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SCHIZO-CULTURE Sylvere Lotringer

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SCHIZO-CULTURE Sylvere Lotringer • -�- '42-- 42- A _ -f-a4t7"-f-@ 1-2 olume III, o. 1, �i:1-SeP 4� mI""'"� 13-16 42 - 1-8 42 3 1-4 42 - 5 5-8 '-- 76- 1- 16 I- 76-'j�_ --1 5 ..-;- -1-2' 35 1-4 S-;-B-- - -----j-8 I 7-8- ---:<5 1-4 \ '15-16. -A- 15 7-8 - � C TE.L 20 -A - 1-16 15 7-8 LYERE-2 5 -A- 10 3-4 -8- 35 1-2 D"ffiE 30 5-8 -A- -A- 35 1-2 D'-�ERE 35 3- 4 2 1-4 -A- 35 1-2 [)I G EO 4 0 9 1-4 10 J-4 II 3-4 49 1-4 DIG EO 45 4 J-8 6 1-2 8 1-4 49 1-4 DIG E(l 50 J 5-8 5 1-2 49 1-4 DISNEY 35 7 1-2 8 1-2 -A- 42 3-4 DISNE Y 40 2 7-8 4 7-8 6 42 3-4 DISNEY 45 3-8 2 9-16 31-2 42 3-4 IlU �NT 100 ,31-2 -8- -8- 131 3-4 DLJ eNT 10 21 1-2 23 1-4 24 1-4 31 3-4 Kat�� M!kerDLeeIBreUerD1 WilliamlBll rrou� JOMe Dav!d,i;iooRe �cdGlijetp _ el��zi� DouglassDonnDRichard-ForemanDMicbel_ iIl(}Imlult Joh�qfqr��DPhiiQ.��D �sDeI!fistop�e� KW�s Jfllto�FraJl�oisLyotardDiJjri ke M¢inliof32 GI LLETJack SmithDRobe1't'Wilsow 32 01 LET J5 - A -,1-16 1-8 32 G-WYR I') Land more J 17 3-il -A- {- IA us:t +0 .. +0 5 .... --- BRAlN mCld. • • • • - • - "-------- I , 522 Philosophy HaiL semiotexteColumbia University New York, N.Y. t0027 (212) 230-3956 EDITORIAL COMMITTEE: Denise Green, Denis Hollier, James Leigh, Sylvete Lotringcr (General Editor), Roger McKeon. Jobn Rajcbman. Michel Rosenfeld, Pal Steir. ASSOCIATE EDITORS Tbomas Gora, Suzanne Guerlac, Lee Hildreth. DESIGN EDITOR Gil Eisner ISSUE DESIGNERS Martim Avillez, Kathryn Bigelow, Diego Cortez. Peter Downsborough, Denise Green, Linda McNeill, Michael OblowUz, Pat Steir. PRODUCTION STAFF Janet Adams, Fred Dewey, Chuck Clark, Jonathan Crary, Vivian Efthimides, Rick Gardner, Judith Garrecht, Georgina Horvath, Alice Jardine, Usa Kahane, David Levine, Louis Marvick, Rachel McComas, Stamos Metzidakis. Linda McNeill, Rita Nader, Betsy Rorschach, Andrew Rosenbaum, Addie Russo, Julio Santo Domingo, Alan Schwab, Syma Solovitch, Irwin Tempkin, Peggy Waller, Marc Weinrich. SPECIAL EDITOR FOR SCHIZO-CULTURE Sylvere Lotringer BENEFACTORS Gerard Bucber, Katbleen Duda, Mia Lotringer, David Neiger, Jobn Rajcbman. Pamela Tytell. Contributions of $50.00 or more are listed as Benefactors and 525.00 as Sponsors. All contributions are tax�deductible. SUBSCR1PTlONS Individuals: 51.50 per volume; Institutions: 518.00. Three issues comprise one volume. Add 52.00 per volume for surface mail outside the U.S. and Canada. Checks should be made payable to Semiotext(e}, Inc. Exclusively Use International Money Orders if outside the U.S. Semiotext(e} is a self-supporting, non profit journal. It is Indexed in MLA Bibliography and French XX Bibliography, ©by Semiotext(e), Inc. 1978 ISSN. 0093·95779 SCHIZO- CULTURE Michel Foucault, The Eye ojPower ••, . " ••••••••••.•••••.••••••••.•.•••••••••••6 Robert Wilson, Int ervie w .••..••••••.••.••••••••••.•••••.•.••..•.•••••••••••••20 Fran�ois Pt'iraldi, A Schizo and the1nstitution ..•................•. " ............ 20 Guy Hocquenghem, We All Ca n't Die in Be d ••.•••.•••••••.•••••..•.••••••••••••28 The Ramones, Te enage Lobotomy •••.••••..•••••.• '" •.•••••••••.•, •• " •• " •••32 The Bost on Declaration on Psychiatric Oppre ssion ...••..• '" •• " •••, .••.•. '" ••.34 William Burroughs, The Limits of Control••.•••••.••.• , •• " •••• " ..•••••••••••, ••38 Louis Wolfson, Full St op for an InfernalPlanet ••••, •.•, ••••••••••••••••••••••••44 Lee Breuer. Media Rex ••.•.••••••.•.•••••••••••••••••••••••••••••••••••••••••48 Eddie Griffin, Breaking Men's Minds .••••.•••••••• '" •••••••••.•••••• " •••••••48 Wendy Clark, Love Ta pes •• '" ••.••••.•••••.••••..•••.••••••••.••••••••••••••60 Police Band, Antidise stablishment Tot alitarianism ••...••••••••.••••.•.••••••••••64 Elie C. Messinger, Viole nce to the Brain •••••••••••• '" ••• " •••••• '" •• " •••••••66 David Cooper, The Invention of Non-Psychiatry ••.•••, ••.•, .•••••••.••••••••••••66 Martine Barrat, Vicki •.•••••••••.•••••••••••••..••••.••••••••..••••••••.••••.74 John Giorno, Grasping at Emptiness •.• '" ••••••••••• " ••••••••••••••••••••••••82 The Ha rd Machine ••••••••••••.••••••••.••, ••.•, •••••• " •• , •••• '" •••••• " ••96 Alphonso F. Lingis. Sa vages •••••• " ••••••••••, " ••, •.••••••••.•, " •• " ••••.••96 Bernard-Henri Levy. The ''Argentine Model" ............. ................... 108 Kathy Acker, The Persia n Poems •••••••.•••••.•••.•.•••••••.•••.•••••••••••••116 Richard Foreman,14 Things I Te ll Myself .................... ......... '" ..... 124 Seth Neta, To- Ana-No·Ye (Anorexia Nen'osa) .••••••••.••.•••••••••.••••••.•..133 Andre Cadere, Boy wit h a Slick •••••, •.•••• " •••..•.•.•••.•.•.••••.•.•••.••.•140 Ulrike Melnhof, Armed Anti-Imperialist Struggle ••••.• " .••••••.•••••••• " •• " • 140 Gilles Deleuze, politics •••••..•.•••••.•••••••••••••••.••••••.••••••••••••.••• 154 John Cage, Emptywords ••• " ••••.•.••, •••, .•• '" .•••••••.•, •••, '" ••••••••••165 Pat Steir .•••.•••..••.•••.••••, •••,. " ., .•••••..•.•..•••, ••••••••••. " •••.•175 Jean-Jacques Abrahams, Fuck the Ta lkies ••......... " ........................ 178 Phil Glass, Intervie w ••..•••••.•. " .,•••• , " •.•••••, ••• '" ., •••, '" •••••.••••178 Jack Smith, Uncle FishoQk and the Sacred Baby Poo-poo of Art ..•.•.••.••.•••••.. 192 Jean Fran\,ois Lyotard, On (he St re ngth of the We ak." .•.••.••••••••••••••••••••204 Douglas Dunn. Interview ..••••.•• " ••••, •• , ••.••••••••• " ••••••••••••••••••.204 Back Is sueslF'orthcoming •.•• " .••••.•••• '" ••. " ., '" •.• " •. " •••••••••, ••••220 Credits for Visuals ••••••..•.•••••.•••...••••..••••••••••••••••.••••••••••••221 Michel Foucault The Eye of Power Jean·Pierre Barou: Jeremy Bentha m's Panopticon, a work published at the end of the 18th century that has remained largely unknown, nevertheless in­ spired you to term it "an event in Ihe history oj the human mind", "0 revolu­ tionary di scovery in the order of politics". And you descr ibed Bentham, an Englishjurist, as "the Fourrier of a police society", I This is all very mys ter ious for us, but as for you, how did you encounter the Panopticon? Michel Foucault: It was while studying the origins of clinical medicine. I was considering a study on hospital architecture in the second half of the 18th cen­ tury. at the time of the major reform of medical institutions. I wanted to know how medical observation, the observing gaze of the clinician (fe regard mMical), became institutionalized; how it was effectivelY inscribed within social space; how the new hospital structure was at one and the same time the effect of a new type of perception (regard) and its support. And I came to realize, while examining the different architectural projects that resulted from the second fire at the Hotel-Dieu in 1772, to what extent the problem of the total visibility of bodies, of individuals and of things, before a centralized eyesight (regard). had been one of the most constant guiding principles. In the case of hospitals, this problem raised yet another difficulty: one had to avoid contacts, contagions, proximities and overcrowding at the same time as insur­ ing proper ventilation and the circulation of air: the problem was to divide space and leave it open, in order to insure a form of surveillance at once global and individualizing, while carefully separating the individuals under surveil­ lance. For quite some time I believed these problems to be particular to 18th century medicine and its beliefs. Later, while studying the problems of penal law, I became aware that all the major projects for the reorganization of prisons (projects that date, incidental­ ly, from slightly later, from the first half of the 19th century) took up the same theme, but almost always in reference to Jeremy Bentham. There were few texts or projects concerning prisons where Bentham's "device", the "panop­ ticon" , did not appear. The principle resorted to is a simple one: on the periphery runs a building in the shape of a ring; in the center of the ring stands a tower pierced by large windows that face the inside waH of the fing; the outer building is divided into celis, each of which has two windows: one corresponding to the tower's win� dows, facing into the cell; the other, facing outside, thereby enabling light to traverse the entire cell. One then needs only to place a guard in the central 7 tower, and to lock into each cell a mad. sick or condemned person, a worker or a pupiL Owing to the back-lighting effect, onc can thus make out the small captive silhouettes in the cells. In summary, the principle of the dark cell is re­ versed: bright light and the guard's observing gaze arc found to impound bet­ ter than the shadows which in fact protected. One is already struck by the fact that the same concern existed well before Bentham. It seems that one of the first models of this form of isolating visi­ bility was instituted in the Military Academy of Paris in 1751, with respect to the dormitories. Each Of the pupils was to have a windowed liell where he could De seen all night long without any possible contact with his fellow· students or even the domestic help. In addition there was a very complicated mechanism whose sole purpose was to enable the barber to comb each of the residents without touching him physically: the pupil's head extended from a kind of skylight with the body on the other side of the glass partition, allow­ ing a clear view of the entire process. Bentham told how it was his brother who first had the idea of the panopticon whiie visiting the Military Academy. The theme was, in any ca!le, clearly in the air at this time. Claude-Nicolas Ledoux's constructions, niost notably the salt-mine he had organized at Arc­ et-Senans, tended
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