CRIME
[from Jean Baudrillard's The Perfect Crime (London: Verso, 1996) trans. Chris Turner]
This is the story of a crime--of the murder of reality. And the extermination of an illusion--the virtual illusion, the radical illusion of the world. The real does not disappear into illusion; it is illusion that disappears into integral reality.
...
Though the crime is never perfect, perfection, true to its name, is always criminal. In the perfect crime it is the perfection itself which is the crime, just as, in evil's transparency, it is the transparency itself that is the evil. (-1)
---
We artists, too, are always coming close to committing the perfect crime: saying nothing. But we turn away from it, and our work is the trace of that criminal imperfection. The artist is, in Michaux's words, the one who, with all their might, resists the fundamental drive not to leave traces. (1)
---
[Reality] submits to everything with unrelenting servility. Reality is a bitch. And that is hardly surprising, since it is the product of stupidity's fornication with the spirit of calculation--the dregs of the sacred illusion offered up to the jackals of science.
To recover the trace of the nothing, of the incompleteness, the imperfection of the crime, we have, then, to take something away from the reality of the world. To recover the constellation of the mystery, we have to take something away from the accumulation of reality and language. We have to take words from language one by one, take things from reality one by one, wrest the same away from the same. (3)
Thursday, September 27, 2012
Wednesday, September 26, 2012
"Follow-Up" #4
FUNDAMENTAL
[from Dimasio's Self Comes to Mind]
"There is an inescapable and fundamental difference between the strictly controlled aspect of the life process present inside our organisms and all the imaginable things and events out in the world or in the rest of the body. This difference is indispensable to understanding the biological foundation of the self processes." (199)
"The brain needs to introduce into the mind something that was not present before, namely, a protagonist. Once a protagonist is available in the midst of other mind contents, and once that protagonist is coherently linked to some of the current mind contents, subjectivity begins to inhere in the process." (201)
"What is being added to the plain mind process and is thus producing a conscious mind is a series of images, namely, an image of the organism ...; the image of an object-related emotional response (that is, a feeling); and an image of the momentarily enhanced causative object. The self comes to mind in the form of images, relentlessly telling a story of such engagements." (203)
[from Dimasio's Self Comes to Mind]
"There is an inescapable and fundamental difference between the strictly controlled aspect of the life process present inside our organisms and all the imaginable things and events out in the world or in the rest of the body. This difference is indispensable to understanding the biological foundation of the self processes." (199)
"The brain needs to introduce into the mind something that was not present before, namely, a protagonist. Once a protagonist is available in the midst of other mind contents, and once that protagonist is coherently linked to some of the current mind contents, subjectivity begins to inhere in the process." (201)
"What is being added to the plain mind process and is thus producing a conscious mind is a series of images, namely, an image of the organism ...; the image of an object-related emotional response (that is, a feeling); and an image of the momentarily enhanced causative object. The self comes to mind in the form of images, relentlessly telling a story of such engagements." (203)
Tuesday, September 18, 2012
"Follow-Up" #3
SCENE
(from Baudrillard again--that Lucidity Pact)
"In itself, the image is bound neither to truth nor to relaity; it is appearance and bound to appearance. That is its magical affiliation with the illusion of the world as it is, the affiliation that reminds us that the real is never certain... .
And in this sense, unfortunately, one may say that images are rare--the power of the image being, most of the time, intercepted by all that we try to make it say.
The image is, most often dispossessed of its originality, of its own existence as image, and doomed to shameful complicity with the real." (91)
"This...murder of the image...lies in this enforced visibility as source of power and control, beyond even the 'panoptical': it is no longer a question of making things visible to an external eye, but of making them transparent to themselves. The power of control is, as it were, internalized, and human beings are no longer victims of images but rather transform themselves into images." (94)
"This is the sign both of our ultimate transparency and our total obscurity." (95)
"For the sign is a scene, the scene of representation, of seduction, of language: in language, signs seduce one another beyond meaning... . And the disappearance of this scene clears the way for a principle of obscenity... .
No seduction, no representation: merely the integral coding of the body in the visible, where it becomes in fact definitively real, even more than it is really!" (69)
"At this stage, the image is nothing but an operator of visibility--the medium of an integral visibility that is the pendant to Integral Reality, becoming-real going hand in hand with becoming-visible at all costs: everything must be seen, everything must be visible, and the image is pre-eminently the site of this visibility." (93)
(from Baudrillard again--that Lucidity Pact)
"In itself, the image is bound neither to truth nor to relaity; it is appearance and bound to appearance. That is its magical affiliation with the illusion of the world as it is, the affiliation that reminds us that the real is never certain... .
And in this sense, unfortunately, one may say that images are rare--the power of the image being, most of the time, intercepted by all that we try to make it say.
The image is, most often dispossessed of its originality, of its own existence as image, and doomed to shameful complicity with the real." (91)
"This...murder of the image...lies in this enforced visibility as source of power and control, beyond even the 'panoptical': it is no longer a question of making things visible to an external eye, but of making them transparent to themselves. The power of control is, as it were, internalized, and human beings are no longer victims of images but rather transform themselves into images." (94)
"This is the sign both of our ultimate transparency and our total obscurity." (95)
"For the sign is a scene, the scene of representation, of seduction, of language: in language, signs seduce one another beyond meaning... . And the disappearance of this scene clears the way for a principle of obscenity... .
No seduction, no representation: merely the integral coding of the body in the visible, where it becomes in fact definitively real, even more than it is really!" (69)
"At this stage, the image is nothing but an operator of visibility--the medium of an integral visibility that is the pendant to Integral Reality, becoming-real going hand in hand with becoming-visible at all costs: everything must be seen, everything must be visible, and the image is pre-eminently the site of this visibility." (93)
Sunday, September 16, 2012
"Follow-Up" #2
IMAGE
(from A. Damasio,
The Feeling of What Happens--Harcourt, 1999 & Self Comes to Mind--Pantheon, 2010)
Most of the brain's work may be described as image-making; however, where our words pretend to present these presentations straight from the world, they fake it. They fake us past the facts: that cross-signals integrate thousands of images in any moment's perception and interoception; that the words themselves have, likewise, a multiplex of components (play across grapheme, phoneme, and morpheme patterns stored; calling upon concepts and their inter-weavings mapped through learning; allusions and associations not necessarily attended to; and links to the somato-sensory background pat-down, Olson's proprioception, of body-mind-state in any moment); and that images in all modalities, including the five senses, depict processes and entities of concrete and abstract kinds inter-related, convergent and divergent, sometimes concurrent or sometimes super-imposed. "Thought" is the word we accept to denote such a braided flow; "stream," coupled with the fancier "consciousness," goes along as our metaphor for both the braided surface, maybe changing beds, and the weave of currents high and low that is seen or felt by anyone fishing them. In those currents are neural flashes and recognitions mapped against the maps we hold in the "neural machinery which embodies innate and acquired implicit dispositions" (Feeling 319). These mappings are the habits and habitats that enable and inhibit representations. It is their "correspondences," not "the picture," through which our image-making works (321). Funny how Spicer said that too, from the linguistics end of this pile of sticks.
(from A. Damasio,
The Feeling of What Happens--Harcourt, 1999 & Self Comes to Mind--Pantheon, 2010)
Most of the brain's work may be described as image-making; however, where our words pretend to present these presentations straight from the world, they fake it. They fake us past the facts: that cross-signals integrate thousands of images in any moment's perception and interoception; that the words themselves have, likewise, a multiplex of components (play across grapheme, phoneme, and morpheme patterns stored; calling upon concepts and their inter-weavings mapped through learning; allusions and associations not necessarily attended to; and links to the somato-sensory background pat-down, Olson's proprioception, of body-mind-state in any moment); and that images in all modalities, including the five senses, depict processes and entities of concrete and abstract kinds inter-related, convergent and divergent, sometimes concurrent or sometimes super-imposed. "Thought" is the word we accept to denote such a braided flow; "stream," coupled with the fancier "consciousness," goes along as our metaphor for both the braided surface, maybe changing beds, and the weave of currents high and low that is seen or felt by anyone fishing them. In those currents are neural flashes and recognitions mapped against the maps we hold in the "neural machinery which embodies innate and acquired implicit dispositions" (Feeling 319). These mappings are the habits and habitats that enable and inhibit representations. It is their "correspondences," not "the picture," through which our image-making works (321). Funny how Spicer said that too, from the linguistics end of this pile of sticks.
Friday, September 7, 2012
"Follow-Up" #1
ILLUSION
[from Baudrillard's The Intelligence of Evil or the Lucidity Pact, (Berg English edition, 2005) 84-85]
"We must have a sense of this illusion of the Virtual somewhere, since, at the same time as we plunge into this machinery and its superficial abysses, it is as though we viewed it as theatre. Just as we view our news coverage as theatre.
Of the news coverage we are the hostages, but we also treat it as spectacle, without regard for its credibility. A latent credultiy and derision prevent us being totally in the grip of the information media.
It isn't critical consciousness that causes us to distance ourselves from it in this way, but the reflex of no longer wanting to play the game.
...
It would be best, then, to pose all these problems in terms other than those of alienation and the unhappy destiny of the subject (which is where all critical analysis ends up).
The unlimited extension of the Virtual itself pushes towards something like pataphysics ... pre-eminently ironic science, corresponding to a state in which things reach a pitch that is simultaneously paroxystic and parodic.
...
At the heart of this artificial reality, this Virtual Reality, this irony is perhaps all we have left of the original illusion, which at least preserves us from any temptation to one day possess the truth."
[from Baudrillard's The Intelligence of Evil or the Lucidity Pact, (Berg English edition, 2005) 84-85]
"We must have a sense of this illusion of the Virtual somewhere, since, at the same time as we plunge into this machinery and its superficial abysses, it is as though we viewed it as theatre. Just as we view our news coverage as theatre.
Of the news coverage we are the hostages, but we also treat it as spectacle, without regard for its credibility. A latent credultiy and derision prevent us being totally in the grip of the information media.
It isn't critical consciousness that causes us to distance ourselves from it in this way, but the reflex of no longer wanting to play the game.
...
It would be best, then, to pose all these problems in terms other than those of alienation and the unhappy destiny of the subject (which is where all critical analysis ends up).
The unlimited extension of the Virtual itself pushes towards something like pataphysics ... pre-eminently ironic science, corresponding to a state in which things reach a pitch that is simultaneously paroxystic and parodic.
...
At the heart of this artificial reality, this Virtual Reality, this irony is perhaps all we have left of the original illusion, which at least preserves us from any temptation to one day possess the truth."
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