The index that appeared in the print version of this title does not match the pages in your eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
abstraction, 25, 33, 36, 42, 46, 91
acting, 88, 111
actor, 10, 13, 90, 92, 94, 98, 101, 103, 109–11, 113, 124, 125, 161n20
affect(s): and acting, 88; co-assemblies, 6, 101; communication of, 7, 10, 17, 19, 22, 48, 49, 51, 52, 55, 59–60, 63, 65, 67, 70, 71, 83, 88, 94, 119; compositional aspect of, 11, 21, 24–46; contagion of, 48–51, 63; and emotion, 101, 154n9, 155n22; and ethics, 81, 135, 154–55n19; freedoms, 5, 8, 31, 50, 82, 101, 103, 154–55n19; as hinge, 7–8, 11, 93; and image, 58–9; inhibition and amplification of, 15, 60–61, 70, 81, 104, 125, 159n19 (see also repression; Tomkins, Silvan: and General Images); and language, 12, 18–19, 27, 36, 55, 59–60, 73, 94, 102, 106, 126; location of, 7, 34–35, 50, 58–59 (see also face; gesture; voice); and metacommunication, 19, 156n35; movement of, 1, 2, 11, 35, 51, 76, 94, 102, 117, 151 (see also identification; transference); and “original relation to the other,” 14, 155n28; redundancy, 50; regulation, 23, 52, 66, 121, 159n25, 162n20 (see also tempo); and theatricality, 10–11, 18, 81–82, 143; theories of, 1, 31, 97 (see also Bion, Wilfred; James, William; Klein, Melanie; object-relations theory; Tomkins, Silvan). See also entries for specific affects and feelings
affect theory, 1, 6, 9, 11, 14, 20, 61; definition of, 3; and poetics, 3. See also Tomkins, Silvan: and script theory
affective coordination, 98, 102–5, 110–13, 117, 121
“affective turn,” 4, 153n4
affectlessness, 3, 121, 138, 139, 143
aggression, 45, 106, 124
analog and digital, 6, 13
analysis. See Poe, Edgar Allan: and
Angell, Callie, 122, 123, 124, 126–7
anger, 3, 32, 39–40, 41, 43, 45, 50, 64, 65, 67, 68, 79, 81, 91; as basic affect, 5, 6, 101
anticipation, 100–103, 121. See also nervousness
anxiety, 38–39, 67, 159n19
Aristotle, 2, 85, 103
Artaud, Antonin, 12–13
astonishment, 81, 98, 138
attention, 1, 21, 25, 26, 42, 46, 72–73, 110, 142, 151; to affect, 1, 8, 29, 33–34, 76, 88, 99–100, 102, 152; analyst’s, 9, 36–37; audience, 111–13, 124–5; compassionate, 36; introspective, 6; media, 129, 139.
audience, 1, 9, 15, 25, 111, 150–52; James, Henry: and, 78–79, 91, 94–95, 160n10; and knowledge, 98–99, 108; response, 1, 2, 3, 47, 99–100; and shame, 64, 125, 146, 159n22; Stein, Gertrude: and, 96–99, 110, 161n3; Warhol, Andy: and, 120–21, 147–8. See also affective coordination
Bateson, Gregory, 18–19, 92, 133, 155n34
Bion, Wilfred, 1, 10, 33, 77, 82, 93, 95, 97, 98–99, 121, 152; Experiences in Groups, 22, 73–76, 83–85, 90, 114; on genius and Establishment, 91–92; Learning from Experience, 22, 106–7, 108–9, 114; theory of thinking, 91, 106–9, 110, 114, 162n; writing style, 75–76. See also container/contained; group(s); object-relations theory; reverie
boredom, 33, 124, 138
Brecht, Bertolt, 98, 103, 121
Brooks, Peter, 80–82
Burns, Charles, 68–70
Cage, John, 117, 139, 165n3
catharsis, 103
character, 52, 54, 58, 77, 81, 102
childhood, 35, 39, 72, 74, 77, 90, 110, 147
cinema. See film
circular causality, 132, 136, 147. See also feedback
Cole, Jack, 47–52, 61–62, 70, 71
comedy, 73, 75, 138. See also funny
comics, 47–52, 61–62, 68–70
communication, nonverbal, 83, 88. See also affect(s): communication of
compassion, 36–37. See also sadism
completion, 30, 103–5, 109–10
complexity, 26, 28–29, 102, 132; of affect, 21, 32, 58–61, 81–82, 91, 135; of groups, 114, 115; organized, 5, 30; and television, 128.
composition(al), 1, 2, 3, 6, 8, 11, 20, 24–26, 30, 36, 39, 40, 42, 46, 61, 70, 78, 81, 91, 103, 151, 156n7; differences, 34, 37; force, 1, 2, 152
confession, 65, 75, 146, 159n20
confusion, 9, 11, 21, 25–28, 32–36, 73, 77, 82, 83, 87, 97, 135; and death instinct, 10, 43–44, 60, 76, 81. See also envy; muddle
consumer, 120, 123, 144, 148–49
container/contained, 10, 22, 38, 61, 91, 107–8, 109, 113, 114, 121, 129, 137, 149
contempt, 5, 28, 60, 61, 67, 68, 158n12
control, 23, 57, 60, 61, 63, 91, 121, 136, 147–48, 159n25; cybernetic understanding of, 132–34. See also affect(s): inhibition and amplification of; feedback
conversion, 23, 121, 133–34, 135–36. See also Warhol, Andy: conversion to self
criticism, 1, 3–4, 19, 21, 33, 44, 51, 52, 63, 70, 154n9
crowd, 49, 56, 57, 61–62, 74. See also multiplicity
cybernetics, 3, 4, 23, 30, 58, 131–34, 147, 154n11, 155n20, 158n17, 164n34, 164n36
Cynics, 23, 131, 144–49
Darwin, Charles, 10, 101
death instinct. See Freud, Sigmund: and
deconstruction, 11, 16, 19, 51, 55, 81
Deleuze, Gilles, 4
depressive position, 44–46, 120, 136, 157–58n36.
Derrida, Jacques, 2, 55, 104; affect in his general theory, 11, 15, 154–55n19; and cybernetics, 155n20, 164n36; “Freud and the Scene of Writing,” 11–18; and materialism, 16, 18, 156n5; metaphor of the stage in, 11–18, 155n22; and structuralism, 13
despair, 57, 84, 90, 138. See also distress
destructiveness, 10, 37, 38, 43–45, 61, 63, 84, 91–92, 106, 109. See also envy
Diogenes, 145, 148
disgust, 5, 6, 45, 60, 68, 76
distress, 19, 32, 39–40, 41, 47–50, 54, 60, 67, 73, 86, 124, 156n35; as basic affect, 5, 41, 68; cry of, 41, 67, 89–90
embarrassment, 64, 90, 101, 146, 159n22.
emergence, 30, 58, 61, 76, 81, 106
emotion. See affect(s): and
emotional syncopation, 96, 96, 99, 110–12
empathy, 98. See also identification
enjoyment, 25, 32, 76, 87, 101, 156n5; as basic affect, 5, 31, 49, 50, 61, 63; and communion, 59–60; of excitement, 103; in infant development, 31; of mistake, 27–29, 147; of negative affect, 60
envy, 10, 21, 43–45, 46, 106, 124, 140.
ethics, 80–81, 131, 135, 160n2. See also affect(s): and ethics
evil eye. See Tomkins, Silvan: and taboos on looking
excitement, 3, 6, 25, 76, 100, 158n17; as basic affect, 5, 31, 101; for grammar, 30; in infant development, 31; nervous, 68–69, 100, 103, 110 (see also nervousness); Poe and, 52, 59, 60; Stein on, 22, 34, 98, 102–5, 109–10; Tomkins on, 22, 32, 60–61, 99, 101
expression, 6, 19, 20, 56, 60, 68, 70, 71, 82, 94, 124, 125, 127, 158n15; of envy, 44; facial, 10, 42, 47, 48, 50, 53, 55, 56, 58, 64–65, 83, 124, 129, 156n35; problem of, 53–55, 63, 68; and repression, 21, 52, 61, 80–81; theory of, 51, 61, 71; verbal, 12, 15, 84. See also affect(s): communication of, location of
expressiveness, 10, 18, 51, 52, 57, 58, 60, 65, 66, 68–69, 124, 139, 151
face(s), 11, 47, 94; in comics, 47–50, 68–69; infant perception of, 45, 157n36; as medium of affect, 7, 10, 17–18, 50, 128, 154n11; Poe and, 21, 52–58, 59, 63–65; reproduced and distributed, 118, 121, 128; in Warhol’s films, 123–28. See also expression, facial; mask(s)
fantasy, 19, 40, 89, 120–21, 128, 129, 146
fear, 37, 41, 45, 50, 55, 68, 77, 85, 89, 103, 104–5, 159n19; as basic affect, 5, 60, 61, 62, 67, 68, 101. See also anxiety
feedback, 3, 6, 7, 30, 58, 68, 121, 132, 136; negative, 30, 133, 134, 147; positive, 144, 147.
feeling, 1, 6, 8, 9, 21, 25, 26, 28, 29–30, 42, 51, 54, 57, 60, 65, 66–67, 68, 78, 80, 84, 94–95, 99–101, 102, 105, 107, 124, 128, 139, 152, 162n20
Feldman, Morton, 23, 150–52, 157n11, 165n3
film, 17, 18, 20, 22, 66, 67, 71, 109; Henry James and, 161n22; Poe and, 62, 70; psychotronic, 70; Jack Smith and, 165n50; Stein and, 115–16; and theater, 64, 115. See also Warhol, Andy: Empire, Outer and Inner Space, Screen Tests, Sleep
force, 13, 19, 26, 29, 41, 61, 80–81, 91, 151. See also composition(al) force
Foucault, Michel, 20, 23, 121, 164n31; The Courage of Truth, 131, 144–45, 148; critique of Althusser, 134–35; and cybernetics, 132–34; The Hermeneutics of the Subject, 131, 133–36, 142; on power, 133; and psychoanalysis, 135, 164n; and Warhol, 131–32.
frame(s), 2, 10, 18, 19, 47, 48, 52, 121, 123, 152; metacommunicative, 19, 155n34, 156n35
Freud, Sigmund, 3, 4, 12–15, 22, 51, 52; and death instinct, 10, 43, 44–45; differences between Klein and, 8–9, 24, 35, 40, 43; differences between Tomkins and, 4, 5, 24, 41, 67, 154n; and drive theory, 4–5, 41, 45; on group psychology, 74; “Note on the ‘Mystic Writing-Pad,’” 13–14; and transference, 8
frustration, 25, 105, 108; and group dynamics, 22, 77, 85; and thinking, 33, 106–7, 162n20
funny, 19, 131, 140, 147, 156n. See also comedy
gesture, 11, 14, 35, 42, 49, 56, 80, 94, 111, 113, 116, 124
Goldberg, Jonathan, 16–17, 18, 156n5
governmentality, 23, 131, 133, 134–35, 144, 146
grief, 5, 45, 49. See also distress
group(s), 13, 20, 33, 44, 77, 91, 93, 114, 115, 117, 130; basic assumption, 83–85, 90, 93; consciousness, 74, 75, 85, 90, 92, 156n7, 160n10; family, 22, 72, 74; individual and, 7, 15–16, 22, 51, 74, 85, 90, 91–92, 95, 99, 107; leader, 74, 84; psychology, 16, 22, 72–76, 82, 83–85, 93, 95, 99, 114; and technologies of affective communication, 22, 115, 117–18; therapy, 10, 73, 75, 114, 160n3; work group, 74, 83, 85, 90, 93
Hackett, Pat, 130, 136, 144, 147
Hadot, Pierre, 130, 131, 164n31
hand(s), 11, 14, 16, 18
Hejinian, Lyn, 36–37
Hellenistic philosophy, 130, 134, 135–36, 142, 143
here and now, 9, 21, 36–37, 40, 42, 56, 106. See also present moment
Hinshelwood, Robert, 9, 35, 40, 41, 75–76, 106, 119
Howe, Susan, 37
humiliation, 67, 76, 79, 126, 148. See also shame
identification, 48, 55, 66, 75–76, 90, 97–98, 108–10, 113–18, 121, 159n24; introjective, 8, 9, 74, 107, 109, 128, 135, 137; projective, 8, 9, 10, 67, 74, 85, 106–7, 109, 129, 135
impatience, 6, 94, 100, 101
infantile experience, 8–9, 31, 35, 38, 40, 41, 43–45, 54, 59, 74, 82, 105, 107–8, 109, 119–21, 157n, 162n20
intensity, 5, 6, 35, 50, 51, 58, 60, 81, 102, 116, 152, 154n9
interest, 99, 101, 139. See also excitement
interpretation, 19, 35, 37, 73–74, 76, 95, 108, 147
intersubjectivity, 105, 134–35. See also affect(s): communication of; transference
introjection. See identification, introjective
irony, 19, 73, 75, 77, 83, 86, 123, 137, 140, 143
Isaacs, Susan, 41–43
James, Henry, 1, 3, 19, 20, 29, 72–95, 98, 114–15, 152; The Golden Bowl, 93–94; Guy Domville, 78, 96; late style, 22, 78, 92–95, 160n10; and melodrama, 80, 82; midcareer novels, 21, 78; notebook, 78–79, 85; preface to New York edition, 73, 77, 90–92; scenic method, 16, 78–79, 81; stage directions, 94, 161n20; and television, 94–95; and theatricality, 78, 79, 82, 90–91, 92, 160n10, 161n14; and transferential poetics, 76; What Maisie Knew, 10, 21–22, 72–92.
James, William, 21, 30, 31, 97, 139, 156n7; radical empiricism, 42; theory of emotion, 7, 22, 99–100. See also knowledge, of acquaintance and -about
James-Lange theory of emotion. See James, William
keeping time. See tempo
Klein, Melanie, 1, 8–10, 16, 21, 22, 24, 26, 35–36, 40–45, 55–56, 74, 77, 93, 105–6, 119–20, 135, 152, 163n9; Controversial Discussions, 40–41; and “deep interpretation,” 37; “Envy and Gratitude,” 43–44; and play technique, 8, 35; and transference, 8–9, 76. See also identification; object-relations theory; phantasy
knowledge, 20, 22, 26, 35, 45, 70, 76–78, 82, 85–88, 96–97, 98–99, 102–3, 108–10, 114, 135, 139, 141, 142; of acquaintance and -about, 102, 106; emotional conditions of, 29, 32, 99, 106, 109
Kurnick, David, 92–93, 160n10, 161n20
language. See affect(s): and
law of the excluded middle, 43, 156n7
leader. See group(s), leader
Likierman, Meira, 41
liveliness, 27–29, 30, 33–4, 38, 44, 46, 78, 100, 104–5, 116, 120, 127–28, 130, 138, 147, 156n5
liveness. See television
logic of noncontradiction, 32. See also law of the excluded middle
mask(s), 52, 70, 126
mass culture, 21, 70, 97, 120, 142–44. See also media, mass
materialism, 16, 18, 156n5, 158n15
materiality of verbal expression, 12, 15. See also writing: material conditions for
media, 1, 4, 18, 20, 50, 70, 115, 118, 122, 123, 127, 129, 137, 139; and affective communication, 17; mass, 10, 17, 19, 22, 129; sociological approaches to, 15–17, 20; studies, 17, 115; and theatricality, 2. See also mass culture; technology
McLuhan, Marshall, 17, 164n34
melodrama, 80–81, 89, 91, 111, 112, 161n12
memory, 13–14, 18, 34, 39, 46, 53, 54, 63, 76, 85, 89, 102, 104, 117
mesmerism, 51, 158n14
metacommunication. See affect(s): and
Meyer, Steven, 29, 99–100
mise-en-scène, 11–12, 13, 101, 126
middle ground, 32, 35, 39. See also law of the excluded middle
“middle ranges of agency,” 32
mistake, 58, 100. See also Stein, Gertrude: and poetics of; Warhol, Andy: commitment to
modernism, 21, 26–27, 33, 36–37, 38, 46, 51, 70, 71, 98, 106, 115–17, 121, 122–23, 142, 143, 154n9
Moon, Michael, 161n13, 163n9
motivation, 2, 3, 5, 11, 14–15, 18, 20, 24, 31, 34, 41, 55, 58, 59, 64, 72, 73, 78, 79, 81–83, 102, 105, 113, 152, 153n4
movies. See film
muddle, 73–74, 76, 81, 83, 91. See also confusion
multiplicity, 12, 14, 15–16, 25, 55, 57–58, 59, 61, 81, 105, 113, 128–29, 154n11
nervousness, 22, 63, 68–69, 99–101, 103, 110. See also anticipation
object relations, 8, 9, 14, 41, 74, 76, 135, 154–55n19
object-relations theory, 1, 4, 8, 24, 35, 40, 55–56, 99, 105, 119–20, 160n5; compatibility with Tomkins’s theory, 41, 45, 157–58n36; relation to Jamesian tradition, 105–6. See also Bion; Klein
out there, 23, 62, 150–52. See also transferential poetics
paranoia, 75, 159n20
paranoid-schizoid position, 44, 120
part-objects, 8, 43, 44, 82, 107, 119. See also object relations
perception, 2, 13–14, 18, 25–26, 33, 38–40, 52, 73–74, 83, 85, 87, 88, 100, 101, 104, 105, 119, 120, 132, 136; Nachträglich nature of, 14; role of affect in, 21, 24, 31–32, 42–43, 46. See also frame(s); here and now
performance, 1, 10, 15, 18, 64, 82, 88, 89, 94, 96, 99, 100, 101, 110, 117, 121, 123, 125, 139, 141–43, 151–52; bad, 144, 147
performativity, 8, 26, 79, 152, 161n20
phantasy, 2, 9–10, 14, 16, 21, 24, 32, 35, 37, 40–42, 43, 55–56, 59, 74, 85, 90, 93, 106, 119, 128, 160n5
phenomenology, 5, 6, 8, 22, 24, 33, 65, 70, 92, 103, 105, 109
physiognomy, 56–57, 58, 158n15
physiology, 7, 10, 21, 29, 41, 50, 51, 52, 100, 123, 124, 158n15, 163n23. See also physiological psychology
physiological psychology, 6, 29–30, 34, 99
Picasso, Pablo, 45–46, 116
play, 13, 18–19, 38, 55–56, 70, 76, 81, 110, 113, 139, 141, 144. See also Klein, Melanie: and play technique
pleasure, 28, 47, 51–52, 59, 81, 101, 111, 125, 141, 147
Poe, Edgar Allan, 1, 2, 3, 6, 19, 20, 21, 51–71, 94–95, 97, 143, 152; and analysis, 55, 158n; and character, 52, 54; “Letter to B--,” 51–52; “Ligeia,” 53–54, 56; “Maelzel’s Chess-Player,” 159n25; “The Man That Was Used Up,” 53–54, 56, 58; “The Man of the Crowd,” 56–58, 63; and media, 62–68, 70–71; “The Murders in the Rue Morgue,” 55; “The Philosophy of Composition,” 2, 52, 54; and poetics of effect 2, 51–52, 67–68; “The Purloined Letter,” 55, 158n; “A Tale of the Ragged Mountains,” 54, 56; “The Tell-Tale Heart,” 6, 21, 52, 60, 62–70
poetics, 1, 2, 3, 17, 19, 22, 25, 33, 51, 52, 59–60, 71, 75, 98, 120, 129, 136, 142, 151; definition of, 2–3; American, of the contemporary, 139; telepoetics, 20. See also Aristotle; Poe, Edgar Allan: and poetics of effect; Stein, Gertrude: and poetics of mistake; transferential poetics; Warhol, Andy: televisual
Pop Art, 121, 123, 129, 136, 140, 142, 145, 149
portraiture: Stein and, 34, 102, 113–17; Warhol and, 122–29, 144, 148
present moment, 101–2, 103, 117, 139, 148. See also here and now
projection. See identification, projective
psychedelia, 125, 129
psychoanalysis, 4, 16, 32, 35, 36, 54, 55, 60, 63, 73, 76, 82, 91, 110, 123, 128, 129, 131, 135, 157n15, 159n19, 164n43, 165n50; and hypnosis, 51; neutrality in, 123–125; and sex drive, 5, 8, 82; total situation, 36. See also Bion, Wilfred; Freud, Sigmund; Klein, Melanie
queerness, 36, 48, 70, 91, 123, 131, 144, 163n9, 165n60
radio, 17, 18, 20, 115
rage. 45, 65, 67. See also anger
reading, 6, 15, 18, 21, 25–26, 28–29, 39, 56–57, 59, 68, 75–76, 86, 103, 106, 110, 132, 138, 147
Reed, Lou, 70
relief, 103–5, 109
repression, 5, 15, 20, 21, 37, 52, 60, 63, 67–68, 80–81, 154n8. See also affect(s): inhibition and amplification of
resentment, 79, 81, 91
reverie, 98, 107–9, 111, 113, 121
Rousseau, Jean-Jacques, 98, 103, 118
sadism, 36–37, 57, 73, 90, 124
sadness, 47–48, 50. See also distress; grief
screen, 19, 121, 126–28, 129, 139. See also Warhol, Andy: Screen Tests
Sedgwick, Edie, 122, 126–29, 141, 163n23
Sedgwick, Eve, 3, 20–21, 32, 154n17, 161n14, 162n20, 165n61
self-care, 20, 131, 135–36, 141. See also therapeutics
self-organization, 30. See also emergence
sexuality, 8, 16, 51, 77, 78, 82–84, 86–90, 101, 119, 131, 140–41, 144, 159n21, 163n9, 165n60
Shakespeare, William, 110–11, 115
shame, 6, 59, 60–65, 68, 76, 77, 79, 83, 89, 146, 165n61; as basic affect, 5, 6, 60, 61–65, 68–70, 101, 125, 157–58n36; and theatricality, 63–64, 90–91, 159n22, 161n14. See also Tomkins, Silvan: and taboos on looking
shamelessness, 3, 6, 21, 52, 62–63, 65, 70–71, 145–46
Shaviro, Steven, 142–43
Smith, Adam, 10, 48–50, 66–67, 97–98, 118, 159–60nn24–26
sociopolitical system, 20, 115, 134
sound, 25, 37, 53–54, 65–66, 113, 125–26, 126, 151, 159n25, 161n21
spectator, 22, 49, 66, 77–78, 82, 83, 85, 87–88, 90, 97, 98, 118, 122, 129, 159n24; “impartial,” 66. See also audience; viewer
spiritual exercises, 130, 136. See also therapeutics
Spinoza, Benedict, 156n5
stage, 11–15, 18, 19, 64, 78, 80, 88, 91, 92, 96, 97, 98, 100–1, 104, 109, 111–13, 125, 139, 150, 165n48; on and off, 13–15, 155n27
Stein, Gertrude, 1, 3, 19, 20, 24–46, 91, 96–118, 120, 121, 139, 143, 152; and audience, 96–97, 161n3; as audience, 99–101; The Autobiography of Alice B Toklas, 36, 96, 110, 115, 161n3; “Composition as Explanation,” 2, 3, 24–26; and continuous present, 36, 38; Doctor Faustus Lights the Lights, 113; and excitement, 101–5 (see also nervousness); An Exercise in Analysis, 112; Four in America, 115; genius, definition of, 34, 116; landscape plays, 10, 12, 22, 91, 97, 99, 112–13, 117, 120; A Long Gay Book, 114; The Making of Americans, 102, 114; Many Many Women, 114; “Meditations on Being about to Visit My Native Land,” 97; “Paintings,” 33; Picasso, 45–46; “Plays,” 10, 22, 96–115; poetic project, 25; poetics of mistake, 9, 21, 27–30, 147 (see also mistake); “Poetry and Grammar,” 26–30, 37, 38, 117; “Portraits and Repetition,” 32, 33–35, 102, 116; Tender Buttons, 21, 37–40, 114; Three Lives, 36; United States lecture tour, 96–97, 115, 161n; What Happened. A Play, 114
structuralism, 4, 5, 13, 37
subject/structure, 15–16
sublime, 60, 68
surprise, 35, 37, 76, 81, 89, 98, 138, 147; as basic affect, 5, 68
sympathy, 47–50, 51, 66, 86, 87, 97–98, 159n24, 160n26. See also Smith, Adam
system, 11, 15–16, 21, 30, 130, 133
systems theory, 4, 7, 11, 17, 30, 155n20
technology, 1, 2, 4, 16, 19, 28, 34, 115, 122, 132, 137, 139, 143, 164n34; of affective communication, 22, 118; broadcasting, 18, 22; graphic, 16–19, 56, 116–17, 121, 126, 151, 158n14. See also film; radio; television; writing
telephone, 136–38, 147
television, 2, 17, 18, 19, 20, 22, 71, 92–95, 115, 116, 118, 119–21, 139, 149, 155n32; as analyst, 128–129; commercials, 122, 128; as culture industry, 121; and cybernetics, 132; as experimental instrument, 125–26, 132; game shows, 146, 161n; intimate scale of, 93–95, 143, 146; liveness, 122, 123, 126; contrast with movies, 120–21, 127–28, 143; reality, 146, 147, 161n20; scanning, 116–17, 129, 132; slang words for, 119; talk shows, 126, 127, 141; as therapeutic device, 23, 121, 129, 137–44. See also Warhol, Andy: televisual poetics
televisual perspective (on emotion), 23, 120, 121, 123, 126, 139, 142–43
tempo, 66, 97, 98, 113, 139, 151, 159–60n25
terror, 45, 55, 57, 60, 65–66, 68, 159n19. See also fear
theater: metaphor of, 10–15, 118, 159n24; problem of, 22, 100, 103, 109, 111, 114, 118; technologies of, 115
theatricality, 2, 10, 47, 62–63, 64, 71, 77–78, 82, 87–90, 92–93, 121, 125, 139, 140, 143, 152, 160n10; conceptual intimacy with affect, 10, 11, 18–19, 121; definition of, 19; hollowness of, 139, 165n48; and shame, 63–64, 90, 161n14; of social relations, 98, 103; and taboos on looking, 21, 63–64, 71, 125–26; and vindication, 78–81, 91. See also stage; theater; writing: theatricalization of
therapeutics, 22, 23, 37, 44, 121, 129–49
thinking, 10, 11, 18, 20, 21, 25, 34, 36, 40, 42, 44, 91, 93, 98, 102, 106, 109, 132, 148, 152, 160n5; apparatus for, 107; as definitively transindividual, 108. See also Bion, Wilfred: theory of; frustration, and; group(s), work group
Tomkins, Silvan, 1, 3, 4–8, 20, 21, 22, 24, 26, 30–32, 36, 52, 55, 58, 97, 99; and affect-object reciprocity, 31–32, 35, 40, 101; compatibility with object-relations theory, 10, 41, 45, 154n17, 157–58n36; critique of drive theory, 4–5, 41; and death instinct, 10, 45; and General Images, 21, 52, 58, 59–60, 66, 67–68, 70, 81; and ideology, 7, 8, 154n; “inverse archaeology,” 7; and masochistic strategy of affect magnification, 60, 62, 67–70; and role of affect in perception, 31, 32; and script theory, 10–11, 58, 59, 61; and taboos on looking, 21, 52, 63–65, 68, 70, 71, 125–26; and television, 125–26. See also affect(s); feedback; phenomenology
tragedy, 4, 103
transference, 1, 2, 7, 8–9, 19, 34, 51, 55, 76, 95, 102, 114, 115, 121, 124, 126, 128, 129, 143, 152
transferential moment, 6–8, 20
transferential poetics, 1, 2, 8, 22, 23, 70, 76, 78, 90, 93, 150–52
translation, 12, 73, 74
uncanny, 3, 52, 54, 67–68, 78, 90, 159n20
verbal behavior. See affect(s): and language
vicarious, 64, 77, 78, 86, 89, 141
video, 120, 122, 126–127, 129, 146, 163n14
viewer, 47, 48, 50, 93–94, 95, 119, 121, 124, 126, 128, 129, 146, 147, 148, 164n34
vindication, 78, 90, 91, 92; and theatricality, 78–81; and vindictiveness, 79
voice, 7, 10, 17, 18, 42, 47, 50, 80, 94, 112, 118, 121, 127, 128, 129
Warhol, Andy, 1, 3, 10, 17, 19, 20, 22, 117, 120–49, 152; Andy Warhol’s Diaries, 146; and cable television, 122, 163n5; commitment to mistake, 144, 147, 148; conversion to self, 136–43; and cybernetics, 132, 164n34; and Cynic philosophy, 144–149; Empire, 120, 122; the Factory, 122, 123, 127, 130, 139; Interview, 144; as nobody, 137; Nothing Special, 138, 146, 149; Outer and Inner Space, 122, 126–29, 137; The Philosophy of Andy Warhol (From A to B and Back Again), 23, 121, 122, 128, 129, 130–32, 136–148; and queerness, 123, 138, 144, 163n9; Screen Tests, 123–26, 129, 142; Sleep, 120, 122; Soap Opera, 122; and television, definition of, 132; televisual poetics, 120, 122–29; Time Capsules, 148–49.
Wiener, Norbert, 132, 133
Williams, Raymond, 17, 20
writing: material conditions for, 25, 30, 35, 54, 151, 152; space of, 13–15; theatricalization of, 2, 18–20, 52, 93, 143, 152. See also materiality of verbal expression
wonder, 77, 90