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New Thresholds, New Anatomies: Virtual Subjectivities and the Historicity of PeriodizationAuthor(s): Albert CookSource: symplokē, Vol. 3, No. 1, special issue: The Next Generation (Winter 1995), pp. 29-43Published by: University of Nebraska Press

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NewThresholds, NewAnatomies:

Virtual Subjectivities and theHistoricity of Periodization

Albert Cook

The arge omainsf heRenaissancer arlymodern,hemodern,andthepostmodern,swell s associatedntermediateroverlappingdomainsikethe"classical,"he"baroque,"he"Enlightenment,"ndthe romantic,"re ndissociablyoth istoricalnd ntersubjective.ndiscriminatingmong hem, s well as asking bouttheir ommoninter-associations,t s best obeginwith hepossibilityforganizing

schematahat emainomewhatirtual,s thesedomainshemselvesdrawon thevirtual, o as not to slight rdisplacewhatEdmundHusserl alled he absolutelarityfgivenness."1willhereoffersketch fpossiblenswers oquestionsbout hefinal iting f uchtemporalonstructionsn iteraturendart,with elationospaces, obodiesnspace, nd tocompositeerceptionsndprojectionshat anbesaidtocomprise culture here heexternalnd the nternalrevirtualizeds one,becausethe subjective,hehistorical,nd therelationalre, fdistinguishable,nseparable.

Just locatingthe body in space, both diachronically nd

synchronically,equiresnot onlythe philosophical atiocinationbroughtobearonthiscrossroadsfontologicalndepistemologicalquestions. t alsorequires powerfulactofattentionhatwill befaithfulo the complexitiesdducedalreadybysuchthinkers sEdmundHusserl,MartinHeidegger,GastonBachelard,MauriceMerleau-Ponty,ttoBollnow, acquesDerrida, ndEdwardCasey,avoiding what amounts to oversimplicationn the surface

laHowever, hefundamentfeverythings thegraspingofthesenseofabsolutegiuenhood,heabsoluteclarity f givenness"/"DsiSundament on allem aber istdas

Erfassen esSinnesderabsolutenGegebenheit,erabsoluten larheit esGegebenseins"(Husserl9; italicsHusserl's).

@ Symplokë Vol. 3,No. 1 (1995) ISSN 1069-0697, 9-43.







30 AlbertCook New Thresholds,New Anatomies

characterizationsfJean Baudrillard nd others.Butwemustbracketall thisto characterize heorganizing ossibilities f the largecodesgoverninghe collective onsciousness f n era,or tstemplate f ignsystems,what Michel Foucault called an epistemé. And further,trequiresthe sort ofoppositional nd transcendentalodingFoucaultoffers,ecause,as GianniVattimo33) says,"In thehistoryf houghtthe subjectaffirmsts owncentrality nlyby disguising tself n the'imaginary*ppearance f foundation."2

Foucault, however, changesthe diachronic

analysisof his

projections, hich re totalizingnd at the same timepsychologicalntheir ubjective nternality. he phasesmutate n his work. Wegetadifferentake each timeon the Renaissance r French) lassicalperiodinLes Mots et les choses, n L'Histoirede la folie, nd inSurveiller tpunir. In stillanother akeon such arge-scale emporal tructures,ntheMille Plateaux (1980) of GillesDeleuze, thetemplates re in theform fspatial metaphors, hizome nd plateau conceptions hichprovidea focuspermitting constructive, iachronicdiscussionofculture as it draws on, relates to, and allows for the subjective

projection of spaces, without either the distraction of otherphilosophical questions or their resolution into descriptiveoversimplicity.hese schemes ntheir ery rbitrarinessreserve hevirtualityf heir pplication.3

Thereare constantlymutating bjectifications,fwhich he virtualspace or hyperspaceon the computer creen is only a simplifiedprojection, s are analogues to that processconjectured y such asBaudrillard rom dialecticaluxtapositionfnatural-culturalactors.Barbara Stafford 1991) documents extensivelythe projections,

2And in the words of Bruno Latour, "Is it our fault if the networks aresimultaneouslyeal, ikenature, arrated,ikediscourse,nd collective,ike ociety?"6).In thepresentationfSimonSchaffernd Steven hapin 1985),whosework s citedbyLatour,Boyleproduced he air pumpas an experimentalnd-run roundargumentsaboutbothplenum nd vacuumwhichwerepreoccupyinghemetaphysicalpeculatorsaboutthe Torricellixperiment ithmercurynthe seventeenthentury.But Hobbesscoredhimfor eingbound,without nowingt,to other resuppositions,the tatusofthephilosopher'sole,hissocial and moral haracter,hethought rocessesnvolvedndoing ntellectualwork, nd the natureof theknowledgehatwas the outcome fthiswork* 129). Thus even an experimentallysolated space could not escape beingconditionedy tsanthropologicaliting.Culture auntsnature.

3Deleuzereprojects complexfvirtuality,Butwhenwe ascend oward hevirtual,

whenweturn urselvesoward hevirtualityhat s actualizednthe tateof ffairs, ediscover completelyifferentealitywhereweno onger ave to searchforwhattakesplace from nepoint o another, rom ne instant o another, ecausevirtuality oesbeyond nypossible unction."From irtuaiswe descend o actual statesof ffairs,ndfromtatesofaffairswe ascend tovirtuais,without eing ble to isolate one from heother"DeleuzeandGuattari 57-160).











Symplokê Summer1994 33

"Newthresholds,ew anatomies "New thresholdsead to newanatomies,nd viceversa. Thequotation,s it turns ut, eemingoecho Renaissance r"earlymodern"spiration,s from poembyHart Crane.8 he feeling nderlyinghis notion fwhatSpenglercharacterizeds a Faustianconsciousnessstablishes continuitybetweenhemodernnd theRenaissancen whichhenew hresholdsof xplorationoincide ith henew natomiesfHarvey's iscoveryfthecirculationf heblood.Comparablessociationsccurwhen he

bodys taken s a basisforhegoldenection f rchitecturerojectedonto pace, n thethinkingfLeonardondothers,nd nthemanyRenaissanceiagrams,uch s those fThomas ludd, hatmap deasorcosmologiesnto hebody.And heprojectionf hehuman hysicalbody ponouter pace s poeticizedn PhineasFletcher'slaboratemetaphoror hebodyThePurple sland a spacewhich vacuateswhat tfills,ince tcorrespondseithero an actualphysicalody ortoanypossible eography.t s a nowhere,nou-topia,he itlewhichThomasMoreset in fashionable reek o his initially atinfableUtopia.

Somedecades ater heCartesianMind-Bodyroblemffectuallyrecognizeshe nteractionf he wontheir ery eparabilityndsetsthe tagefor hedialecticf heir nteraction.oucault ees this s anewbeginning,he separation fthe Renaissancefrom is later"classical."But t can alsobe seen as a continuity,hescepticismfDescartes evelopinghat fMontaigneustas Montaignedapted isown kepticismrom extusEmpiricusndrelated ncient hinkers.Kant's a priori, een by Foucault as inauguratingtill anotherepistemé,an alsobe takennthetraditionfDescartes' escogitansandres xtensa.Kant's ubject inds paceand time s a given nd

objectsn therealworld, hichwould nclude urperceptionsf hebody,renoumenao t, ubjecto tsprimacyhile nassimilableo tthroughny eries fLockean onstructions,s such xperienceserealready erived romdeas nthedeductionsfDescartes.

As Deleuze pointsout,moving urtherast Descartes, WhenSpinoza aysThe surprisinghings thebody... edo notyetknowwhat a body s capableof...', e doesnotwantto makethebodymodel,nd the soulsimplyependentn thebody.He has a subtlertask. He wants o demolishhepseudo-superiorityf he oulover hebody.There s the souland thebody nd both xpress ne and thesamething:an attributef hebodys also an expressedsic] f hesoul forxample,peed)." All ndividualsre nNature s thoughn

8See Crane 1933,89),"WineMenageries."







34 Albert Cook New Thresholds,NewAnatomies

a planeof onsistence hosewhole igurehey orm,planewhich svariable t eachmoment"1987, 9-61).

Inseparableromuch variabilityf heperceivedndperceivingbody s its relational haracter.Alexander oyréDescartesxxv)pointsut hat or escartescientia oncernstself ith elations,ndthe Golden ection,he crucial asis of dealprojectionsntonaturethroughrchitecture,culpture,ndpainting,s alsobasedonrelationsrather han nsimplemeasurement:lineAB is divided t a pointso that

proportionsproduced

nwhich CiABnCBrAC.9Thephenomenologicalact hat hebody aces orwardut s aware

of omethingehindt orientstspatiallynto ime. The unseen reabehind tandswell for hepastand the forwardook s set so as toimplyhefuture. rnst loch'sprinciplefhope"sgrounded,t thisangle,on ourveryphysical isposition,hich s at the sametimeinescapablyonnectedo,and limited y, ts Heideggerianbeingtowards eath."Already ithDescartes heprimacyndpriorityfthe deal over heempiricalllowsfor nd empowershe forwardpresentationfthe selfby referringll its senseperceptionso the

idealconstructionf tsexperiences.olviturmbulandomerges ithlaruatusprodeo. Powerfulhilosophical-intentionalocus n thisproblemhas led to an all-or-nothing r all-in-nothing fdeconstructionistheologyndrelatedmoves. One can alsobracketthese roblemsor middle-rangeetof ueries boutwhatHeideggercalled eing-in-the-world,n-der-Welt-sein.

In theRenaissancehe awareness f heselfhadalready ecomedialecticalnstage,nthe onnetsf hakespeare,nthenovel,nd nthe pecularityfperspectivaiainting. uchdialecticalevelopmentsfind heirmusical ounterpartn thegradual volutionfpolyphony.

For architecturehebody's rojectionnto pacefinds xpressionntown lanningndgarden esign.SuchactualizationsorrespondoDescartes' ater dialectical ombinationfthe empirical nd thetranscendentalubject,nDalia Judovitz's1988) howing.

9<Thenew cience,which s at the ame time new ogicwhich ivesus thepatternof ntelligibilitynd order nd the truenorm freason, s the mirabilis scientia ofrelations nd order...They] ormhebase of heCartesian eformf lgebra as well as ofthealgebraization fgeometrynd arithmetic)"Descartes xxv). In his Discourse on

Method,Descartes (PhilosophicalWritings 9) rejectsthe scholasticconception fimaginary pace (space outside the universe;this problemwas much discussed inantiquity,s byAristotlenPhysics, k.6.) He saysfurthern theSecondMeditation,Iknownow that even bodies are notreallyperceived ythe senses or the maginativefaculty,utonly y ntellect;hat hey reperceived,otbybeing ouched rseen,butbybeing nderstood"PhilosophicalWritings5).











Symplokë Summer 1994 37

Forthemodernorthepostmodern),nDeleuze'sAnti-Oedipehebodymachinegears to a "capitalist" ulturemachinewhich tintrojects, imics,nd moves hroughtsdesire.Butthenotion fcorps ans organes rojects spacethat s radically irtual. Foranactualbody otonly as organs ut nescapablynduninterruptedlyputs hem ocomplexse n tsmanipulationf pace.MillePlateauxis built n a virtualizedpatialmetaphor,congeriesf irtualpaces,conjoiningith notherpatialmetaphor,herhizoma. here eleuze

speaksof L'espaceisse et 'espace trié l'espacenomade t 'espacesédentairel'espace ùse développea machine eguerret 'espaceinstitituéar 'appareil 'Etat ne sontpas de mêmenature."SuchnotionsakeDeleuzebeyondhepost-Kantianpace-timeormulationsofBergson,hough heyrehispoint fdeparture. ut, gain,nthatwork herhizomandtheplateau unctions templatesatherhan sthe sortofsuperordinatelobalcultural rojectors ositedbytheepisteméfFoucault.Amonghevaried patialconcentrationshatenter eleuze's ategorizationsre the Nomad nd theTemple168-9/f.),ystemsfdeterritorialization214-215), lackholes 225-226),

territorialitynd art 388-389), nd theBauhaus 420-421).All ofthese re "virtualpaces,"ntellectualusions f henatural nd theculturalhat remorehan possible"ince heyxist but t the amethey re less thanfully ctual, incethey erve o organize vent-congeriesn timeby a virtuality hosepower s integral o itsconsequentlexibility.

Thevirtualpaceof paintingngages urfull ubjectivity,ut ntheRenaissancet does owith belatednessf ctualizationsothatthe questions ngagedfromMontaigne hrough escartescan bethoughtofindittle orrespondencentheprojectionsfpainting. he

perspectivaimeans of Piero della Francesca n themiddleofthefifteenthentury earlya hundredyearsbeforeMontaigne recomparableo those fPoussin, r even fRembrandtndRubens,nthe seventeenth entury, hrough he time of Descartes,withadjustable ifferencesf ttentiono thedialectic f he mpiricalndthe deal.15

Inourown onfrontationith hese imensionalitieseshould efaithfulo as full s possiblen awareness f ur xperiences,nd theprojectionsfthemnart. For the modern rojectionsf ubjectiveconstructs, onetvirtualizes viewer's pprehensivemmersionincreasinglyydiffusingolor,Matissebyabstractingolor romts

15These re well detailedfor he DutchRenaissancebySvetlanaAlpers1983);andfor heEnlightenmentyMichaelFried 1984).







38 Albert Cook New Thresholds,New Anatomies

experientialobject,while Cézanne operatesa retroductionfidealstructures rojected ot ntodistancebut ntothesubstructuresf heconesand othergeometric igures e declared o underlie hevolumeshe organized.Seurat himselfpokeof durée" nd"synthèse"ntermsthat can be correlated o the conceptions fBergsonand projectedoutwardntothesociety e reconstructedromhepointillisttoms ofcolor Crary1995). The use ofpointillismeorgroup cenesorganizesforthem a sortof "hermeneutic eduction" ywhich, n La Grande

Jatte,or

xample,he classical

perspectivevoidedfor uchworks s

La Parade is operative, rganizingtsmanyfiguresnto a dead heatbetween he anomieofDurkheimwhichJonathanCrary ppliestoit)and the sociable but dissociatedGemeinschaftof the groups heregathered longthe banksofan urbanriver. Furthervisualizationsare effectuatedhrough he entirerangeof modernpainting, nd insculpture from the play between three-dimensionalitynd two-dimensionalityhich ngages ndinterpretss iteffectuallyuestionsthebody f heviewer.16

Cubism famouslyreconstructs pace by forcing dialectic of

constructionn theviewer, ndApollinaire16-17)defines ts modesalong lines which are exactly n accordwithDescartes' distinctionbetween ideal and experiential: "'Scientificcubism*paints newensembleswith elementsborrowed otfrom hereality f vision butfrom hereality fknowledge...physical ubism1s the art ofpaintingnew ensembleswithelementsborrowedmostlyfrom he realityof

16Some xamples amongverymany maybe germanehere: The Calder mobilesandothers ang na nospace A Sphere nclosing Small Sphereyor xample, ouldbetaken odepict hemovementsf smallwatch butalso itcouldbe taken odepict he

stars n the heavens becausethere s no measurefor cale. In David Smith'snteriorfor xterior1939),onedimensions a plane, pen-gridrmature ith trapeze rtist,sthese are hungfrom hickwiresexpanding o anotherdimension.All this s on thevertical.Onthehorizontal, platformith nicked ndoverlappingdgeand throughthe armature nthe other ide) a thick orso-likeiguren elevationnext o a thinner,pedestalledcage. Similarly,n Interior 1937),multiple igures levatedand loopedverticallylmost n a singleplane, re supportedn a simplehorizontalectanglewithtwo tands. Space is manipulated eremuch s in Constructionn BentPlanes (1936).Anchorhead (1952) binds the two-dimensionalnchor onto a 3-dimensionalhungarmature f oops,under n "open" oopwith ne bend nthe oops, ndvariations,na5-pointedase.

JohnChamberlain'saminatedmetalsculptures reakspace downto that of theoriginal themselves onstructedmachines nd build t up again to the dimensional

patterns hatequivocatebetween wo and threedimensions,s do the sculptures fHenriLaurens,Picasso, nd others.Dan Flavinprojectsculpturen hisassemblage ora long orridorfChicago'sO'HareAirports an expandingeriesoutward verhead fmulticoloredeon tubesemphasized ya playof ights.The movementorward f thecurving ubes of ight emphasizes, xpands,geometricizes,nd lightly uggeststhetemporal anishing,f heforward ovementf hebody.









40 Albert Cook New Thresholds,NewAnatomies

A comparable trenuousness f dialecticalconfrontationetweenbody and space arises from he paintingof Jackson Pollock. AsRosalindKrauss saysofhim, If Pollock'spictures an be said to havethestructure f n event*t s becausetheynhabit he condition f hetrace and are formed y its violenceagainst the very possibility fpresence.They trike t thefigurenthemirror. hey mash t" 265).Andagain, writing fan essayonhimbyT. J.Clark,"Pollock's ct ofchallenging likeness* s seen as putting wo conflictingmages or

metaphorsnto

play:(1) a

figurefunity

thepictorial

wholenessor"Oneness"ofthe modernist eading), f a weightless ranscendencefthe terrestrial nd of gravity; nd (2) a figureof dissonance: ofexasperation,nterruption,nd violent efusal f losure.Althoughhefirst modernist) ne is characterized s beingdominant, t is theconflict rchallengeposed bythe second hat destabilizes hereadingin a cancelingout ofmetaphor tself,one that undoes the work'srelation o nature"201).20

As Deleuze saysinthisconnection,Everymultiplicityrows romthe middle, ike the blade ofgrass or the rhizome. We constantly

opposethe rhizome o thetree, ike twoconceptionsnd even twoverydifferent ays of thinking. A line does not go fromone pointtoanother,but passes betweenthe points,ceaselessly bifurcatingnddiverging,ike one ofPollock's ines."21

20As shecontinues,What s implieds thatPollocks tryingogetbelowmetaphorinto a new,hitherto nimagined elation o theworld, ne in whichthe mark wouldmanifest premetaphoricalense ofpresence see the sectionThe IndexicalMark'below). This picture f a struggle etween wopoleshas someoverlapwithmyownreadingof Pollock'swork as an oscillationbetweentwo axes the vertical and the

horizontal with heoptical xis nvaded nd underminedy he ndexical eading f hemark, rtrace.Where t differsandthatonthemostbasiclevel) s that forClark thetwo onflictingoles re bothimages/which s tosay, he ndexical s alwaysunderstoodrepresentationallynd neverformally. hismeansthat, s a 'picture' f omething,toccupies he domain f heverticalust as the mageofunity' r harmony'oes. ThusClark'sreading f hedrippictures, hile tbringsnthose spectsof hepaintingshatare difficulto reconcile ith heoptical eadingtherepulsiveskins'ofpuddledpaint,thetrashpiledon thepictures,tc.),proposes oalternativeeading hat ouldundo he'dominant'ne from ithin"Krauss 322).

21"To xtract heconceptswhich orrespondo a multiplicitys to trace he inesofwhich t is made up, to determinehe nature of these ines,to see howtheybecomeentangled, onnect, ifurcate,void or fail to avoid the foci. These lines are truebecomings, hich re distinct otonly rom nities, ut from hehistoryn which hey

aredeveloped.Multiplicitiesre madeupofbecomings ithout istory,f ndividuationwithoutubjecttheway n which river, climate,n event, day, n hour f heday,is individualized). That is, the conceptexists ust as much in empiricism s inrationalism,ut t has a completelyifferentse and a completelyifferentature: t sa being-multiple,nstead f being-one, being-wholerbeing s subject. Empiricismsfundamentallyinked o a logic a logic fmultiplicitiesofwhich elations reonly ne







Symplokê Summer 1994 41

Our accounts f hesubjectivemploymentf nd empowermentnvirtual pacewillbe less thanadequateiftheyfail totry o assimilatesuch complexities. And in the large phases of historythere arelayerings of assimilation from phase to phase as well astransmutations. o all thatsucceeds at the imitofexpressionn ourtime, nd not ust Pollock, an be seen to transpose heRenaissance,assume the Enlightenment, raw on the romantic, nd push themodern o thepointwhere t can be called postmodern.This can besaid acrossthe ine frommodern o

postmodern,nd either erm an be

applied, longwith he ayerings f ssimilation romarlierphases,tothe work fKandinsky,Mondrian, uchamp,Tatlin,Kline,Rothko ndJohns,among manyothers. These layeringsappear in the verbalpressurebrought o bear, comparablybut of course differently,nFinnegansWake,and in the workof,say, GertrudeStein, CharlesOlson,Paul Celan,MichaelPalmer,ClarkCoolidge, ndJohnClarke.22In the overallconfrontationf thebodywith the mind's constructedspace sameness-in-differenceverywheremoults nto difference-in-sameness.

BROWN UNIVERSITY

aspect)"Deleuze 1987,viii). "The inear egmentarityf uccession s substitutedor hecircularegmentarityf imultaneity"Deleuze1987,107).

22SeeCook1995.

References

Alpers,Svetlana. The Artof Description. Chicago: University fChicagoPress,1983.

Apollinaire,Guillaume. "Les Peintres Cubistes. Oeuvresen prose

complètes. aris: Gallimard, 991.

Baudrillard,Jean. SelectedWritings.Ed. Mark Poster. CambridgeandPalo Alto: Polity ress and Stanford niversityress,1988.

. Simulacres t simulation.Paris: ÉditionsGalilée,1981.

Breton, ndré. Les Vases communicants. aris: Gallimard, 955.







42 Albert Cook New Thresholds,New Anatomies

Cook,Albert. After lson nd Celan: The Breadthnd Twist f heReferent."mericanoetryeview4 4 1995):9-16.

. "TheBeginningfFiction:Cervantes." ournal fAestheticsandArtCriticism7 1959): 63-472. xpandedn TheMeaningfFiction. etroit:Wayne niversityress, 960. 7-23.

. Dimensionsf he ign n Art. Hanover: heUniversityressofNew

England,989.

. Temporalizingpace:theTriumphanttrategiesfPierodellaFrancesca.NewYork: eter ang, 992.

. "TheWildernessfMirrors." enyon eview ummer1986):90-111.

Crane,Hart. "WineMenageries."Collected oems. New York:Liveright,933.

Crary, onathan. "Seurat's a Parade: Modernizingerception."Lecture ivent Brown niversityn 16February995

Deleuze, Gilles. Dialogues with Claire Parnet. Trans.HughTomlinson nd Barbara Habberjam. New York: ColumbiaUniversityress, 987.

. La Logique u sens. Paris:Minuit,969.

. Mille lateaux.Paris:Minuit,980.

. Nietzsche tla philosophie. aris: PressesUniversitaireseFrance, 962.

Deleuze,Gilles ndFelixGuattari.What s Philosophy? ewYork:Columbia niversityress, 994.

Derrida, acques. syche. aris:Galilée, 987.

Descartes,Rene. PhilosophicalWritings.ntro.Alexander oyré.Trans. lizabeth nscombendPeterGeach. ndianapolis: obbs-Merrill,975.







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Fried,Michael.AbsorptionndTheatricality.erkeley: niversityfCaliforniaress, 984.

Greenblatt,tephen. Renaissance elf-FashioningromMore toShakespeare. hicago:UniversityfChicago ress, 980.

Husserl, dmund.DieIdeederPhänomenologie.heHague: Nijhoff,1958.

Judovitz,Dalia. Subjectivitynd Representationn Descartes.Cambridge: ambridgeniversityress, 988.

Keiper, Hugo. Studienzur Raumdarstellungn den DramenChristopherarlowes. ssen:dieBlaueEule,1988.

Krauss, osalind . TheOpticalUnconscious.ambridge: ITPress,1993.

Lacan,Jacques. ncore: éminaireX. Paris: euil,1975.Latour, runo.WeHaveNever eenModern. rans.Catherineorter.

Cambridge,A:Harvard niversityress, 993.

Merleau-Ponty,aurice. 'Oeil coute. aris:Gallimard,986

. Phénoménologiee aperception.aris:Gallimard,945.

Schaffer,imon nd Steven hapin. Leviathan nd theAir-Pump.Princeton,J:Princetonniversityress, 985.

Stafford,arbaraMaria. BodyCriticism:maging heUnseen nEnlightenmentrt nd Medicine.Cambridge, A: MIT Press,1991.

Vattimo,Gianni. The End ofModernity. rans. Jon R. Snyder.Baltimore:heJohns opkins niversityress, 988.

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ART - New Thresholds, New Anatomies. Virtual Subjectivities and the Historicity of Periodization