SEMIO OBJECTS (25)
June 29, 2021
One in a series of 25 nonfiction narratives about semioticians’ significant objects. Presented to HILOBROW’s readers by Project:Object.
This wooden robot can move its head in four ways (in addition to the head’s original position); and it can move each of its limbs in three ways apiece (in addition to the limbs’ original positions). Certain of these movements make certain other movements impossible, yet still, according to my calculations — and paraphrasing Deleuze’s 1970 reading of Spinoza — we can confidently say that this robot has a thousand ways to “affect the world.”
I keep the robot on my desk, or take it along when I work elsewhere. Whenever I am not able to produce new ideas, I enjoy being able to find new movements and positions for the robot. In this way I not only relax, but also come to understand again that every problem has many aspects… and there are also innumerable possibilities to be creative. The robot’s yellow color, and the red sun emblem on its chest, suggest to me the power of creativity; its green parts, meanwhile, signify nature. It looks happy.
In his writing on Spinoza, Deleuze suggests that the “affection” of a body determines its power to affect and to be affected. Nonliving and living entities alike have affections – that is, instantaneous effects on other bodies. Nevertheless, only living organisms are able to experience such relations, which are affects that increase or decrease bodies’ power. How do affection and affect relate to human bodies’ power? Deleuze asks us to imagine ourselves in a dark room in two different situations: 1) meditating and 2) trying to find our glasses. When someone turns the light on, we experience the passage from one state to another:
Your whole body is in a kind of mobilization of itself, in order to adapt to this new state. The affect is what? It is the passage. The affection is the dark state and the lighted state… it is your body that makes the transition.
If you were meditating, you would be furious with the person who turned on the light. But if you were looking for your glasses, you would be very pleased. In the first case, you experience a decrease in lived power. In the second case, an increase. As such, the former state relates to sadness, the latter to joy.
This helps me explain the power of my wooden robot. It affects me in a positive way; it increases my creative power in joyful ways; it helps me to put on my creative glasses — and pass from a dark state to a light one.
SEMIO OBJECTS: INTRODUCTION by Josh Glenn | Chris Arning on INKSTONE BROOM | Hamsini Shivakumar on SOUL MOTHER SAREES| Lucia Laurent-Neva on SPONGEBOB BUS | Samuel Grange on SALT & PEPPER HOLDER| Ximena Tobi on VASALISA | Luca Marchetti on TEAPOT | Charles Leech on ORNAMENT| Gabriela Pedranti on MAFALDA DOLL | Sarah Johnson on JOAN OF ARC FIGURINE | Vijay Parthasarathy on BINGO | Aiyana Gunjan on WEDDING DUCKS | Serdar Paktin on NEY | Paulina Goch-Kenawy on VASE | Daria Arkhipova on POKER CHIP | Iván Islas on THERMOS| Sónia Marques on CABBAGE TUREEN | Thierry Mortier on BICYCLE BELL | Louise Jolly on CHALICES | Wei Fen Lee on CURRY PUFF POT | Mariane Cara on MINI WINDSOCK | Malex Salamanques Amiel on MARIA LIONZA | Seema Khanwalkar on THANJAVUR DOLL | Maria Papanthymou on KITCHEN WHISK | Martha Arango on ST. ANTHONY OF PADUA | Max Matus on WOODEN ROBOT.
MOVIE OBJECTS: INTRODUCTION | Ramona Lyons on EYE OF THE SERPENT (CONAN THE BARBARIAN) | Faythe Levine on BEDKNOB (BEDKNOBS AND BROOMSTICKS) | Gerald Peary on CUP OF COFFEE (THE BIG HEAT) | Christopher Orr on TOM’S HAT (MILLER’S CROSSING) | Lynn Peril on TRANSISTOR RADIO (DR. STRANGELOVE) | & 20 MORE.
LOST OBJECTS (vol. 2): INTRODUCTION | Joe Yonan on MACRAMÉ ART (ill. Theo Ellsworth) | Ben Katchor on LUCITE CARRYING CASE | Debbie Millman on GLASS POODLE | Lydia Millet on ROCKY HORROR NOVEL (ill. Berta Valló) | Ben Greenman on WARHOL CAN (ill. Clara Selina Bach) | & 20 MORE.
FETISHES: INTRODUCTION | Josh Foer on DEATH MASK | Beth Lisick on MURDERED-OUT KFC BUCKET | Christina Couch on LEECH ACTION FIGURE | Kenneth Goldsmith on THEWLIS SOCK | Abby Rapoport on MAGNATILES | & 20 MORE.
FOSSILS: INTRODUCTION | Allegra Huston on SKATAWAY JACKET | Kevin Obsatz on HOMEMADE NUNCHUKS | Ian Bogost on DESKTOP TELEPHONE | Jeff Lewonczyk on CHA-CHA JACKET SCRAP | Kelly Horan on VOLVO KEY | & 20 MORE.
FLAIR: INTRODUCTION | Cliff Kuang on ROLEX DATEJUST | Ethan Zuckerman on LAPTOP STICKERS | Ann Shoket on LEATHER JACKET | Kembrew McLeod on KEMBREW MERCH | Paola Antonelli on MERMAID TEARS | & 20 MORE.
LOST OBJECTS (vol. 1): INTRODUCTION | Kate Bernheimer on MULLET WIG (ill. Amy Evans) | Dan Piepenbring on COLOGNE (ill. Josh Neufeld) | Doug Dorst on STRATOCASTER (ill. John Holbo) | Paul Lukas on VANILLA BEAN (ill. Allison Bamcat) | Mimi Lipson on DODGE DART (ill. Mister Reusch) | & 20 MORE.
ILLICIT OBJECTS: INTRODUCTION | Kio Stark on PEEPSHOW TOKEN | Sari Wilson on TOMBSTONE PARTS | Annalee Newitz on CAR-BOMB REMNANT | Tito Bottitta on MOONINITE DEVICE | Eric Bennett on DIRTY MAGAZINE | & 20 MORE.
TALISMANIC OBJECTS: INTRODUCTION | Veda Hille on CROCHET SHEEP | Gary Panter on DINOSAUR BONES | Jami Attenberg on SELENITE CRYSTAL | Annie Nocenti on MINIATURE DICE | Wayne Curtis on CLOCK WINDING KEY | & 20 MORE.
POLITICAL OBJECTS: INTRODUCTION | Luc Sante on CAMPAIGN PAMPHLETS | Lydia Millet on PVC POLAR BEAR | Ben Greenman on MATCHBOX CAR | Rob Baedeker on PRESIDENTS PLACEMAT | L.A. Kauffman on WHEATPASTE POSTER | & 20 MORE.
ALSO SEE: PROJECT:OBJECT homepage | POLITICAL OBJECTS (1Q2017) | TALISMANIC OBJECTS (2Q2017) | ILLICIT OBJECTS (3Q2017) | LOST OBJECTS vol. 1 (4Q2017) | FLAIR (2Q2018) | FOSSILS (4Q2018) | FETISHES (2Q2019) | LOST OBJECTS vol. 2 (4Q2019) | MOVIE OBJECTS (2Q2020) | SEMIO OBJECTS (2Q2021) | SIGNIFICANT OBJECTS (cross-posted from Significant Objects website). ALSO SEE: SIGNIFICANT OBJECTS website | LOST OBJECTS (Hat & Beard Press, 2022) | SIGNIFICANT OBJECTS collection, ed. Rob Walker and Josh Glenn (Fantagraphics, 2012) | TAKING THINGS SERIOUSLY, ed. Josh Glenn (Princeton Architectural Press, 2007) | TAKING THINGS SERIOUSLY excerpts.