EXPERIMENT

The experiment displays the efficacious propensity of my investigations; a punctum displayed in meditative nature, the montage of the drive, the death drive, tracked and surveilled, chopped and slowed to find clues, to analyze.

After completing the Mystory, reading the books while taking notes and page number annotations, and noting any instances of epiphany/sting/punctum, I developed this work in order to study the Gaze, mimicry, process and access to the unconscious.

can be combined with this(wear headphones):

*DO NOT READ*

  

SHI thru timbales = film < ~lamella~

It's hard to see, but check out the cat on her shirt

I relate to the timbales very well, particularly due to the continuous rhythm and flow of the person in charge of activating the them. The person playing, the Timbalero, is like the brush wet with Sumi ink, marking the surface of the real that she is in, the gaze is upon her, she performs, mimics, adds her own in short instances.

6 minute point marks his fully developed libido

The film itself as a material, coiled up and restricted in its reel, comes to life as an endless stream of the unconscious into the real. The video above is a boy that gets interpellated on television, with a gaze imposed upon him that he is reflects through his adulthood. The boy is given the lamella that was on Tito Puentes. He utilizes it through the years on stage on the famous TV show: Sabado Gigante. 

Repetition and pattern

Kusama

How do marks follow each other, almost as if under a gravitational pull, a safety net, a way to conquer the subject by a strength in numbers?

SHOP KUSAMA

Pure optical situations reveal connections of a new type which are no longer sensory-motor and which bring the emancipated senses into direct relation with time and thought. This is the very special extension of the Pure Optical image: to make time and thought perceptible, to make them visible and of sound.p.65

Yayoi Kusama produces work that relies heavily on pattern and repetition. Her own issues with mental illness feed this repetition. She attributes the repetition to her problems at home when she was a child.
Remember Jullien stating that everyone has a mental illness.

In film, the still image is in vain, like the foreboding of a car breakdown, like watching out for death.p.63

 In slowing down this pattern, one can see that within such a long structure there sit thousands of individual frames, instances of death. I believe that Kusama, just like many scientists who have a high powered microscope, overlay the pattern of living organisms that cover everything.

There is an interesting play that occurs between a pattern's gaze and the subject's. It is difficult to focus on a complex pattern so the gaze upon a pattern such as Kusama's is one that is diffused upon contact. The gaze will run more complex algorithms in order to narrow the gaze.

Electrate Long Shot- corpse of the Dragon

When people think they've seen enough of something, but there's more, and no change of shot, then they react in a curiously vivid way.p.11

The Long Shot

Movement of frames in a film, when slowed down, reveal many instances of the decayed essence of the subject. Film becomes a series of photographs that

Film reanimates the coordinates of time, of representing movement as flows and patterns of time by expressing them as energy rather than as the effects of energy given in the transition from one frozen instant to another.p.96

The Vaporwave genre of music and video combinations, that was not mentioned in the Cinematics book, works very well within the poetics section of our process in this class. This video is called Saint Pepsi. The artist uses footage and samples of early 90's media. In slowing and chopping the sound and video as well as encouraging the analog glitch that arises through VHS playback on Cathode tubes,

$% the assumption of a future-virtual technology consumer corporate saving us all %$

is the rotten corpse of the dragon, re-animated and brought into the Fifth Estate to serve as a puppet that represents the Other (as we knew the Other). This video is like the last photograph ever taken of Bigfoot. He/She has been re-classified as the Other.

It is also like the sound of mice laughing. We can only hear them if we record the laughter and then process the audio to a lower frequency:
                                    
Vaporwave art-making is built in an Electrate Metaphysics, and forms critique through looking at its own history. The artist states via media "This is the Other, slowed down.-Here, look at this pattern (     ) Listen to the repetition of sound. What are the lyrics? Were any elements of this action invisible until you slowed down to feel how it is stained on you?

Now that we have seen the dragon corpse, let's set out to create a more beautiful one.

Libido-Miami

Someone told me recently that people move to Gainesville from Miami in order to think. I relate to this notion, and I do write on this in the relation of Newnan's Lake & my unconscious in another post. In Gainesville there exists a formula to remove the phallus in order to look at it, but it's kinda hard to find. It is also right in front of you. Read and take notes (with page number annotations). Don't run from anxiety, utilize it to keep a rhythm of oscillation.  

When I moved up to Gainesville (for my MFA)

The Libido(lamella) is the essential organ in understanding the nature of the drive. It's unreal, not imaginary. It articulates itself on the real in a way that eludes us.p.205

The objet a is that object which is actual experience, in the operation and process sustained by the transference, and is signaled to us by a special status.p.267

Entering the Blue Hole and coming back up again

Schaulust

The pleasure of seeing-sadomasochism

in the drive

Trieb

the manifestation of inertia in the organic life. 

Thrust

the tendency to discharge, produced by the transmission of the accepted portion

Real-Ich

supported by the nervous system, and has the character of a planned, objectified subject.

Libido

effective presence of desire which governs the very mode of our approach

_____________________________________________________________________

Drang as it is in its origin, the surface, the rim, the source, the Quelle, the erogenous zone in the drive

The unconscious is not an ambiguity of acts, future knowledge that is already known not to be known, but LACUNA, cut, rupture inscribed in a certain lack.

When you entrust someone on a mission, the aim is not what he brings back, but the itinerary he must take. p.179

In archery, the goal is not the but(goal) either, it's not the bird you shoot, it's having scored a hit and thereby attaining your but(goal)

(in french the word "but" thanslates into "goal")

p.179

(They got it! -they think/believe)

Sumi Sweeping

Calligraphy and SHI is like the wake of a boat and the outboard engine that cut it into existence. Jullien states that the SHI of calligraphy is like the internal skeleton of the calligraphic ideogram, which provides structural consistency. It is the potential. It is hard to believe how great calligraphy can be until you acquire the tools to begin manifesting SHI through its mark-making. I will help make this as easy as possible.. read page 79 on conceptual art and calligraphy and intent.One very important thing to remember is that:

"It must be assessed with SHI in mind if it is to be successful."

If SHI is a vital force of energy, like a powerful rush of water flowing down a mountain, imaging the brush's Sumi ink tip and its first encounter with the painting surface. The ink's sole purpose is to create a mark, a stain on the surface.

 Watch this:

~rim~

 Think of a desire, and find the space between desire and the object of attraction. This is the journey, the drive's course. Make the brush tip your power, and now go on the journey. Remember:

When SHI comes, don't stop it. When it departs, do not hinder it. 

This quote will now be forever linked to the brushtip, brush, hand, arm, body, self.

the Vanishing

"To let oneself be visible gives others a hold over one and puts them in control; the true manipulator becomes one with his position and vanishes from view."-Jullien

The best way to remain in power is to stay out of sight and avoid conflict. It seems that the eyes have a great ability to measure and equalize (envidia). Take for instance the story that artist Kim Abeles told me recently on her latest public art commision dealing with civil rights leader Martin Luther King. She was commissioned to create a work of art to be used as a permanent sculpture in Los Angeles, based on Martin Luther King. When one thinks of this great man, what is pictured is the story, the imagery on television, the camera positions mostly pointing up, giving him a larger than human presence.

Artist Kim Abeles found out through a random blog post that there is a woman holding a great collection of shoes and memorabilia of different figures of that movement. It is amazing to think that someone could be holding onto such a great collection of objects.. Imagine, a collection of shoes that were worn by people in the midst of marches, confrontation and struggle for the well-being of all people.

She was able to travel to meet the woman and her collection. Through the dig, she encountered among many objects of great importance, the pair of shoes that she may have been looking for all along: Martin Luther King's shoes.

Her public art piece would be that of a bronze cast of these shoes. When submitting the proposal, the people insisted that they wanted big shoes, larger than life shoes, the shoes that would fit on the feet of a huge statue of Dr. King. She insisted, her reasoning being that besides his great achievements and ability to empower others, he was also just a man, just like you and I. The notion of being equal to a person of King's status can initially reduce the potency of Dr. King's image, but upon more introspection, the power that is taken away from this illusion is given to the people as ability. This ability is the to be just as a great leader, speaker, animator. The ability is the SHI.

From Jullien's research on the prince, I have received instruction on how to use it to my advantage, how to detect the prince, and utilize his propensity to assist my own ventures.

Real Automation

"One who sets off in a boat on a small waterway feels himself to be totally in command, whereas on a large river or at sea one is more inclined to appeal to Heaven."-Jullien

     Broward County-Fl

Tuche'- The encounter with the real.

The real is beyond the automaton, the return, the coming back, the insistence of the signs by which we see ourselves governed by the pleasure principle. The Real is that which always lies behind the automaton.-Lacan

This person was on her way home from a group walk to benefit breast cancer research. For some reason she decided to walk along the train tracks and ended up stuck in this position for 30 minutes. The automated bridge control system that runs remotely from Tallahassee, Fl. had activated the raising of the bridge creating an encounter with the REAL.

She became the subject and soldier that Jullien speaks of "A soldier is brave and a subject loyal thanks not to the fine virtues they possess but simply because they have no option."

She began to draw a crowd of people. She had become a human ideogram, an automaton made through the systematic mechanism of the reality system. To the crowd, she was a mark, a stain to photograph, to many she became an object of desire=

She became a hero.
She became a criminal.
She became a star.
She became en Souffrance.
She became the Objet a.

When the bridge lowered, people rushed to participate in the spectacle, but the spectacle was a person, and the bridge sunk back, connecting to its tracks and no longer existing as a grid in the sky: it is invisible again.

"The height of the tree is irrelevant; what counts is the altitude of the mountain on which it is perched".

Surveillance-tracking

When under surveillance, under the constant gaze of the Other, the oscillating force of the subject's drive reacts and acts, performs, puts on the mask. The subject becomes the hunter, the model, the posh socialite, the tree hugger.

It is in the space of the other that he sees himself and the point in which he looks at himself. p.144

Trackers

What is involved in the drive is making oneself seen. The activity of the drive is in this making oneself and by relating it to the field of the other drives that we throw light on it. In this process of motion tracking with Syntheyes, I had come to the conclusion that this video would not work correctly, and I would just have to re-shoot. I have always been enamored by the process of things, and being able to track an object by looking at its representative pixels gave me many ideas to go by. The man that looks back at me sees himself, and looks over to his friend to convey the information. I can sense his friend's gaze upon him, as well as my own. I want to investigate this more.

Dejate LLevar y Consientete (let yourself be taken... and indulge)

Consentir: to allow, to agree, to spoil

to break, to give, to split, to crack

This image is a great example of the gaze, of the objet a, placement in the most odd of places, yet, is it really that odd? This is taken in Teotihuacan, an ancient site in Mexico that contains the large temples of the Sun and Moon. Most of what can be seen in the reflections of the Nestle advertisement are the reconstructed villages of Teotihuacan. Were objects similar to this thousands of years ago? If you go down the bases of the pyramids, in the shadows, you see paintings of jaguars, people, and rules. 

In this instance, I was searching for images which contain a reflection, in order to witness the subject/object in the container of a photograph. Also, I was looking for SHI in particular, which often times is well hidden, just like this ad (twin oscillating dragons). Yet, looking at the top left of the ads, one can witness the remnants of a sticker artist who, in witnessing the Lexis, chose to take advantage of it by attaching his/her own mark.

YARGH!

In Cinematics, I noticed how the Objet a is the lexis: the socialized unit of reading, of reception; in sculpture, the statue, in music, the piece. Also, of course what kept resonating through the book were the differences between film and photography.. Interestingly enough, certain writers were working in times when video capture devices were cumbersome, limited in quality and also difficult to view.

The street, in the extended sense of the word, is not only the arena of fleeting impressions and chance encounters but a place where the flow of life is bound to assert itself. p82

Utilizing the photographic camera as killing machine, I began to search through my past in order to find an instance where I did capture death in its tracks.

This capture would be best searched for if I were to filter through only my snapshots.

Snapshots: like death, is an instantaneous abduction of the object out of the world into another world, into another kind of time-unlike cinema which replaces the object in an unfolding of time similar to life. p126

How many snapshots have I taken throughout my life? Well, since I have had a camera phone, the snapshot has been extremely common. I filter some more, beyond the camera phone, searching for the lexis as physical gel and paper with markings, where an image is burned onto light sensitive emulsion.

To filter even further, I looked for a snapshot that had a punctum

Barthes: The only part of a photograph which entails the feeling of an off-frame space is the punctum: the point of sudden and strong emotion, of small trauma; it can only be a tiny detail. The punctum depends on the reader.

So my Emage (a charged image), this objet a is a snapshot I took as I was leaving my high school with some friends in my 1971 VW Bus. My sister had just given me a cheapo 35mm camera to experiment with. As I was turning the corner, we saw this couple on the sidewalk. For some reason, we were trying to scare people that day by screaming at them as loudly and violently as we could, following along with a “click” of the camera. What a great use of these machines; the voice box, the German van, the camera. The scream was pronounced “YAAARGH!”

Once I managed to develop the film (with my allowance), my friends and I rejoiced in the long study of this image. Every time we looked at it, something new showed itself: the woman’s hand reaching for the fence, the couple’s intense grip, the man’s defensive stance. I began to look at the sidewalk, the provisional repair.

There is something missing though, and this is special, this is the lack, the missing corner of the photograph. My mother’s dog ate the corner and I chose at the time to snip it off rather than repair it. I will never have that data. Whenever I see this image, I investigate the edge, top right, and extend out the image to fill that gap, to complete the photo.

When I see this photo now, I see death’s presence. The dog that chewed the photo is dead. Also, this place, Hialeah, is no longer my home. The clothing that was worn in 1996 is dead, my van is gone, friends gone, but I do remember the speed in which we ran past these folks, the sound of the motor, and the smell of rubber and asphalt that accompanied the street. The YARGH photo survives as a fetish object (now digitized).

“The photograph, inexhaustible reserve of strength and anxiety, shares, as we see, many properties of the fetish (as object) if not directly of fetishism as activity.”p130

50 Cent dubbed over Jehovah Witness' infomercial on ending masturbation (the Lamella workout)

The link to the phallus, to the lamella, libido, shi, and how it is passed on as a continuous flow (ideally) -or-we-attempt-to, is driven by desire in such a way that, if its interpretation gets twisted through the gaze of the Other, it can be taken all out of alignment, ensuring the propensity of someone of something else's desire but not one that may really benefit you. Developing your own metaphysics in this current state of unilateral Electrate potentiality is needed in order to be equal to the Other, which at the current moment is social media and gov't influence (probably).

In looking through Lacan's exploration into the Lamella, the ultra-flat organism ie: the libido, SHI, the thing that passes onto others, I searched for accessible video that could be used as an example of a social media Objet a, in this case this video. This mashup video/overdubb and probable speed sync work obliterates the original message stated above with a song that survives in its nature to embed itself onto many social Electrate objects. This song absorbs the imagery which results in a refined and embedded flow that belongs to the Other.