Chaosophy - autonomous learning

and technical machines: a set of really distinct parts that operate in
combination as being really distinct (bound together by the absence
of any tie). Such approximations of desiring-machines are not
furnished by surrealist objects, theatrical epiphanies, or Oedipal
gadgets, which function only by reintroducing associations-in
point of fact, Surrealism was a vast enterprise of Oedipalization of
the movements that preceded it. But they will be found rather in
certain Dadaist machines, in the drawings of Julius Goldberg, or,
more recently, in the machines of Tinguely. How does one obtain a
functional ensemble, while shattering all the associations (What is
meant by "bound by the absence of any tie").
In Tinguely, the art of real distinction is obtained by means of a
kind of uncoupling used as a method of recurrence. A machine
brings into play several simultaneous structures which it pervades.
The first structure includes at least one element that is not operational
in relation to it, but only in relation to a second structure. It
is this interplay, which Tinguely presents as being essentially joyful,
that ensures the process of deterritorialization of the machine, as
well as the position of the mechanic as the most deterritorialized
part of the machine. The grandmother who pedals inside the automobile
under the wonderstruck gaze of the child-a non-Oedipal
child whose eye is itself a part of the machine-does not cause the
car to move forward, but, through her pedaling, activates a second
structure, which is sawing wood. Other methods of recurrence can
be put into play or added-on, as, for example, the envelopment of
the parts within a multiplicity (thus the city-machine, a city where
all the houses are in one, or Buster Keaton's house-machine, where
all the rooms are in one). Or again, the recurrence can be realized in
a series that places the machine in an essential relationship with
scraps and residua, where, for example, the machine destroys its
own object, as in Tinguely's Rotozazas, or the machine itself taps
lost intensities or energies as in Duchamp's Transformer. project, or