Captive Thinking, Thinking Capture Entanglements, or Transmedial Thinking about Capture, by Rey Chow. Durham, NC: Duke University Press, 2012. 186 pp. $23.95 paperback. $84.95 hardcover.What if entanglement, attachment, and captivity were understood not as obstacles to freedom to be overcome but as categories of agency and critical thought? What would a mode of thinking that did not belong to itself, that dwelled in passivity rather than attempting to act, look like? masochism best describes unifying gesture of Rey Chow's Entanglements, or Transmedial Thinking about Capture, a collection of essays that explore, across a wide spectrum of phenomena and media, epistemological and erotic implications of being on receiving end of historical structures that capture and dominate. Chow cautions against any kind of intellectual move that would attempt to give critic upper hand over his or her object, whether it be an artwork or a historical constellation. Rather, as Chow argues, one must take states of captivity, servitude, and entanglement as being constitutive of thinking.Entanglements, as Chow writes in her introduction, imply the linkages and enmeshments that keep things apart; voidings and uncoverings that hold things (12). essays in volume assemble a multitude of cross-disciplinary motifsfigures culled from philosophy, literature, film, and visual art-that are held together by precisely this sense of a fragile and shared differentiation, by meetings that are not necessarily defined by proximity or affinity (1). book offers a critique of what Chow sees as a tendency in contemporary theoretical thinking to equate reflexivity with critical distance that, according to her, effaces sensuous captivation in name of laying bare device (16). In first chapter, When Reflexivity Becomes Porn, Chow argues that Brechtian gesture of distanciation becomes in contemporary culture a normalized state of cool detachment. Critical distance, or impulse to estrange spectator from embodied fellow feelings such as pity and fear in order to reveal workings of medium as such is, in Chow's view, comparable to pornography (30). Obsessed with unobstructed visibility, both porn and aesthetic reflexivity dwell in shocking disconnect between spectacle and spectatorship, between extreme staging of trauma and nonchalance of audience reaction (ibid.). Chow's point is that in its desire to visualize structures of mediation, Brechtian reflexivity attempts to occupy an active and scoptic position, to see rather than be seen, to act rather than to be acted upon. In chapters 2, 4, and 5, Chow identifies similar dynamics at work in key figures of contemporary thought: Jacques Ranciere's discourse on aesthetic democratization, Giorgio Agamben's concept of bare life, and Jacques Derrida's valorization of forgiveness. Chow demonstrates that in each instance agency of victim qua victim is effaced through an undue emphasis on, respectively, unmarked beholder, sovereign, and/or one who forgives. Chow instead envisions a mode of thinking that would be enmeshed with victim. While Ranciere could only understand Emma Bovary's death as an act of murder by Flaubert, her author, what would it mean, Chow asks, to see her suicide as self-authored?To this end, Entanglements examines a series of literary, visual, and philosophical figures that, in Chow's view, demand a different kind of thinking, one that resides on passive side of uneven relationships. A most poignant example occurs in second chapter, On Captivation, where Chow supplements Ranciere's conception of art as that which challenges distinction between art and nonart with anthropologist Alfred Gell's example of animal trap as both art and artifact. The trap is, to all appearances, opposite of freedom, observes Chow, but its absolute closure is assumed only from perspective of hunter (42). …
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