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1 22. 61 leaving certain interpretative sequences yawning, it leads these lat­ ter to reiterate themselves emptily, indefinitely, and to secrete new existential stases, accompanied by new lines of sense and new Universes of reference. The partial nuclei of enunciation and ex­ istential taking body that thus find themselves established enter into transverse correspondence with part objects (in the sense that Freudians gave to this term) and connect the scopic drive to a Constellation of other spheres of interest and desire.

The importance of the multiple fractal cracks engendered by the photographic apparatus as conceived by Keiichi Tahara resides in the fact that, 2 1 . y (New York: Farrar, Strauss and Gir­ oux, 1 973), p. 1 22. 61 leaving certain interpretative sequences yawning, it leads these lat­ ter to reiterate themselves emptily, indefinitely, and to secrete new existential stases, accompanied by new lines of sense and new Universes of reference. The partial nuclei of enunciation and ex­ istential taking body that thus find themselves established enter into transverse correspondence with part objects (in the sense that Freudians gave to this term) and connect the scopic drive to a Constellation of other spheres of interest and desire.

Guattari: Well, it's kind of like making mayonnaise. Sometimes it fails. Min san, have you ever sensed a threshold or sign that you have overcome something and in doing so changed the constel­ lation of the universe? " Another way to put this is, what is a lived experience of discontinuity? Tanaka: An overcoming occurs in the site and in relation to it. What is my point of threshold? What does it mean to be a dancer on a public stage? Everything is getting vague. But just because I am constantly taking into account that I am overcoming a thresh­ old, is this a cartographic initiative, an attempt at localizing my­ self within an environment?

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