument against a unified German nation-state that has since been widely adopted in Germany, even though at the time Jaspers himself was rejected by the right and mostly ignored by the left. While the division of Germany in 1949 into two states was the political result of the emerging Cold War superpower confrontation and had nothing much to do with retribution for the crimes of the Third Reich, a rhetoric of punishment and retribution regarding the question of national unity became the basis for a
{"title":"Nation, Race, and Immigration: German Indentities After Unification","authors":"Andreas Huyssen","doi":"10.4324/9780203610213-9","DOIUrl":"https://doi.org/10.4324/9780203610213-9","url":null,"abstract":"Over three decades ago, the existentialist philosopher Karl Jaspers, author of an important and much ignored book about German guilt ( Die Schuldfrage , 1946), claimed that the history of German nationalism was finished and done with. National unity, he argued, was forever lost as a result of the guilt of the German state, and the demand for reunification to him was nothing but a denial of what had happened during the Third Reich.1 Jaspers' s critique was directed against a then strident conservative discourse of reunification which was coupled with the bellicose nonrecognition of the GDR and the demand, especially by the organizations of Eastern refugees ( Vertriebenenverbande) , to keep the question of the Eastern borders open. He was the first to articulate an argument against a unified German nation-state that has since been widely adopted in Germany, even though at the time Jaspers himself was rejected by the right and mostly ignored by the left. While the division of Germany in 1949 into two states was the political result of the emerging Cold War superpower confrontation and had nothing much to do with retribution for the crimes of the Third Reich, a rhetoric of punishment and retribution regarding the question of national unity became the basis for a","PeriodicalId":40808,"journal":{"name":"Discourse-Journal for Theoretical Studies in Media and Culture","volume":"186 1","pages":"2"},"PeriodicalIF":0.5,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79755384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I shall not in the present paper attempt any discussion of the psychological significance of obsessional thinking. Such a discussion would be of extraordinary value in its results, and would do more to clarify our ideas upon the nature of the conscious and the unconscious than any study of hysteria or the phenomena of hypnosis. It would be a most desirable thing if the philosophers and psychologists who develop brilliant theoretical views on the unconscious
{"title":"Voices of a Voice","authors":"J. Lyotard","doi":"10.2307/j.ctt20mvd1k.7","DOIUrl":"https://doi.org/10.2307/j.ctt20mvd1k.7","url":null,"abstract":"I shall not in the present paper attempt any discussion of the psychological significance of obsessional thinking. Such a discussion would be of extraordinary value in its results, and would do more to clarify our ideas upon the nature of the conscious and the unconscious than any study of hysteria or the phenomena of hypnosis. It would be a most desirable thing if the philosophers and psychologists who develop brilliant theoretical views on the unconscious","PeriodicalId":40808,"journal":{"name":"Discourse-Journal for Theoretical Studies in Media and Culture","volume":"218 1","pages":"16"},"PeriodicalIF":0.5,"publicationDate":"1992-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89106960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1992-01-01DOI: 10.1215/9780822384021-007
J. Gallop
In the Fall of 1974, 1 heard that Derrida was to lecture on Lacan in Buffalo. I drove the four hours from Ithaca to Buffalo, frantically looked for the building on a campus I didn't know, arrived after Derrida had begun, finding a seat way back in the balcony. In that already distracted state, I had a lot of trouble following the lecture, but it nonetheless threw me into a defensive panic. Derrida was saying terrible things about Lacan. About six months later "Le Facteur de la verite" came out in
{"title":"A Tale of Two Jacques","authors":"J. Gallop","doi":"10.1215/9780822384021-007","DOIUrl":"https://doi.org/10.1215/9780822384021-007","url":null,"abstract":"In the Fall of 1974, 1 heard that Derrida was to lecture on Lacan in Buffalo. I drove the four hours from Ithaca to Buffalo, frantically looked for the building on a campus I didn't know, arrived after Derrida had begun, finding a seat way back in the balcony. In that already distracted state, I had a lot of trouble following the lecture, but it nonetheless threw me into a defensive panic. Derrida was saying terrible things about Lacan. About six months later \"Le Facteur de la verite\" came out in","PeriodicalId":40808,"journal":{"name":"Discourse-Journal for Theoretical Studies in Media and Culture","volume":"2 1","pages":"6"},"PeriodicalIF":0.5,"publicationDate":"1992-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84941661","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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