...but if even you're trapped in your own, you'll still be likely f*cked.
Tuesday, April 30, 2013
Monday, April 29, 2013
Sunday, April 28, 2013
Saturday, April 27, 2013
To Hades, do not fail to throw
A "Sop to Cerberus" at the gate,
His anger to propitiate.
Don't say "Good dog!" and hope thereby
His three fierce Heads to pacify.
What though he try to be polite
And wag his Tail with all his might,
How shall one amiable Tail
Against three angry Heads prevail?
The Heads _must_ win.--What puzzles me
Is why in Hades there should be
A Watch dog; 'tis, I should surmise,
The _last_ place one would burglarize.
Friday, April 26, 2013
So now we know why "some" girls wear short skirts and makeup. They think they know what men want (they're right, of course), and they want "recognition"... but mostly the latter. Of course, men aren't always the only "Other" that they're trying to keep in mind. ;)
Our desires are not our own, they are the Other’s
There are two relatively straightforward ways in which we can understand one of Lacan’s most well-known maxims, that “Man’s desire is the desire of the Other”? (Seminar XI, p.235). Firstly, that desire is essentially a desire for recognition from this ‘Other’; secondly that desire is for the thing that we suppose the Other desires, which is to say, the thing that the Other lacks.
In commenting on the way that desire repeats and insists through the transference and the signifier in psychoanalytic work, Lacan verifies our first reading, that desire is fundamentally a desire for recognition:
“The necessary and sufficient reason for the repetitive insistence of these desires in the transference and their permanent remembrance in a signifier that repression has appropriated – that is, in which the repressed returns – is found if one accepts the idea that in these determinations the desire for recognition dominates the desire that is to be recognised, preserving it as such until it is recognised” (Ecrits, 431).
In other words, desire pushes for recognition. It is less a question of what we desire as much as it is that we be recognised. Moreover, Lacan believes that this dependence on the other for recognition is responsible for structuring not only our desires, but even our drives:
“To return psychoanalysis to a veridical path, it is worth recalling that analysis managed to go so far in the revelation of man’s desires only by following, in the veins of neurosis and the marginal subjectivity of the individual, the structure proper to a desire that thus proves to model it at an unexpected depth – namely, the desire to have his desire recognised. This desire, in which it is literally verified that man’s desire is alienated in the other’s desire, in effect structures the drives discovered in analysis, in accordance with all the vicissitudes of the logical substitutions in their source, aim, and object” (Ecrits, 343).
So firstly our desire is a desire for recognition. But secondly it is also the desire for what we believe the other desires. We can see this as a consequence of the desire for recognition: what we experience as our own desire is always going to be, in a certain sense, the other’s desire, the other that we desire recognition from.
We can understand this ‘other’ in two ways: first, as indicated with a lower case o, the other person, our counterpart, our semblable; second, as the Other with a capital O, a more ‘otherly’ other, the essential feature of which being that although we never know quite what their desire is, we are on a constant quest to find an answer. This big Other might be another person in their essentially enigmatic dimension; or it might be the assumed virtues, morals and ideals of our culture and upbringing. One of the reasons why it is useful to put the capital O on this maxim of man’s desire being the desire of the Other is that it renders this ‘otherness’ of the Other more stark.
We never fully know exactly what the Other desires or why it desires it, or in what way we ourselves might be implicated. For the subject, desire is thus a constant process of questioning what the Other has or desires to have. In an address to the British Psychoanalytical Society in 1951 Lacan sums this up in saying:
“The object of man’s desire, and we are not the first to say this, is essentially an object desired by someone else. One object can become equivalent to another, owing to the effect producted by this intermediary, in making it possible for objects to be exchanged and compared. This process tends to diminish the special significance of any one particular object, but at the same time it brings into view the existence of objects without number” (Lacan, ‘Some Reflections on the Ego’, International Journal of Psycho-Analysis, 34, 11-17; reproduced in Furman and Levy (eds), Influential Papers from the 1950s, Karnac, 2003, p.295 – 296).
Equally, in the late sixties Lacan says:
“Desire full stop is always the desire of the Other. Which basically means that we are always asking the Other what he desires” (My Teaching, p.38).
This is the second way to understand the idea of our desire being the desire of the Other: as a desire for what we think the Other desires or lacks. So taking these two readings of Lacan’s maxim together, the lesson Lacan has for us is that the consequence of striving for recognition from the Other is that we can never ‘simply’ desire. Our desire is not something innate inside us. Indeed, for Lacan our desires are not even our own – we always have to desire in the second degree, finding a path to our own desire and our own recognition by asking the question of what the Other desires. We have to desire things that are desirable to the Other – whether other people or the Otherness of our socio-cultural context – and through that process the desire of the Other becomes our own. This is an idea that has its heritage in Hegel’s philsophy, as Lacan acknowledges in the Ecrits:
“Man’s very desire is constituted, he [Hegel] tells us, under the sign of mediation: it is the desire to have one’s desire recognised. Its object is a desire, that of other people, in the sense that man has no object that is constituted for his desire without some mediation. This is clear from his earliest needs, in that, for example, his very food must be prepared; and we find this anew in the whole development of his satisfaction, beginning with the conflict between master and slave, through the entire dialectic of labour” (Ecrits, 182).
To desire is to answer the question ‘What does the Other desire?’
Wednesday, April 24, 2013
After you've been to bed together for the first time,
without the advantage or disadvantage of any prior acquaintance,
the other party very often says to you,
Tell me about yourself, I want to know all about you,
what's your story? And you think maybe they really and truly do
sincerely want to know your life story, and so you light up
a cigarette and begin to tell it to them, the two of you
lying together in completely relaxed positions
like a pair of rag dolls a bored child dropped on a bed.
You tell them your story, or as much of your story
as time or a fair degree of prudence allows, and they say,
Oh, oh, oh, oh, oh,
each time a little more faintly, until the oh
is just an audible breath, and then of course
there's some interruption. Slow room service comes up
with a bowl of melting ice cubes, or one of you rises to pee
and gaze at himself with the mild astonishment in the bathroom mirror.
And then, the first thing you know, before you've had time
to pick up where you left off with your enthralling life story,
they're telling you their life story, exactly as they'd intended to all along,
and you're saying, Oh, oh, oh, oh, oh,
each time a little more faintly, the vowel at last becoming
no more than an audible sigh,
as the elevator, halfway down the corridor and a turn to the left,
draws one last, long, deep breath of exhaustion
and stops breathing forever. Then?
Well, one of you falls asleep
and the other one does likewise with a lighted cigarette in his mouth,
and that's how people burn to death in hotel rooms.
-Tennessee Williams, "Life Story"
Monday, April 15, 2013
Are, with the likeness of the truth, undone.
Myself for shortness labour, and I grow
Obscure. This, striving to run smooth, and flow
Hath neither soul nor sinews. Lofty he
Professing greatness swells; that low by lee,
Creeps on the ground; too safe, afraid of storm
This seeking, in a various kind, to form
One thing prodigiously, paint's in the woods
A dolphin, and a boar amid the floods,
So shunning faults to greater fault does lead,
When in a wrong and artless way we tread.
Horace, "Ars Poetica"
Saturday, April 13, 2013
Monday, April 8, 2013
Some things about living still weren't quite right, though. April for instance, still drove people crazy by not being springtime. And it was in that clammy month that the H-G men took George and Hazel Bergeron's fourteen-year-old son, Harrison, away.
It was tragic, all right, but George and Hazel couldn't think about it very hard. Hazel had a perfectly average intelligence, which meant she couldn't think about anything except in short bursts. And George, while his intelligence was way above normal, had a little mental handicap radio in his ear. He was required by law to wear it at all times. It was tuned to a government transmitter. Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains.
George and Hazel were watching television. There were tears on Hazel's cheeks, but she'd forgotten for the moment what they were about.
On the television screen were ballerinas.
A buzzer sounded in George's head. His thoughts fled in panic, like bandits from a burglar alarm.
"That was a real pretty dance, that dance they just did," said Hazel.
"Huh" said George.
"That dance-it was nice," said Hazel.
"Yup," said George. He tried to think a little about the ballerinas. They weren't really very good-no better than anybody else would have been, anyway. They were burdened with sashweights and bags of birdshot, and their faces were masked, so that no one, seeing a free and graceful gesture or a pretty face, would feel like something the cat drug in. George was toying with the vague notion that maybe dancers shouldn't be handicapped. But he didn't get very far with it before another noise in his ear radio scattered his thoughts.
George winced. So did two out of the eight ballerinas.
Hazel saw him wince. Having no mental handicap herself, she had to ask George what the latest sound had been.
"Sounded like somebody hitting a milk bottle with a ball peen hammer," said George.
"I'd think it would be real interesting, hearing all the different sounds," said Hazel a little envious. "All the things they think up."
"Um," said George.
"Only, if I was Handicapper General, you know what I would do?" said Hazel. Hazel, as a matter of fact, bore a strong resemblance to the Handicapper General, a woman named Diana Moon Glampers. "If I was Diana Moon Glampers," said Hazel, "I'd have chimes on Sunday-just chimes. Kind of in honor of religion."
"I could think, if it was just chimes," said George.
"Well-maybe make 'em real loud," said Hazel. "I think I'd make a good Handicapper General."
"Good as anybody else," said George.
"Who knows better than I do what normal is?" said Hazel.
"Right," said George. He began to think glimmeringly about his abnormal son who was now in jail, about Harrison, but a twenty-one-gun salute in his head stopped that.
"Boy!" said Hazel, "that was a doozy, wasn't it?"
It was such a doozy that George was white and trembling, and tears stood on the rims of his red eyes. Two of of the eight ballerinas had collapsed to the studio floor, were holding their temples.
"All of a sudden you look so tired," said Hazel. "Why don't you stretch out on the sofa, so's you can rest your handicap bag on the pillows, honeybunch." She was referring to the forty-seven pounds of birdshot in a canvas bag, which was padlocked around George's neck. "Go on and rest the bag for a little while," she said. "I don't care if you're not equal to me for a while."
George weighed the bag with his hands. "I don't mind it," he said. "I don't notice it any more. It's just a part of me."
"You been so tired lately-kind of wore out," said Hazel. "If there was just some way we could make a little hole in the bottom of the bag, and just take out a few of them lead balls. Just a few."
"Two years in prison and two thousand dollars fine for every ball I took out," said George. "I don't call that a bargain."
"If you could just take a few out when you came home from work," said Hazel. "I mean-you don't compete with anybody around here. You just sit around."
"If I tried to get away with it," said George, "then other people'd get away with it-and pretty soon we'd be right back to the dark ages again, with everybody competing against everybody else. You wouldn't like that, would you?"
"I'd hate it," said Hazel.
"There you are," said George. The minute people start cheating on laws, what do you think happens to society?"
If Hazel hadn't been able to come up with an answer to this question, George couldn't have supplied one. A siren was going off in his head.
"Reckon it'd fall all apart," said Hazel.
"What would?" said George blankly.
"Society," said Hazel uncertainly. "Wasn't that what you just said?
"Who knows?" said George.
The television program was suddenly interrupted for a news bulletin. It wasn't clear at first as to what the bulletin was about, since the announcer, like all announcers, had a serious speech impediment. For about half a minute, and in a state of high excitement, the announcer tried to say, "Ladies and Gentlemen."
He finally gave up, handed the bulletin to a ballerina to read.
"That's all right-" Hazel said of the announcer, "he tried. That's the big thing. He tried to do the best he could with what God gave him. He should get a nice raise for trying so hard."
"Ladies and Gentlemen," said the ballerina, reading the bulletin. She must have been extraordinarily beautiful, because the mask she wore was hideous. And it was easy to see that she was the strongest and most graceful of all the dancers, for her handicap bags were as big as those worn by two-hundred pound men.
And she had to apologize at once for her voice, which was a very unfair voice for a woman to use. Her voice was a warm, luminous, timeless melody. "Excuse me-" she said, and she began again, making her voice absolutely uncompetitive.
"Harrison Bergeron, age fourteen," she said in a grackle squawk, "has just escaped from jail, where he was held on suspicion of plotting to overthrow the government. He is a genius and an athlete, is under-handicapped, and should be regarded as extremely dangerous."
A police photograph of Harrison Bergeron was flashed on the screen-upside down, then sideways, upside down again, then right side up. The picture showed the full length of Harrison against a background calibrated in feet and inches. He was exactly seven feet tall.
The rest of Harrison's appearance was Halloween and hardware. Nobody had ever born heavier handicaps. He had outgrown hindrances faster than the H-G men could think them up. Instead of a little ear radio for a mental handicap, he wore a tremendous pair of earphones, and spectacles with thick wavy lenses. The spectacles were intended to make him not only half blind, but to give him whanging headaches besides.
Scrap metal was hung all over him. Ordinarily, there was a certain symmetry, a military neatness to the handicaps issued to strong people, but Harrison looked like a walking junkyard. In the race of life, Harrison carried three hundred pounds.
And to offset his good looks, the H-G men required that he wear at all times a red rubber ball for a nose, keep his eyebrows shaved off, and cover his even white teeth with black caps at snaggle-tooth random.
"If you see this boy," said the ballerina, "do not - I repeat, do not - try to reason with him."
There was the shriek of a door being torn from its hinges.
Screams and barking cries of consternation came from the television set. The photograph of Harrison Bergeron on the screen jumped again and again, as though dancing to the tune of an earthquake.
George Bergeron correctly identified the earthquake, and well he might have - for many was the time his own home had danced to the same crashing tune. "My God-" said George, "that must be Harrison!"
The realization was blasted from his mind instantly by the sound of an automobile collision in his head.
When George could open his eyes again, the photograph of Harrison was gone. A living, breathing Harrison filled the screen.
Clanking, clownish, and huge, Harrison stood - in the center of the studio. The knob of the uprooted studio door was still in his hand. Ballerinas, technicians, musicians, and announcers cowered on their knees before him, expecting to die.
"I am the Emperor!" cried Harrison. "Do you hear? I am the Emperor! Everybody must do what I say at once!" He stamped his foot and the studio shook.
"Even as I stand here" he bellowed, "crippled, hobbled, sickened - I am a greater ruler than any man who ever lived! Now watch me become what I can become!"
Harrison tore the straps of his handicap harness like wet tissue paper, tore straps guaranteed to support five thousand pounds.
Harrison's scrap-iron handicaps crashed to the floor.
Harrison thrust his thumbs under the bar of the padlock that secured his head harness. The bar snapped like celery. Harrison smashed his headphones and spectacles against the wall.
He flung away his rubber-ball nose, revealed a man that would have awed Thor, the god of thunder.
"I shall now select my Empress!" he said, looking down on the cowering people. "Let the first woman who dares rise to her feet claim her mate and her throne!"
A moment passed, and then a ballerina arose, swaying like a willow.
Harrison plucked the mental handicap from her ear, snapped off her physical handicaps with marvelous delicacy. Last of all he removed her mask.
She was blindingly beautiful.
"Now-" said Harrison, taking her hand, "shall we show the people the meaning of the word dance? Music!" he commanded.
The musicians scrambled back into their chairs, and Harrison stripped them of their handicaps, too. "Play your best," he told them, "and I'll make you barons and dukes and earls."
The music began. It was normal at first-cheap, silly, false. But Harrison snatched two musicians from their chairs, waved them like batons as he sang the music as he wanted it played. He slammed them back into their chairs.
The music began again and was much improved.
Harrison and his Empress merely listened to the music for a while-listened gravely, as though synchronizing their heartbeats with it.
They shifted their weights to their toes.
Harrison placed his big hands on the girls tiny waist, letting her sense the weightlessness that would soon be hers.
And then, in an explosion of joy and grace, into the air they sprang!
Not only were the laws of the land abandoned, but the law of gravity and the laws of motion as well.
They reeled, whirled, swiveled, flounced, capered, gamboled, and spun.
They leaped like deer on the moon.
The studio ceiling was thirty feet high, but each leap brought the dancers nearer to it.
It became their obvious intention to kiss the ceiling. They kissed it.
And then, neutraling gravity with love and pure will, they remained suspended in air inches below the ceiling, and they kissed each other for a long, long time.
It was then that Diana Moon Glampers, the Handicapper General, came into the studio with a double-barreled ten-gauge shotgun. She fired twice, and the Emperor and the Empress were dead before they hit the floor.
Diana Moon Glampers loaded the gun again. She aimed it at the musicians and told them they had ten seconds to get their handicaps back on.
It was then that the Bergerons' television tube burned out.
Hazel turned to comment about the blackout to George. But George had gone out into the kitchen for a can of beer.
George came back in with the beer, paused while a handicap signal shook him up. And then he sat down again. "You been crying" he said to Hazel.
"Yup," she said.
"What about?" he said.
"I forget," she said. "Something real sad on television."
"What was it?" he said.
"It's all kind of mixed up in my mind," said Hazel.
"Forget sad things," said George.
"I always do," said Hazel.
"That's my girl," said George. He winced. There was the sound of a rivetting gun in his head.
"Gee - I could tell that one was a doozy," said Hazel.
"You can say that again," said George.
"Gee-" said Hazel, "I could tell that one was a doozy."
Friday, April 5, 2013
-Dante Gabriel Rossetti
In a dull swiftness we are carried by
With bodies left at sway and shaking knees.
The wind has ceased, or is a feeble breeze
Warm in the sun. The leaves are not yet dry
From yesterday's dense rain. All, low and high,
A strong green country; but, among its trees,
Ruddy and thin with Autumn. After these
There is the city still before the sky.
Versailles is reached. Pass we the galleries
And seek the gardens. A great silence here,
Through the long planted alleys, to the long
Distance of water. More than tune or song,
Silence shall grow to awe within thine eyes,
Till thy thought swim with the blue turning sphere.
Tuesday, April 2, 2013
THE rain set early in to-night,
The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listen'd with heart fit to break.
When glided in Porphyria*; straight
She shut the cold out and the storm,
And kneel'd and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soil'd gloves by, untied
Her hat and let the damp hair fall,
And, last, she sat down by my side
And call'd me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread, o'er all, her yellow hair,
Murmuring how she loved me—she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever.
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain:
So, she was come through wind and rain.
Be sure I look'd up at her eyes
Happy and proud; at last I knew
Porphyria worshipp'd me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.
As a shut bud that holds a bee,
I warily oped her lids: again
Laugh'd the blue eyes without a stain.
And I untighten'd next the tress
About her neck; her cheek once more
Blush'd bright beneath my burning kiss:
I propp'd her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorn'd at once is fled,
And I, its love, am gain'd instead!
Porphyria's love: she guess'd not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirr'd,
And yet God has not said a word!
The Vampire Disease, or porphyria* in scientific term, is a set of genetic disorders characterized by the malfunction of the hemoglobin production. It is a rare disease that is said to originate from the intermarriages of the European nobility. The good news is, it is not contagious. Unfortunately, it is not curable.
While the term "porphyria" is relatively new, the disease itself has been in existence since the beginning of time. It is referred to, before, as a liver or a blood disease due to its symptoms. It was later called the "Vampire Disease" and was actually the start of the vampire legend.
People suffering from porphyria have symptoms manifested by mythological vampires. Their skin is sensitive to sunlight, their urine is reddish to purplish in color, the gums are shrunk making the teeth looking more prominent and canine-like and they have an averse reaction to garlic. Likewise, people suffering from porphyria will feel constant abdominal pains, will have increased hair growth, bouts of vomits and tightened skin.