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• W838107064 abstract "ion into the screen of fantasy as a perceptible entity.9 In light of these considerations we may re-read Guy Debord’s theses on the coordinates of late capitalist subjectivity in their ontological specularity. Debord, joining Marx and Lacan after Freud, articulates a fundamentally historicist analysis of the problem: “The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images” (Debord 12).10 This constitution of simulacra, is, as Debord diagnoses, the drive of the late capitalist mode of production, composed of an everyday life that should be understood as the systematic organization of a breakdown in the faculty of encounter, and a replacement of that faculty by a social hallucination: a false consciousness of encounter, or an “illusion of encounter.” In a society where no one is any longer recognizable by anyone else, each individual is necessarily unable to recognize his own reality. (Debord 152) Here, abstraction is reified into the spectacle; so that it is no longer an encounter with the Name-of-the-Father that articulates the signifying cut of abstraction or its Law. With no place from which to pose the question “What do you want?”, the subject is no longer a symptomatic conversion of this question, but is rather a figure of the obscene: A psychotic hallucination of encounter. The mediation constitutive of subjectivity has its correlation in representational technologies: “The structure of the psychical apparatus will be represented by a writing machine” (Derrida 75). But not all writing machines are bound by Law—or, rather, some writing machines reproduce not the chain of signifiers made possible by the cut in the real but the substantified cut itself. The narrator of Kafka’s In the Penal Colony describes a scenario in which the coordinates of signification are evocative of a technique of representation wherein the signifier itself has become the subject of reference—in which the writing machine that graphs the Law onto the skin of the prisoner is the most obscene substantification of the signifier that the cruel, primordial father could produce. The apparatus performs the operation of “substituting the signs of the real for the real” in a manner that illustrates the implosive consequences of the deployment of a representational, “perfectly descriptive machine that offers all the signs of the real and short-circuits all its vicissitudes” (Baudrillard, Simulacra 2), and the Commandant is an exemplum of the obscene father, “an absolute Master for whom there are no limits; yet simultaneously, he possesses an insight into the very kernel of our (subject’s) being, our desire has no secret for him . . . [he is] a father who knows” (Žižek, Symptom 159). It is this father from which we have no secret, no place from which to ask, “What do you want?” In terms of a critique of capital, this structure also emerges in the spectacle: “The Wennekers" @default.
• W838107064 created "2016-06-24" @default.
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• W838107064 date "2015-01-07" @default.
• W838107064 modified "2023-09-27" @default.
• W838107064 title "The Circuit and the Ring: Or, Psychosis as A Media Effect" @default.
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