- Victimoth Goldie Abject Bloc But this is no easy ride
For a child cries :
"Oh, find me ... find me, nothing more
We are on a sullen misty moor
We may be dead and we may be gone
But we will be, we will be, we will be, right by your side
Until the day you die
This is no easy ride
We will haunt you when you laugh
Yes, you could say we're a team
You might sleep
You might sleep
You might sleep
BUT YOU WILL NEVER DREAM !
- Benedict Seymour Hey Matthew, I was just thinking about clouds! Went to the Duchamp show and was looking at the large glass - the illuminating gas / the pink cloud - 'The pink cloud, called the Blossoming, represents [the Bride's] rising desire for the Bachelors and from within it she signals to the Bachelors with the three elements which suggest flag-like waving rectangles of cloth. The Bachelors respond by producing Illuminating Gas which they pump along Capillary Tubes to the cone-shaped Sieves. Duchamp stopped work at this point and pronounced the Glass 'definitively unfinished' but we know that the Illuminating Gas would have emerged from the end of the chain of sieves, splashed down in the empty lower right part of the Glass and was then directed upwards through the centres of the four circular elements, the Oculist Witnesses, to land finally near the tip of the Blossoming. Duchamp did represent its landing, by the scatter of holes in the Glass known as the Shots. The whole sequence forms a disguised account of an incomplete sexual act.' anyhow - hope you still wanna make this cloud film?!? don't give it all up and become a paparazzi!
- Benedict Seymour maybe one could remake the Large Glass using these dweebs in their sleepless cloud? 'c**ts' = brides, awaiting insemination ('realisation') by the paying (gendered male) public (or 'mallic' to use duchamp's term for those phallic piston headed flag shapes up in the cloud at the top of the picture?). the capital advanced must be realised by consumers paying to transfer onto the floaty dweebs. so the audience is invited to participate in a sterilised 'money shot' a la duchamp, a neatly pre-separated communion with the Holy Family up there in their little cloud... is this the bourgeoisie when it can no longer even conceive of its own impotence? (unlike Duchamp, who could strip the whole apparatus of capitalism /patriarchy down to its mechanical metaphysics). they're just hanging around in a state of meta-abstraction, like a bunch o ventriloquised doggies, letting capital pull their strings. come and sleep with us - sleep through our clouds - join the c**ts and get some rest for a few minutes before you go back to work (minus benefits, plus precarity etc). movie as sleepover...? are (all) films clouds - the product of bachelor machines? must reread constance penley: http://tinyurl.com/ardtzyp
- Matthew Noel-Tod I like how you always write the film in a few facebook comments - it's very efficient! yeah, the clouds must be made. the part 2 of the duchamp story would be that at the end of the film the solitary water drop comes out of someone's tap, into a glass, is drunk, and urinated... the end.
- Benedict Seymour OK Im on a roll with this now... i keep coming back to the same obsessions at the moment so excuse the descent into analysis of leftism (prob a different movie) BUT.... HERE GOES...:
Da Chump is worried about more than impotence tho - it's 'there is no sexual relationship' - even if you do get it up, there's still 'the perpetual virginity of the soul'. and what if all this was just a psychic inscription/ personal index of a wider class anxiety over valorisation...? What if the whole of lacanian theory itself was like a screen memory, a cover story for the profound capitalist class anxiety about not being able to reinvest productively? (without inducing deflation; ie the impossibility of sexual relationship COVERS a more profound anxiety of impotence). this would be the sexual mythologisation of the taboo on investment which progressively brings sexual and social reproduction into crisis from exactly this point in time. hence from WW1 onwards capital has to destroy an awful lot of machinery and humans just to keep on accumulating. like rimbaud said capital is DAMNED BY THE RAINBOW... It's kinda tantric capitalism, a massive effort to put off the problem of being TOO re/productive. so the anxiety of impotence in turn is a cover for a social apparatus that is too fertile for the private property form of capital, that keeps bursting out of its (value) integument etc. The lacanian formula - there is no sexual relationship - is thought to account for all those myths about mortals getting violated by the gods in the form of swans and bulls (cf Yeats), but it also encodes the ethics of management proper to a bourgeoisie in crisis and also can be observed everywhere - including 'the left' - to this day. it's there in the means/end rationality of the SWP central committee - separation and hierarchy as presupposition which itself gives rise to disasters of sexual violence and complicity. the taboo on relations between order givers and order takers, humans and non-humans, men and women helps reproduce the parties as agents of the wider social non-reproduction masquerading as revolutionary 'organs'. this is the party as bachelor machine. it reproduces itself by stifling struggles. it violates its members. it offers a cipher of virility, of effectiveness, of all-sided potency (look at our massive anti-war movement (that failed to stop the war, tho we waved it around a lot). but what kind of sex is going on in such entities? and then there's the imperative of asymmetric projection on the part of both (gendered) parties; the symbolic mandate which mean the central committee must appear as agents of (anti-)capital, as 'real men', and can only confirm this (cf Brecht' The Measure Taken) when they DISAPPEAR the women comrades and bury them in the limepit. Cancelling women comrades MAKES the commie a man. It confirms their revolutionary transcendence of bourgeois morality (in the RCP they used to call it 'hardness'...), it makes them MORE THAN HUMAN. (divinity is always the pay off for overcoming one's humanity). cf Zizek - who denounces Zero Dark Thirty's naturalist detachment but presents Brecht as a legitimate critic of the bourgeois subject, as advocating a benign form of soul-destruction, self-cancellation in the name of the Cause. So - the party leader APPEARS by DISAPPEARING the woman comrade (it is necessary, the Cause demands it - either practically or, in strong stalinist form, for reasons of historical necessity). so the cops APPEAR in the form of dead children, taking their names in order to INFILTRATE the political organisation and violate its constituents. VERY FRIENDLY...