By Félix Guattari

The French thinker Félix Guattari often visited Japan through the Eighties and arranged exchanges among French and eastern artists and intellectuals. His immersion into the “machinic eros” of jap tradition placed him into touch with media theorists corresponding 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 fits and between alt-culture comrades, Guattari positioned himself into the thick of jap becomings in the course of a interval during which the bubble economic system endured to mutate. This choice of essays, interviews, and longer meditations indicates an intensive philosopher exploring the architectural setting of Japan’s “machinic eros.”

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Extra resources for Machinic Eros: Writings on Japan

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But desire is first of all this activation of an­ other world of possibilities. This is our problem with desire: it is 36 the economy of the possible that emerges from a rupture in the economy of the "already-there," the economy of the stratified, the economy of repetition. " W hat is in question with desire is creativity, a change in the system, a breaking-up of structures. And this is something that is not at all an anti-scientific matter. It could perhaps be a matter of anoth­ er kind of analysis, which could be at the same time pragmatic, political, scientific, social.

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.

Laura Betti, Adolphe Spier. Philippe Soupault. Barthes, Camera Lucido, p. 27. 59 Here their attested faciality no longer totalizes faciality traits. On the contrary, these start to interfere with contextual traits. They bring deterritorialized Universes of existential reference into ex­ istence. But, thinking about it, are we not in the presence of a general faciality function? The face of Christ, like the traces on the Turin Shroud, hasn't stopped haunting Western capitalistic subjectivity, like the faces of President Washington, Lincoln and Jackson on the American dollar!

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