by Carina on Dec.19, 2012
Four days ago I was standing in a kitchen drinking coffee out of an actual coffee mug and watching the news on a wall-mounted TV. The president was crying onscreen. I was applying peppermint chapstick to my chapped lips and making final edits to a speech which I was reading out loud and would not be the one to give. Two nights ago I was lying in a bed watching the news again on television and I could not sleep afterwards, only woke hourly in the middle of a dream in which the president instituted The Hunger Games as a reaction to the Newtown shooting and I was to pay tribute and I did not want to die. Since last Friday, I have been watching too much news, and thinking a lot about what signifies. What is the different between ten bullets and a conversation about ten bullets? What is the ratio of theory to an actual body?
Below are some notes from A Theory of The Ingenue. Think of them while you watch the news in your kitchen, in your bathrobe, drinking coffee, considering children.
THE PASSION OF THE SIGNIFIER.
When the signifier is not itself it is a body gesturing to its own exteriority. It wants to be a thing it is the thing and the thing it wants to be is an absence. This is a gap which must be filled by a spectacle.
The spectacle is a text because it is a body. So travels the corridor of meaning and inhabits simultaneously every strata of signification.
A cadaverous disposition empiricized still a conversion. There is a high correlation between the manual and the tendency, which is to say, it creates a typeface. A typeface is a kind of freakout. A freakout is a kind of difference. A commercial.
Feminine beauty in the commercial is a double itself, a font. A font is a double of nothing, you can wear it. It is a doublet it is french it is fashionable & weight-bearing. Also: to cast; to melt; to be found.
THE PASSION OF THE SIGNIFIER
So the state sponsors an institution call it a Language or call it a Theatre.
Inside of the theatre there is a small door. The door is analogous to itself, as such. Inside of the door is a receptacle which is the world. The spectator may not choose to enter it, it is. The spectator may not choose to be an organism it is. An organism is necessarily inside of a receptacle which is the world. So a body is a world inside of a theatre which is a world through which one might enter the receptacle through a door.
The Dramaturg and The Reviewer Emerge from the Crisis of Publicity
Then the founders authorized on-site availability it was an appearance.
Appearances became important. It was befriending by a critic. A critic called a reviewer
attempts to make an order & is one.
The appearance is that of a performance, which is to say, it desires only a mask. The purpose of the mask is to mark the absence of the embodied face, which signifies nothing, because it is all.
THE FATHER IS ALWAYS A FATHER HE IS A GENRE
Inside of this genre there is a language it is an image. The image is of a disconnected limb. This is the absence for which the double has long longed. The double is a double of itself disconnected.
THE MOTHER IS ALWAYS A FATHER IT IS A GENRE
Then the spectre goes social and the passion speaks through it. The passion becomes the material of itself. Then there is a kind of lashing / it is a dreamscene of the unconscious. In this scene, the passion interviews its substitute. They play a game involving potentially infinite combinations. As such, the passion recognizes its paranoia. The paranoia is a result of the substitute’s mask. Throughout the scene, the substitute wears a mask. Initially, it is interesting.
THE HUMAN CHILD EMERGES IN AN ESSENTIAL MOMENT OF CONSTRAINT
His prop is an eye it is a lens setting fire to the signified. As an apparatus, its primary function is to normalize. Having a primary function as such it is deemed inorganic. At birth, premature, through the mother regressed phobia to perversion. This masquerade binds the metaphysical to the object. It is thus recognizable as a human child to all save the mother, for whom it is an established reflection.