L’ Origin Du monde
It’s about sensitivity! Some hypersensitive mechanism that might oscillate... Incoming signals, theta oscillations between two categories of pleasure. The hypnotist-somnambulist relationship concealing the ruling moral dichotomy of good and evil, expressed as darkness and light. Instead, a permeable barrier, marked by portals and niches into which the subject may project herself. She is led to misrecognize the projected shadows of artifice as true objects; voices in the white noise. The word séance can also mean “screening”. Enter the in - between - two - deaths. Here, subtle matter-energy configurations, electric light, film, optics, radio provoke heightened states of consciousness – the apparatus, as he called it, for making contact with the souls of the dead. Photography, film, and surveillance technologies restore brilliance to the gaze. The screen is here the locus of mediation disavowed, and even impossible. The recognition of incomprehension: the face signifies by refusing the exclusion of the subject from the inner sanctum. A program chosen. A risk for the subject’s pleasure, whether or not the subject wants to watch. Time passes quickly when you are absorbed or in a trance state. Sitting in dark rooms in front of screens, absorbing programmed material. Whatever erupts onto the screen is authentic... luminosity, electromagnetic radiation, the codification of the rainbow interrelated over time. We need to perfect our own biological apparatus. The television is off. The liminality of the screen during the Acephalic revolution as a point of passage and transition ellipsis, removal, reduction, where darkness and public spectacle make the viewer a part of the object of desire. A double process, channelling, suggestion and ego-loss, contagious, mimetic, orgiastic behaviour. A cold, neutral ear informing us – deliver the Mother Code. Mesmerism and the contact field. Ascending holiness. The enigmas of feminine sexuality prefigure a readiness to process ethereal substance. To tune their ear into the voices, a fist knocking on an invisible surface. The only pleasure experienced is the perception of the void conveyed by a woman’s genitals. Mirror phenomena are increasing. Some suggest that they reflect the double as a second self, a counter-self and a ‘mirror’ of
unacknowledged, even unattainable aspects of oneself, taking place in a crypt in Paris. Frequently, I found myself blurring the opposition between the esoteric and counterfeit as a means of producing a score for a glass harmonic we don’t know how to hear. The horror of inversion, of blankness that is the characteristic property of surface, casts doubts on the notion (and experience) of the self’s unity and identity. Primarily the subject positions itself in front of the transcommunication apparatus, usually in a linear manner which insinuates a mirroring between apparatus and subject, revealing fears and anxieties about certain kinds of erotic play integral to behavioural contagion through representation. Memory enables the subject to
maintain the fiction of stable identity. Female genitals have been correlated to various involuntary behaviours – exploration, spatial navigation and alert states, a movement towards becoming unified with, or to be aligned. A fourth state, powers so abstract and unspecified, blankness has gone from a symptom of lack to a potentiality already full of meaning a displacement from the ‘real’ but foreclosed trauma to the imaginary and symbolic.