Notes
[1] The reference here is to the Turk
automaton to which
Walter Benjamin's refers in his "Theses on the Philosophy
of History," (1968, p. 253).
[2] I would be remiss to mention that
the more charitable reading of Althusser's project provides that
the thesis concerning the relative autonomy of ideological agents
(Ideological State Apparatuses) was forwarded to counter a different
kind of idealism: that superstructural elements clearly reflect,
in a homologous fashion, material arrangements of the base. On
the contrary, as Althusser is careful to point out, this autonomy
is "relative" precisely because, "in the last
instance," it is an expression of the base: ". . .
the great theoretical advantage of the Marxist topography, i.e.,
of the spatial metaphor of the edifice (base and superstructure)
is simultaneously that it reveals that questions of determination
(or of the index of effectivity) are crucial; that it reveals
that it is the base which in the last instance determines the
whole edifice . . ." (Althusser, 1971, p. 136).
[3] This sympathetic description should
be read in contrast to Cloud's understanding of the nomenclature,
which is only partially accurate: "This work [Althusserian/Foucauldian/Butlerian/Deleuzian]
is often called materialist in so far as it attends not only
to texts but also to corporeal experience and inorganic objects
as features of the social world that are not entirely fathomable
in the reading of texts" (2001, para. 21).
[4] Althusser's solution to this problem,
of course, was to argue for the materiality of the ideological
(Althusser, 1971, p. 166).
[5] Again, ". . . the great theoretical
advantage of the Marxist topography, i.e., of the spatial metaphor
of the edifice (base and superstructure) is simultaneously that
it reveals that questions of determination (or of the index of
effectivity) are crucial; that it reveals that it is the base
which in the last instance determines the whole edifice . . .
" (Althusser, 1971, p. 136).
[6] "Monkey men/all in business
suits/teachers and critics/all dance the poot/are we not men?/we
are DEVO!/are we not
men? D-E-V-O" (Devo, 1978).
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