By Félix Guattari
The French thinker Félix Guattari usually visited Japan through the Eighties and arranged exchanges among French and jap artists and intellectuals. His immersion into the “machinic eros” of eastern tradition positioned him into touch with media theorists akin to Tetsuo Kogawa and activists in the mini-FM group (Radio domestic Run), documentary filmmakers (Mitsuo Sato), photographers (Keiichi Tahara), novelists (Kobo Abe), the world over well-known architects (Shin Takamatsu), and dancers (Min Tanaka). From pachinko parlors to high-rise highways, along company matches and between alt-culture comrades, Guattari placed himself into the thick of eastern becomings in the course of a interval during which the bubble economic climate persisted to mutate. This number of essays, interviews, and longer meditations exhibits a thorough philosopher exploring the architectural atmosphere of Japan’s “machinic eros.”
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Extra info for Machinic Eros: Writings on Japan
Sample text
Alain Robbe-Grillet, Joseph Beuys, Brion Gysin, Christian de Posampac. 12. Jean Degottex, Iannis Kounelis. 13. Xenakis, William Burroughs. 14. Philippe Soupault and Romain Weingarten. 15. Jean Carzou and Roland Torpor. 57 From the first, decidedly prototypical, portrait of Ricardo Bo fill, what seems to me to be the heart of Keiichi Tahara's aesthetic goal finds itself laid bare. To apprehend it, it is worth pinpointing the play of complementarity that is established between the vis ible eye of the left of his face and the invisible eye of the right of his face, which is ready to reappear in a fugitive but fulgurant, quasi-hallucinatory fashion, on the basis of the miniscule trace of white that remains of it.
In this regard, two of the most significant portraits concern Arman, in which relations of complementarity are established between his beard in the left foreground and a sculpture made of metallic pincers in the right background, the half-lit face on the left and the black profile on the right, the eyes in shadow corresponding to the full opening of the eye-window protected by bars. In addition, one ought to take stock of other modes of enact ment of this same existential effect: 16. y, trans.
I am calling it an assemblage, which is collective. The collective assemblage does not imply the involvement of many people as it is an inhuman process. This inhuman process is a cosmic entity or a biological-hormonal his tory of abstract machines, and at the same time, can also be a his tory of rhythm imposed by a pure type of repetition that cannot be controlled by the logic of humanism. Translator: In fact, Min's work consists precisely in detaching from this manipulative idea of assemblage.