
|
5:
|
|
|
Today between these
profounds of sex is love. All social advancements, for example, the
enfranchisement of women or the rights of children, find expression in
the wake of love and its absolute requirement at the crest of the mix to
reconstitute the Human, to re-dispose of energy, matter, capital and
wealth. Capital chases love; love flees capital. A brief chronicle:
early modern capital, emerging from the feudal, concerned itself with
the family as economic unit and the law as organizing principle, so
Shakespeare's girls fled their fathers and the comfort of the city into
the wilderness of the woods and their magic. Then industrial capital
busied itself with the married couple, so Ibsen's women fled the hearth
and crossed the threshold into the unimaginable (and thereby
unstageable) beyond of unmarried life or suicide or the sea. Now
post-industrial capital colonizes an evolved model of the individual as
marketplace, a fragmented set of life-styles and role-plays, so men and
women are obliged to flee their genders and sexualities towards the
superfluidity of the flesh and the mobility of pure desire, that is,
towards the hermaphroditic.
|
The sex of the addresser awaits its determination by or
from the other. It is the other who will perhaps decide who I am - man
or woman. Nor is it decided once and for all. It may go one way one time
and another way another time.
Derrida, Jacques (1988) The Ear of the Other, trans. Avital Ronell & Peggy Kamuf, Lincoln: University of Nebraska, p52.
|
|
|
EPISODE 3:
The romance of DeliverUs is
a holoworld
a fractal of this universal mix. In this morning after the night
before, this jointed reverie of waking from a shared dream, it
expresses a series of love's moods or conjugations. Firstly, the
infinitive, a mood without person or time, expressing the ecstasies of
that first flush of passion. Secondly, the simple present, a forensic
mood when the lovers emerge from their passions to interrogate the
conditions and circumstances of their love. And thirdly, the
subjunctive, that terrible mood that looks forward and connects the
lovers to all possible futures, when they turn from what is to what
might be. Each new tense soon reaches its own inarticulateness and
necessitates the conjugation to the next: passion can only be performed
through bodies and their times, so the infinitive collapses into the
present; the one thing the present can never be is present to itself, so
that simply cannot be known in its entirety and becomes infected with
the suppositions of what might be. In doing so, each new tense thickens
the love, so that love's very viability depends upon its capacity to
accommodate and embody each successive complication of language. As if a
series of astonishments, each new mood disorganizes the lovers' sense
of selves and provokes an enrichment of love's potentiality. The
texture of love's text becomes a medium that thickens, a middle that
meddles. In this linguistic flight, Romantic love is dangerous, even
deadly, to its participants, since they risk disintegration materially
and in principle. From the profounds of love emerge unpredictable
offspring.
Inasmuch as it is already animal, human and angelic, flesh is the language of the divine.
Serres, Michel (1995) Angels, A Modern Myth, trans. Francis Cowper, Paris: Flammarion, p185.
|
|