By Ira Livingston
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Additional info for Arrow of Chaos: Romanticism and Postmodernity (Theory Out of Bounds)
One of Foucault's paradigms of Romantic discipline is the lateeighteenth-century prison proposed by Jeremy Bentham, the panopticon (Foucault 1984, 217-18). Several floors of cells are laid out in a circular building; the cells open onto a central, circular courtyard, so that each cell is visible from the guard tower that stands at the center of the courtyard. The design maximizes the efficiency of surveillance and control since a single guard can oversee each cell; the tower need not even be occupied continuously if prisoners cannot see into it.
We sire, because the aliens may tried to hail them with shouts, but their garbled conversation just continued. At one point it seemed to us that they may be involved in all of these have paused to listen or wait for our disturbance to pass, but as well. "What if these points it may have been just a lapse in their conversation: an angel are not marginal or inconpassed. It was very disconcerting to address them: we had sequential but in fact the begun talking to each other, assuming, as usual, that we were two endpoints of the phone line between us.
Strangely, Althusser's "hailing" resembles the "sheriff's hand on my shoulder" by which Peirce illustrated "secondness," a category of phenomenological relation that underlies the "thirdness" of "the law" as Lacan's Imaginary duality underlies the Oedipal triangulation of the Symbolic. For Peirce, though, secondness is characterized by impact, friction; the resistance of one object against another; the in itself meaningless violence or "brutality" of fact around which meaning accretes: "A court may issue injunctions and judSflllents against me and I care not a snap of my fingers for them.