fee ao ono Eola oleae ola)Editor's Note A word of explanation about the American edition of this book Be of the ens ncnded hee have lend een pb Ted in the Engshlangge vie Image-Musc-Test (arr). To subtract then from thi elletion would be to ds its stot. Patticlny with regard to "Weiting the Visible” the abence ofthe fist euayt a that group would be trocblewome, for thet double movementfoeuing and ao tranicending emiclogy—develops a method of “reading” which veri the tabequent says and pes st apprecate het France, Indabitaly, “The Tid Meaning” tone of RB tot iportantwrtngs—a noes ofthe Bartesan text—and it mo secident that the categorie of obvious and obtise de fined thre were chen forthe French tile ofthis election We ae gatelul to oa fend Athor Wang for having under sod thi and for apecing to respect the integral rchitectne OF RBs work. Ths the reader ean der how inentvly RB puhaps better thn anyone ee—manages to atic: infor rifeation the cculstionasong al lescns ofthe symbol, in the web ofall languages and the reeation of sipingWipwiamee|—that apprehension, tas on certsn singular ele ments In the sigs, of am “extn” soeaning which nds ‘lc in no ode of incur which evokes an etl diferent, ‘continous, fone srctuea ate ofthe highest evaluation of the text (nether writen, pictorial, o moa! and notably of te etic, Once concious of thi artcalation, te read will undentind why Roland Bathe, ike the tid meaning ‘tl emains with ws, “Tike guest who persists in tying at the party without tering word, even when we [agin] me have no ned of him. Editions du Set Contents 1 / WRITING THE VISIBLE Image Rhetoric ofthe Image / The Third Meaning / 4 Representation Diderot, Brecht, Eisenstein / 8 Readings Sgn The Spi ofthe Letter / 68 Entéor Alatete 103 Arcbolde,or Megan and Rhtoriquest 139 Readings: Text, IsPaining a Languege? 149 Mason's SeoReadings: Gestre Cy Twombly: Werkson Peper / 257 Reading: Ast The Wisdom of At 177 Wilhelm von Gloden /"195 (Old Thing, Art... 198 Body Réguichot and His Body /- 207 Righ in the Eyer / I / MUSIC'S BODY Listening / 245 Musig Practice 31 The Grenof the Voice 36 Muss, Voie, Lenguage / The Romani Song / Loving Schumann Writing the Visible[mage ] The Photographic Message The pres photogaph it a mestage, Thi merge a 4 while is constituted by asoure of enision, a channel of tansiion, 2nd a medium of ception. The source of emo is the new ‘sper sa, the group of tecnicans of whom some take the ‘hotogaph, oem elec i, eop and compan teat nd then os le with caption and commentary, The me tm of seep isthe pie which rade the newpaper And the channel of tnsmiaion isthe newspaper ite, oor proche, «complex of concuent message of which the photo raph the center but whos environs ae consid by the ‘he espton, the headline the layout, and, more abstacly at no lest “informative” the name ofthe paper ie (Cor this came eottttes + Knowledge which can powell in Alec the reading ofthe message proper: the same photograph fan change ite meaning by siting fron the [oneratie) Aarore tothe [communi] Human), Such obseations ae nota matter of ndieenc, othe allow us to redie thatthe ‘Secetadional parte ofthe mesage do aot el forthe sme4/ Rowan Baxrnes rmethod of exploration; Both the emison and the reception fof the mestge pertain to a sociology: a matter of sng Thuan fpoupe dlning motive, aad, and tying to Tink the Behavior ofthe groups tothe ttl soci 4 which they long, But, forthe mestage itl, the method as tobe di ferent one: whatever the origin and he detnation of the met sip, the photagaph i not only product ora chanel, its tlh an objec, endowed witha stuctual autonomy: without in anyway elinng to sver this object fom ie, we met provid lee a specie method pune to saclogialsoabis— {his method can only be the immanent ano hat ginal sirctre which the photograph constitutes ‘Ofcourse eren fom the vewpoint of tn immanent analysis the photographs stature cao an Holated one: comme ates that eat one ther truce, which the tet (hed Tine, caption, or tie) by whith every pres photogeph Is accompanied, The toa of information ir thu supported by to diferent stroctres (of which one linguist); thse two strctures ate coneurent, but snes thelr ots are bekoene us they cat ming; here (a the tet) the messes tance i conattted by won there (in the photogeph) by ines, surfaces, sadings. Further, the two stctues of the rmesage oecopy separate # contguotr paces which are ot solver words ad images into a single ie of reading. There fore, though = pes phetogaph i ever without weiten commentary, analyst fst ofall de with each spate tract; i only once we have existed the study of each Strctre tht we wil beable o wndetand the way in which they complement each ater, One ofthese statist already Tawortht of language (But not, ii te, that ofthe “ie atu” constituted by the newspaper's paclarlanguase: § grat deal of work sill remnine to be done in thi connec: tion) the other sacar, that ofthe photogaph proper, is ‘The Photopuphie Menage / 5 vitally unknown, We shall init oueles ete to defining {he initiates of tractus nals ofthe photographie sewage The Photographic Paradox ‘What i the content ofthe photographie mexage? What it that the photogaph tras? By defi, the seme i self the Uteral enliy, From the abst to it age, thee ‘of couse a reduction: in proportion, in pempectie, in color. But thi reduction is at no point trnformation (in the rmathematical seme of the term); to si from realty to 3s photograph st nota al necessary to bes down his ety foto unite and to contitte thse unis ot sgn subeanily diferent ftom the object they represent, Between this objet tnd is image, it isnot a ll neces fo arenge arly ey 2 fod; oF coum, the image isnot the reality, but at Testi 5 4s perfect analogn, and it jas this analogical pesection ‘which, to common seni, dens the photngmp, Here apper the parca tat ofthe photographie image i ea menage ‘wou cede a proposition fom which we mst mediately tract an importent coll: the photprphie meage i & ratinnacs meage ‘re there other mesiges without a cole? At ist lane, yes specially, all analogies! reproductions of realy, drawings, ‘Printings, movie, theater petomances. But, ata mater of Fact eath of thee mesa develope ina inimedate and ev dent fishin, bond the analogical content itself (scene, ob jes landscape), supplementary message which ir what we Commonly el the ete ofthe reproduction, hee we aze cin ‘eed wth a second mening, whore signer 2 ceain "resent ofthe image rel ofthe erate’ ation, andwhose signed, whether aesthetic or elope, relesto a Cert “eultwe” ofthe society receiving the setge In short, all thee imitative “ats” comprise two menapers 2 denoted Iesage which ste analogon tl, snd a cometed mage, which the way in which the scety represent to a cetin even, what Biss ofthe enlogon. Ths duality of mes ‘ges cbous inal seproducton which ot photographie there ino drawing, however "ea" whowe very enact fs se turned into sl (the ssl of hyper sean) hee i no Fimad sean whose objectivity not nally ead as the try sign of object. Here again, the study of these comoted mesg is stil to be made (i parclar we must decides ‘hati caled the work of at can Be redoced fo a tem of Signications)s we cam only protic that forall thse imitate a, when they ae common ones, the cae of the connoted sytem is most Hel constituted by sither a nivel boli by a period etre, ia shor by a stock of sttetyps schemas, col, gphisns, gestures, expreions,anangemens of elements) Now: in penile, with regan to the potograp, we find nothing of the Kind a any cae with grt the pep ‘raph, which is never “atti” Since the photograph ofr ult 2:2 mechanial analogue of ey is st mesage complete lite sbetance and leases a rors forthe development of a second manage In sot ofl the srt of information * the phage ithe oly one to be exclusively conta ae ‘ccuped by “denoted” mesags, which completly exits ishing font ofa photograph, the feeling of “denotatin, “The Phtogpie Meme / 7 rif you prof, of anslogiplenitide + 50 pone hat the description of 2 photograph Italy posible; for to describe consists preying to the dented message a second mestage or rly, dawn fom + code which is engage snd which inevitably cost, whatever cre fake to be fact, a connotation és rlton tothe photographie aplogve: to dette, then, is ot only to be neat ring sto ‘hang stoctres, it sigs something other than what ‘Now; ths purely “deotatie” stats ofthe photograph the perfection andthe plete of is analogy, in sor ts “ob Fetvg”—all tht tas being mythial (thee ae the che Seteistics which common sae abuts tothe photostaph) for asa matter of ft, thre i stone pecbabity (and this wil bea working hypothesis here) tht te photogephic mes. ‘age (at ast the pres meager alo connote, The connot tin snot neces immediately apprehend onthe eel of the message ite (ti cne might, bath invisible nd ate, lear and implicit), ut we can andy infer it fom certain Phenomena occuring onthe lvl ofthe meses production nd teception en the ane hand a ress photograph san eject worked up, selected, composed, constreted, treated according to nario profession, aethese, or Seslgel norms whic reso many conotation facto and, on the ober hand, this Same photgeaph i not only pecived, rece, trad, a tached mote o ls eanisonly by the pablie which conse ‘tt a tadtonal stock of sign, now, every ign supposes fede, and ts this code (of eonnotata) which we mst ty ‘0 etablsh The photographie paradox woud then be the co extence of two menage, one withoot a code (this would be8 / Rocaws Banrues the photopaphic analogue) and the other with 2 code (this would be the "ar." o the weatnent, othe waiting,” oF the ‘tare ofthe photgrph), tractor, the parade is not of couse the ellison of denoted menage and 2 cnnoted rmesge: thi the probably neitabe sats of al mass com ‘monica; the pridoe i that the connote (or coded) mes. tage develops here fom a misage witht « code, This strctral prado coined wth an ethical one: when we want tobe "neta, objective,” we sek o copy reality metic, seit the analogical wera reste factor agaist he enccach tment of aes (at Teast tis he denition of aesthen "eh ism): how then can the photograph be at once “objctine™ tnd “enceached upon,” atural and clr Ts by appre Tending the mode of imbriaton ofthe denoted mesage 20d the connatod message tat we may altimatly be able to newer thi quetion, Bo, to andertabe this tsk, we must remember tat the photograph nce the denoted message it holtelyanslepeal-e, deprived of any recoure to» ode, fey coninuousthee i a0 need to Tok forthe sping ts of the dat message; onthe conta, the conoted me ‘ge does comprises eve ofexpresion sd lve of eoatent, of sigirs and of sid: hence it requis a vestabledesipher ing. This deciphering would be premature a preset, for in forest slat the sipping nits and the themes (or vals) Seni, we shoud have to undertake (pechape by ts) ce fain dicted reading, making certsin elements ofthe photo feaph vary artical, in onder to absene whether thee ‘aration of forms involve yarations of meaning, Bot at est forthe moment we can sotilpate the main lees of sna of photogphie connate, The Photorphie Mewage / 9 Connotation Procedures CComctaton, i, the imposition of second mexing upon the photographie mesiage pope, i clborated at diferent levels of photographie production (selection, technical eat tment, coping, ayot): in shor, it 3 coding ofthe photo iaphieanaogve; hence i is pone to separate out certain Conoaton precedes, Dut me mast reember that soch pro edines hae nothing to do with is of guia, a stb Sequnt amass oft semantic Kind may one day deine them: they donot strty Belong t the photographie structure, These Droedures ae well owns we shall limit ourseves to tans Tring thet into srt terme, Srily speaking, we should Cleaty sepa the Sst he (ick Bos, pose, objets) from the ls three (potogen, aesthetic syntax), sinc, in the fost thre procedies, connotation i predaced by a moda ton of eaity tl ie, ofthe denoted message (such methods feof couse not peculiar to the photographs if we ince them nonetles nthe photographie comotationprocedies, {tit becuse they, to, bene fom the prestige of denotaton the photograph permits the photographer to evade the prep tation to which fe subets the scene he will take; the fet onethele resins that fom the point of ew of «subse gent ster anls ts nt cetain that we can tke foto fccont the mater they aor, 1. Thick eft tn 295 photograph widely ciel i the Amesian press fn t have ot Sento Mila Tyligs his vet ths photog2ph represented the senator ia conversion with the com unis leader Hal Browder The photograph happened to hive ‘een faked, comsttted by the arte juntapaticn of the two fees. The methodological interest of tick fet that they intervene without warning on the lvl of denotation i sel, they utilize the spec credibility of the photoeeph, Which mer, as me bave sen, itt exceptional power of Aenotaton, in order to preset a simply denoted 2 mesg hich infact stongy connote; inno other treatment does onsatation aime #0 completly the “objective” mosk of denstation. OF eon, signet f possible ony to the de ges tat tae stock of gn, the dient of» code, here fe signier isthe eomerstonn attitude ofthe two fies it wil he noted that ths atte Becomes a sign only for 8 certain society i mith oad only to cetain vas it ithe Iypesenstne anticommunism of the Anericn, electorate which makes the nteroetont geste the sign of repechens Die faniaty—whie to any thatthe code of eomnetation i nether aca (asim tre angoge) aoe natural bis Powe Considers press photograph widely circulated dung the sof American elections: 4 profile bos! shot of President Ke eds ees leaking upward, hands ced. Hee it the seta rst ofthe sabjee which prepares the reading ofthe signi ‘feanmotton: yout, spit, pry the photograph ig tie vious, nly because there eis a tek of steeped tuted which coneitte remade element of sgncation (eves mised, hands elaiped); a “istorkal gamma” of oor graphic connotation would therefor have to sak out ts me ‘erin painting in Beste, stcntions of des, poplar metaphors et, Le, i culture, Atwe aves, the pose fat The Photographic Memage / 11 4 spscifealy photographie procedure, but it sdffcult not to trenton i itsfa ait dives ts eft fom the analogical Prinble whih estublihes the photograph: the mesage hese {not "the pore” ut "Kennedy paving’ the sender recies tsa simple denctaton what infact 6 4 double structure denoted connote 5 Objects Hee we must gant a particular inpotance to what we snight ell the pos of objets, sac the counted meaning de tives fom the ebjcts photographed either Benue they have been artifilyanangd in fon ofthe lene the photographer Ir hed the opportunity, or beeae the nyt moan has chosen tne among sereal photography for this particlr shot of a eran objet). The nent ithe fact tat dese objects fie acknowledged inductor of woctions of idee (book cate = intelectual ef, more obscures of aetal bol (he fprchamber door for Chesimanexsetion refer to the fetal {ntovay of the ancient mythologies). Such objets conte frccent elements of signet; on the one and, they ate ‘lacontinuns and complete in theses, which for a ign, 2 pls quality; and, onthe other han, the tele to er, own signed, Rene they ae the element of re lesion, tablet the point where we can readily eneitite them into + fpotax Here for eximpl, a “sompostion” of objets ¢ window open on te rot, 2 landscape of vineyard in front tf the window photograph album, x magafyng gas, a ase ‘of flower; wearin other words, n the country, oath ofthe Late (ies and vine), a bourses dweling (owes cn he table), whowe aged resident (the maging gs) ic sling Ii memories (photograph album): ths is Fraga Mauriac in “Malagr (in ParieMatch); the constaton “emerge” from all these sighing unity, “taken,” however, ae though the seeneis / Rouano Banrues invohed were immediate and spotancons, iy without sig tiesto we Sd this made expt inthe text, which devel tpn the theme of Maorag's inks tothe lan. The objet may fot poses a power any longer, Bat i cetaialy poseses 2 mening 4 Photogeny The teary af photgeny has lead Ben sketched by Baar Morin in Le Cinéma ou FHomme fmaginare, but th 6 not the place to discus the general sigufeation ofthis procedure Tel sufice to define photogeny in tenn of infoentiona] Stractre in phology, the connotea apsage is within the iage tl, embellished” (Le, most cases, subliated) by techniques of lighting, expose, and printing, These tech niques need be inventontd only i there conesponds to each of thei «gue of sufiienty constant connotation to be in forporated into a ella lexicon of teknial “eects” (or fistnc, the “Mur of movement” proposed by Dr. Stinests teat to signify spacetime). Thi inventor, moreover, would ‘ord an exelent occasion fot dstnguishing sestetic effets from sping effect —ncbject to recognizing paps that photon, contrary to the intentions of eiiton photog Taps, tet is neve at ut alway mezing—which wool at Test fish an exact eitesion forthe oppaition between good painting however stony get 2nd photography Forif we can speak of sestetcim in photog, tapes that we do 90 ambiguously: when the phetograph besoms a minting, te, 4 compostion or visual substance deliberate The Phage Menage / 3 scat in isn teste, either fm oeder to sgt tell as (this the ease ofthe “ctor” of the begining of the century) in ender to impose a tally more subtle snd hore comple signified than other coanatation procedures ‘Tonal: thos, Carte Bresson onsructeé Cardinal Paceli's Teception by the faihful of Lise Hea sene from an OH! ‘Master et this photograph not «plating at all on the one ands parade aetheticsen refers mockigly) tothe very ‘Hex of sacha scene {hich contrary to any sl painting) mid, on the other hand, the composition ere signs in 2 pli aya ceva eat spitality, translated precisely in terms ofan objective spectacle, Moreover, we sce hee the di ference between photapiph and pang: in the scene by tome Primitive, “yay” i m0 a signed tal ut, one tights, the ver Beng ofthe mage; of eur thete canbe, Jn certain poaings, code ements, theories figs, period Shuol; bo mo sigyng ami ces t spitaity, whith isa tnodeof being, nok the objet of a stroctred messge 6 Syntax We have aleady mentioned a dicusive reading of objet sign within ove aod the sae photographs natal, seve plhtogaps ean be formed into aroqunce (25 is common! owe in stated pends); he conotationsgifir then no lange Fund on the level of any of the fragments of fhe sequence, but on Hat—she supeasegmenta evel a we Should sy in Hingis the coeatnation, Consider, foe ‘comple fone shots of «present hunt at Rabon; in het the sti hunts (Vincent Ail) i aiming his ‘ie inv ily irc, greatly endangering the Teepe ‘tho ron away or dp tothe ground: the Sequence (and the eqvene sane) represents come eet which dees, acon14) Rovaxe Banrwes ing to familiar prod, fom the repetition snd the vara thon ofattitde, I wl be noted in this gad hat the single Photograph is very ae (ey mith great diay) com, fontzary to the drawing, the comie equines movement, se, ‘petition (which i rex obtained in the ciems), o Sp Sestion (whish & posible ia drmng), thee two “conn on” beng denied to the photograph Text and Image Sich are the chief connotation proudues of the photo- gaphie image (once agin, we ate oncerod bere with tech ius aot mith units), To them maybe joined the text which fecompanie the pres photograph, Thre remarks shuld be made a tht pin. int The font comttes a parse menage intended to connote the image, ke, to "elven" with one cr sore se day signed Tn other word and this is an important his tov esr the image noTongrilutrates the words iit the words which, suet, ate paaitical on the image, ‘his ever t t prce:in the tional modes of last tion” the image ied to fonction as an pled return 0 eccaton, stating fom principal menage (the text), which ‘na persed as conned reciely bees t needed sn la tration: in the present relation, the image doesnot come toil inate o “en” the wordy si the wonds which come to inblimate, pathetic, or rationalize the image; but since tis ‘peration & performed acstoiy, the new informational set ‘Ser cia tasdon an objetive (denoted) mesage, of which words ate only sot of secondary, almost incomseqoen. Ta bration, n the pt, the age wed to lara he ext ‘made it clerer); today the text Bardens the iae, loads it The Phutogphic Menage / 35 sith cule, ¢ morality, an inagiaton; there wed €9 Be @ Teton fom text fo image; today there isan ampiction Eom the one othe oer connotation i now experienced only fs the natal eionance ofthe fandamental denotatin em Stated by the photognphic analogy: heoce we confront 2 “famatete pres of he natraiantion of He cata Second: ‘The comptaton eect probably diflers acurdiog to the mode of preening the word; the closer the words fe tothe nage, the lee they sem t0 connote it caught 9 by the iconographic mesage 0 t0 speak, the veal message seems to patlpte ints objectivs, the connotation of lan eis tade “innocent” through the denotton of the pho graph; it toe that there # gever a ral incorporation, Since the substances ofthe two stoctre (hee graph, thee conic) ae ieee; ut there are probably degrees of anal fration, the caption probably as 2 les obvows eft of feonnotatin than the headline or he ale; headline and rile sve noticeably separate fom the image, the eadine byt emphasis, the atl by ts distance, the former beeaise it beats with, the latter boca it distances, the content of the image the exption, on the contr, by its very placing by itsaverage dos of reading ter, sees to dupe the in fit impossible (and is wil be a tied rematk apropos cof the tet) for the words to "plete the mages for inthe Shift ftom one statue to the oer, secondary signed are inevitably elaborated. What isthe relation of thee connotation Sinieds tothe image? What is svolved here is apparently fan explain, ie, fo cera deze, a stein ees, in mst eases the test merely anplfes «set of comteatons a realy included within the photograph; bet sometines, to, the tent podoces (invents) am entirely new sigue, one wih is projected retroactive onto the image, 50 that it ted there "Thy have ha rsh it deat somehow seo de16 / Rouawe Banrnes (hei faces show. says the esdine ofa photograph in which we se Flabeth and Philp geting out ofan aiplan, yet at he moment af the photograph these two peony sill knew toting about the posit of the acldeat they had jst ‘Scape. Sometnes, to, the words cn even conta the image @ a5 to produce 2 compenstoy conotatin, ane of Gerbners analyses in The Social Anatomy of the Romance CGonfesion Cover Git shoms that in certain romance magasines the veal mesige ofthe headlines on the cover (fa loomy and disturbing content) alvays accompanied the image of ¢ radiant cover ithe tro messages here form 2 compromise the connotation basa seultng faction it preserves the i ional movement of projstiondentifeation, Photographic Non-signification We have seen that the code of connotation was apparenty nether “atu” nor “artical” but histor, oe pethaps one shoul say “clas sgn ae gestures tts, expres. sion, color, or ets endowed with cetan. meanings bY vise of the practices of certain soit: the lnk between Signer and sigiedie, silly speaking, the sigication — remains, i not enmotiated, a eat ently historia. Hence ‘ke canot sy that moder man pots ato his eang ofthe Photograph cetin character of “term” tings and vale {2 info anehistnal feelings and vals ales we make it er tht siencation always eaboated bya specie is tovy and society sgieston i in shart, the dialectal move ment which seoher the contridicton between alta man od naturel an ‘Thanks to its code of connotation, the reading ofthe photo ph & therefore lays histori it depends a the rade’ The Potopephi Menage / 27 “moved” fst. a if this were a matter ofa rea language, intligile only ifone has learmed ysis. All things co Sierd, the photographie "nguage” docs in fact suggest ee fain Heographie lnpuages in which analogical units and Signaltc unite ae mae, with the difeence tha he eogram svexperened ar «sgn wile the photographic “copy” pases for the pure and simple denoltin of say, To recognize this cade of comnctaton would therefore be to flats, #0 in tentor, and to stuctre all he “historia” clement of the Potogaph, all the parts of the photographic surface which Eerie thi very dieontinaty fmm a certain Knowledge on the eaers part or, ome might ty, fom his ula siteton. ‘Now this isa fk which any take mu very far indeed. No cone knows if there ae “nut” pts of a photogaph, or at lent it may be that fer nomsignfeation n_photogphs is altogether exceptional, in onder to sole this problem, we ‘hould int have to eosidate completly the mechanisms af reading (i the physi, and no longer semantic, meaning of the tem), er ne mighty, of pereiving the photograph; ow; om this point, we donot now much: How do we rad 2 potogaph? What do we preive? In what order, according {o what ineray? What isin fac o“pereive f, ccording fo cetsin hypotheses of Boner and Paget, there Is n0 pet ception without immediate categorization, the photograph etl at the very moment ti preived or beter 8 itis prcived only when verbalize (or, if verblianiom i layed, thee in. diorder of pereepton, nteopatin, anxiety of the subject, teumatiom, according to the Caher Stat by press apopot offic perception}. In this perspective, the Inag, imately apprebended by an interior metalangoae whic i lngoage tel actsly bat no denoted tte xt focally nly when immersed nat lest» primary exottion, that ofthe categories of language; and we Know that all ln fisge accommodate ill to thingy—hat i conetes realitycn fn yt he comin he pt fap wold therfore conc, gone mode, wilh the mr nnotation ero ngage. " Hence, beyond “percept” connotation, hypotetic but sl, we Would thn enventer more pele mode of niflts would be selected, Icaied in crn pat of he ndogon:loking at this ty view, Taw tht Tin ont Atcan cont, bees Isc on te lel sondage in Arabic ein he cetera ma the reating closely depends on ny cate my homelge of he wel andi ly thts pod pes ph they areal good, ice they aye etd) realy ie on the destruction of Apr ne ad beter ete sound 2 dpa ‘heir fr he connotation esl oo Senna, vogis » gray cbr gi of 6 tea steel ed: a eacunir af este (on ne have sen appro nck fects} adept of suds 2 constelton of objet om has jst Ben born tthe Shah Of fy hee i he aw hey (ead er. Shipped by 2 ost af savant stumounding it), hese (bite surg! gums, Plexiglas id of the cade, the woncthless Fhuman condition of ings (the by & cing: ie, all fradictoy elements of the prinecly myth as we consume it The PhotopphieMesnge 19 nowadays, Here we ae coneemed wth spolitvluey, and tha econ chandler sis pssble (but hi merely Iypothes) that, onthe conta pital cometation is gen. rally entrusted to the tex, iwfur as pla choces ae a: ‘rs, 30 © sped, in bad faith ofa partnlar photogph 1 (ge 2 igbtt o lst reading (en this eg an TPOP survey poblshed by Les Tempe Modems in 1935) denote thon, ort appearance potent to modify polit options no photograph har ever coined or rete anyone (but it Can “confit”, iota a poltel consousnes is perhaps onextentoutide ofthe logs polics what pera al language Sich remars sketch a bind of dierent table of photo paphie connotations; we see in any case that exnndtation reaches very far Is thi to sy that pe dentation i ios Sle IF exis, is pep not at thelr! of what ondary language cal the nosing the nee, the objet, bt quite the contrary atthe lel of sity taumatic images tex jor what srpeds language and lok sigieston OF coune,crtsn normally traumatic situations can be app ended i a photogaphie pes of sgifeton; but thie precisely beste they ae indicated through a thet code Sich dtnces them, sblimates them, paces them, Stitly traumatic photograph ate ae He taunt emily depen fenton the cersnty that the veene ha tally gerard the Photosapher had tobe there (this the nntical definition of ‘enottion); bat eis ranted (which, tote het i aleady {connotation}, the traumatic photograph (res, shipyzeks, Catastrophes, violent deaths) the one about which there ib nothing tos: the shock photo by stature nonsiguing to salac, no nwa, t the lint no veal extepriation can have any hold over the proce isting ts signeation. ‘We might imagine a bind of ln the more diet the tana, the medical the connotation; x even: the “mytologie‘fect ofa photograph i nvenaly proportional to it tanmaie ‘Why? No doubt beau, like any wellstrctured signifce tin, photogaphie connotation an institutional actty, on the Sle of society ata whol, te Function i to integrate other words to rasa, Imani; every cade is bth bitty nd tonal enue to cod thee way for ama ity to prone il to test tel through 3 elena ae i tty. En this seme, analing codes may pnt to dene society istorilly—more readily and more estaily than an lyaog its sige, forthe latter ean often sppcit a tas historia, deriving fom an anteopslgal brs rather then from an authenishitory: Hegel define the ancient Greeks, ‘eter by aktehing the way in which they made Nata sly than by deseising the sum of their fsings and belie on this subject Inthe same way we can pape do ete than to ‘ventory dec the delogiel contents a ot ago by ty gto recosttate init spe tte the eomnotaton cove fs communication as broad asthe pres photograph, we may hope to recognise in all hee comploity the frm ou socey employs to teasteitel and thereby grasp the extent, the Aetous, and the deep function ofthis efor» penpetive all ‘he more appealing a8 we sid 3 the Binning in that, ith regard tothe photograph, it devlgs inthe form of a paradox the paradox which makes an inet object ato language and which tansfomns the nowenltre of = “mechani” at ito "he most socio intitatios Rhetoric of the Image According to an ancint etymology, the word image should ‘be linked to the root of str. Ths immediatly takes ws to the heat ofthe most importst problem confronting the se nology of ages. Can analogical representation (the “opy") Produce tro igusystene ad no Tiger merely simply ag} ations of symbol? Ts an analogical—and no longer 2 igtal— de” conceable? We know tht linguistics denis all com munication by analogy the stator of Inguge, fiom the “ln ge” of bes tothe language” of geste, whenever sch com "unison ae not doubly arid ie dente based on 2 combiatory stom of digital nis phonemes ae. angi tie inc sone in dobting he ngiste mare ofthe image Dblic opinion as well vaguely regards the image a ast of Fiance to meaning in the name of 3 certain mythia no tm of Lf: the image i repretentatio, Se, slinately reso reso and we ow tht the intel eputed antipathetc to the expeiata. Thos, fom bth sie, analogy ir peeved 2 amine meanings sre believe thatthe fae 3 veryraimentary stem in relation to language, and ober that Signicaton cannot exkant the inefblemesth of the inage Now, even and expel i he image i somehow the Hint of ‘meaning it penis sto star tos vetable ontology of i best. How dee meaning come tothe image? Where dors Imcaningend? And iit end, what shee Beyond? This ithe question we shold like to ase here, bjcting the image to 2 special anal of the messages tea contain, We sal art br makng matters consierbly esis for curls: we sal study only advertising images, Why? Becase, in advertising, (he images sgncaton i aoredly intentional ti ctu atebutes of the product which «prio form the signee of the advertising mesage, 2nd tet sgnfeds mast be tans mites cleat a5 posible; if the image contains signs, we sm be sre that n advertising thee sgn ae replete, formed Wil ew othe bet porsble reading: the aden image Fe fan, a est emplatie ‘The Three Messages Here isa Panza ad: pasta in package 2 can, «bag, to matocs, onion, peppers, mashoom, eveything coming ot (ofa hatfepen sting bag, ponte io yon and greens cm tod background. Let ws toy to “skin of” the diferent sue "The image immediately cds ist message, whose substance 1s Lagi, roports ace the (magia) expion and the [els which are srt nto the natal anangerent of the scene, a5 though “en aie” he cade fom which thi mesage Rhetoric of the nape / 35 fs taken is none other than that ofthe French langage: in tert be deciphered, thie etage egies no Knowledge ex {pt the knowlege of writing apd f French. To tell the tah ths mesage icf can be decomposed futher, for the si Pncan yields not only the maze of the Bom but ab, by 1 onance, 2 supplementary signed sbich i 1 to speak alanciythe Linguistic message i therfore double (atest in ths image): of deotation and oF connotation; noneteles, Sine theres here ony a single pal sg, tat ofan Inted (writen) Ianguage, we shall count it at ony = sing menage ‘Setng side the linguistic mesage, there remmins the pure image (Gen ifthe label partcpat anecdotal). Thi rage jinmedtely yields series of continous sg. Hee, st tal (this oder sa matter ofinierence, for these igs are fot liner), the notion thatthe epesated scene as sme thing to do with return fiom shopping, thir sige itlé implies two euphoria: that of the fees of the prod tts and that ofthe potey howsehold preparation for which they ae destined ts igri the gaping string og which les the provisions spill out onto the table, ar though “en packed” In onder to wea this fit ign all hat & reguied 2 nowledge somehow “implanted” in the wages of a vey wiespred elation in which “to do one's shopping” Upped to the hasty stocking op (Canned goods, refigestrs) tka more “mechanical” chination A second spn is almost as ‘ons ts sige isthe congruence of the tomato, the pepper nd the tcelor (yellow, red, green) print of the 3 ig fd Tyo rite lant hig sn a relation of redundince with the onnoted sige of the linguistic mesiage the Taian ssonance ofthe name Panza), the nowldgesoiled by thi sg ie aleady more ptt i sity French” knowledge (Ins cool sacl peeve the son otation of the proper name, znd probably ot the Telily ofthe tomato atthe pepper] axed ona knowlege of certain titi stereotypes, Contino to explore fhe image (which oes not mean that not ently cet at fst glance), we ‘sadly discern in it at et to fre signs in ne, the esey picked nature of various objects tamomts the Set of total fnlinay service fon the one hand, Pacani afforded every thing eseary to a complicatd dis, and si onthe other, ‘he eanentate in the can eld the natural prodvts su rounding the sene “bridging” the org ofthe rodhacts and thas Sal condition inthe oer sgn he compost, en ing the merory of so many alimentary paintings, refer to 20 esthetic siguibed: ft the “Stull Mey hee the hrowledge neces ditty cultural We might suggest that a farther pce of information is added to these Tout sigs: the one which tes that we are here soncemed with an ad and which fomes Both fom the lage’ place inthe magirne snd fom, the insitenceof the Pann lbs (aot to mention the cap tion); but thi lat bt of information i eoetensine with the sean; i romehow exapes sipnifction, ist as the adverts ing nature of the image eventallyfanctinal: to ute Some thing. docs nat needy mean I ern tlting. except ie deat scexve stems such 2 itera Thon, here ae four signs for this image, signs which we ‘hall presume fon a coherent whole (or they ae all di tines), which al equie a generally ealtural knowledge and which refer to signed each of which ttle incase (Matty, or lstance), seeped in cupric vals, ew, then, second mesageof an inc mature wl be seen afer ‘he linge menage, Ie thi lP TE we subtract al the sigs ros the iage, til eine acest inning) sue Stance; without any nowdedge al, 1 continue to “ea?” the image, to “understnd” that it colle in a eran space ace Reto of theless 35 tain number of ieatiable (namable) objets, and not oly Shaper and colon. The sigs of tis thitd message are fered by thera objet of the scene, the signe by these ‘ime objects photographed, for it obvi tha since in ana Inge sepreseatatin the relation ofthe thing sgaed and othe sguing ge is no longer “abiuay” (as it i in Speseh). it i longer necessary Yo inset the ray of a Bie {Som in the fom ofthe payee image of he abject What ‘perl this hil eager the fact thatthe elation of the nied and the signer i guastatoegil, doubles the fotogaph inplics «certain manipulation of the scene (cop pine reducing, Eattening), bot ths tantion is aot a tron Fortin as coding cane); bere thera os of the equi ence characteristic of tue sgnaystems and a posting of = tustidentty. In other word, the sgn of thi mage 20 Tenge dry fron an hastutiona tek tot coded, and terre faced with the pardon (to which we shal eetum) of his pela ecu on the level ‘ mesage without a code” ofthe Knowledge invested i the reading of the message in Cres to “ead his lst (or thi it) Teel ofthe image, we ted no other knowlege than what i ovoid inoue peeep- tion: this owledge isnot ni, for we smast know what an iage (chien know this ony about the age of fut) and what a tomato a rng bg, and = paclage of pata ae: how ‘hee this is vitally anthropological knowledge. Ts mesage Coresponds in sme sent the eter ofthe age and we a fee fo allt he Mea menage, ar opposed tothe preceding inesage, mbih ea “pmbolie™ menage four reading is stiacton the analyzed photogaph thos offers us tree menage: a Hague message, a coded ionic tesoge, anda on coded ionic message, The ings mesage 5s ready separated fom the other two, bot since thse later rege have the same (conc) substance, 1 what degre aewe entitle to distinguish them? ti etn that the dine tin ofthe two iene megs i ot made spontaneous 00 thelevel of ordinary reading: the eta ofthe age ces st tho same time the zeta mestage andthe eal mes Sap, and we shall ee later on that this confusion in seading cereaponds to the function of the mesure image (with hich wear onceroed ere). Yet the distinction kas an oper tional validity, analogs fo the one which pers dings ing in the Mga signa sigier and a sign thogh in fact noone can ever searte the “ord” fom its meaning. ex cept by resting to the metlanguage of definition: i the Akstincion permite dexcrbing the srctre ofthe ina ik and i the dsrpin thas a ved a prepares an explanation of the role of the image in sockets, we sal eat fe a tied, Hence'me mast etm toeach typeof message att explore itn its generality, wth ou Tsing ht ofthe fat that we ate toying to understand the Stace of the inage ata whole, ey the fal tation ofthe thnce meses among themselves. Nevertheless, since i no Tonger# matter of a aaive” amas but of stctual de sexiption* we sal somehat modify the order ofthe mess, inverting the cult andthe itera message; ofthe to eo nesses, the fst i somehow imprinted thin the secon the literal message appear a the muppet of the “symbol sssage, Now, we know that 2 stem mhich takes over the Sign of another tem in ouer to make them int sie, isa sistem of eonnottion, hence, we sll say immediate thatthe teal image i denoted andthe belie stm co need. Hence, we sal stady in secession the linguistic me ‘Sg, the denoted meget the comnoed mesa ‘The Linguistic Message Is the linguistic mesage constant Tether alway someting tet within, beneath, oe around the image? Ie order to di {over images without words, we must doubtless go back to partly anaphabsic socks, ie, 10 sort of pitoraphies ne age actualy, sine te advent of the Book, the ink fretnecn text and image is fequets tis ink ssems to have Wit rom the tral point of view. What een studied ve vce of “station? Does the image is the signing opiate ein tess of information in the ts, by «phenom nun of ednance, or doe the tet a2 a brand-new tern of {nfomnation tothe image? The problem might be put hie tovaly apropos ofthe elas! period, which had pasion for boks with pitres (ma ingonceable nthe egteenth fentary that La Fontaine's Fler woud aot be ita), nd during which eeu author ke Father Méoestir ‘ocd the clatons between the Bratve and the dscusive.® Tony, onthe eel of mae communication, 3 appears that the ingste mesage present nal iages: 8a eatin, a headline so pes atl, a 2 flim dislogue 8 comiestip Tallon; whereby we se tat ii nt ite acute to speak tf a eilzation ofthe nage: we are stl and move than eet 1 chlaion of iting? Brose writing and speech are sil {he "fal tems of inferatonal strate. Ar 2 matter of fact, only the presence of the Tnguitie mesage counts, for neither poston or ts length seems pertinent (a ong text8 / Rovans Baxzurs may comprise only a ttl sig, thanks to the connotation, itis thi signed that tpt sn ration withthe image What ve the fonctions of the Hague message in relation tothe (double) icone menage? There seem to be two: anchor sng aod lying, ‘Ase shall se mare ley io & moment, every mage is osemoos it inplis, subjacent ti sgn, 2 "ating ‘han of signed of which the reader ean select some and ienoe the ret, Plyemy questions sbeaning and this question ys appeats as 4 eshuntion, even if thie dynction reeupatd by socely a 4 tragic ast (a silent God affords fo nay of choosing betwos signs) or = podtie one (the panic shoddee of messing” among the sneeat Greeks); even in ‘Sean, taumatie imager ave inked to an uncertainty (tan snmity) at tothe meaning of objets or atitodes. Hence, in Evuty society ceran numberof teshniqges are developed in ter tof the Beating cain of iid, to combat the tor tf oncetain signs: the Hnguistic message i one of these te igus. On the lee of the teal mesg, guage answer nore ocles diety, more os pataly the question What it {2 Language helps Metiy prey and simply the ements of the sene and the smneill isa matter of a denoted de Seipton of the image [2 descipton that een pata, of in Wins’ terminology, of am eperation (a8 oppo to fonmtttion). The deneminative Function conesponds ey fo an avcherng of every pose (denoted) meaning of the hc, by recouse fo 2 somenclare, i front of + ds of Something (in am Anson ad), T may estate to ienity the Shapes and slums; the caption ("Rice end tune with mu oor”) lps me choose height level of pereption, allows Inet acomnmodate not ely ey gaze bat als my telecon, (On the level ofthe “ymbole” menage he linge mesg te longer guides the ientfeation bot the interpretation it Constitutes a Kind of vise which hep the eonnoted meanings Reto of he mage 29 oom prlifeating citer tard #00 indvidoa regions (ity it nts the image’ projetive power) o toward dbp valu Toad (Ur prstnes) lows afew fs sattereé around adder: the caption "Adi yow had picked them i your own Jprden”) distances a possible signed (parsimony, oor ha Ef) because it would bean unpleasant one and orients the at toned + Aatesing signed (aatual and. pool ‘Surat ofthe fait ofthe priate garden) the exption ete Sears. comtertaboo, it combats the disagree myth of the artic ovina attached to canned goods. OF coun, fuse of advertising, anchoring canbe ieclogcal this even, So dou its in faction the text dct the weder among the vations signif of the image, cases im to avoid some nd to accept others through an often subtle dating teeguides him toward ¢ meaning selected in advance. In all those ems of anchoring lnguage obviously has 2 function of CSuidtion, but such elcation islet; 2 matter of ‘imetlanguage applied not to the whole of the icone me {age ut only to eatin of it ns the testi ely the ere stor (and nce the soit) sghtFnspecton ofthe image: “Iuhorng it means of contol bear responsi, om fronting the projective ower ofthe figures, 2 t the st of the message: in elation to the edom ofthe nage’ sini, the tet asa vopreve vale” and we can see that 2 ces idecogy and snort te princi vested on this evejo) Rovaxn Banraes Anchoring i the most frequent function of the nguitie messages ne reuently encounter iti pret photograph nd a vesting The sling unotion i aver (38 lest wih eg to the fixed image); we Sind i mainly ia catoons aod comic Sti Here langage (generally figment of dilgoe) and nage aren a complementary clon the words re then fag ens ofa none general sytagm, as ae the image, and the resign ocuro 3ighr level: that ofthe try, the fnceote, the digest (which conan that the degess ust be trested gran autonomous ystem).* Rae inthe ed age ‘his wondasseay Becomes ver important in. Gna, where ‘dalgue doesnot ave 9 simple elcative Faneton bat a tually advance the ation by inserting, sn the sequence of ress, certain mennings which ae nat toe Found in the image The wo Functions of he linguistic mesage ean ofcourse ‘tet inthe same eae whl, but the dominance of one or the othe is certainly nota matter of meiference to Ue work's feral eeonoms; shen language has = veling degli ale the information is moe “ont” singe requis apprentice ‘hip to adit code (language); when i has a sbstiative tale (of anchoring of ont) ts the image which governs ‘he informational cate, ad sce the image analog, the Information isin some seme “lve: in certain come spe meant tobe read rapidly, the dog chic entrated tothe wont, the image collecting the atabutve information of paradigmatic order (the stereotyped stats of the charts) the “col” menage and the dscrsive mesage ae made to inde, 0a to spe the hurd reader the bother of verbal eseitions,”" hee ented to the image, Le, to hee“ Rhetoric of the mage / 32 The Denoted Im: ‘We have seen tht nthe Sage propa, the distinction be tween the Meal mesage and the symbolic message fs oper fhmals we never-at least never i advertsing-encounter me pte site even if an ety "mae eral image in Thue were to be achieved wonld immediatly jon the sgn “Rivete and be completed by a thie, symbolic message. Than, the carats of the itera message cannot be sb ‘ntl ut only ean one might ay that it sist of a Wprtive mess, consid by what remains in the image “hen we (mental) tase the sigur of connotation (i would Mise ps to take thems way i stat, for they an in wage hele inege inthe ese ha se compos nr th prate strc etal eoeaponds to plete Sty is ates of on sence of mening cated wet eel ofthe eesti ofthe rpaaete ce the Treacy ofthe age espns in shor te Bist dese tf tly (below wii the rer wood pee only ins shape clon), ths tly rena pose by te of ts ey “poets for each fw, the poet ofa ese, aes pseses tnowge higher than mee Trhopelgiat knowlege wd aces are un the et stoner pate aud sunt, understandable that san Astle eective he denoted menage cn apps 352 Ld of Adami tate ofthe age, utpialy id ofits comstation, the image would become adielly objective, ie, alimatly “Tis utpian character of notation ie eousidenly rein3 / Rovanp Banrwes fore by the paradox ald mentioned, which makes the photograph (itis teal state), by razon of its absolutely Enulopel natu com to emai message witout» code Yet the struct analsie of the Sage mast here be speed, fox, ofall nages, only the photograph posteer the power #9 transmit (iter! formation witht forming it withthe help of dicontnsoas sigs and rules of transforms rust st te photogaph, a menage without ede in oppeton to the drawing, ubich, even denoted, «coded mestage. The Coded nature ofthe drawing appear on thee levels. Fit of ty to reproduce an abject ora sene by raving necesats fet of replated trasfomations there ino sich thing #8 rare of the pictral copy, and the coes of twansposition ae Istcal (notably with regard to perpective). Secon, the operation ofthe drawing (the eading) immediatly center {Teerain dviion Between what signies aod wht doesnot the drawing dot not sepodace everything and often very It ic though without ceasing tobe a powerful menage, wherest the photozph, ican select it eubject te fsming, and ts angle, cannot intewene within the object (crept by tick ‘ete; n other words, the denotation of eraning i lets pare than plotognphie denotaton, for thee # never a droing tho ete, ‘Third ike all codes, draving requte an 9p Drentceship(Ssvinneattabted a great importance to eis femiblogal phenomenon). Doct the cong ofthe dented Inesage have certain consequences forthe connoted menage? es certain that he coding of thelial prepares and faetates ‘connotation, since i aleady extablies a certain dcontinity in te image: the “making” of a drawing already constitutes & tonnolaton; bt atthe same tine, intfar as the deawing parades itr coding, the seation of the two manages i pro foundlymodied ts no longer the relation between ale tnd clare (ain the case ofthe photograph) but te rela tion betwean to calles: the “morality” of the drawing i not that of the photog Rhetoric ofthe mage 133 tn the potogph, in elctat least om the Tee ofthe ita menage the sation bebwesn spies and sis Meee ne of easformaion bo of git,” apd the Sei eta cole vos rans the mth of photo een caturnes the ene ther, vst mechs fp bat not huaanls (he secant the warant of Seen) he human tewention nthe photograph (Fam sooeange, gt owes seed et) al belong as mate of {peo th level of sntation; eveything happens a there eat the (oe plan) oer (fetal ad tice) Jhotogaphsgpon which nan ight ngs, Hanks 1 cen Sslgen th gs eulig from th ete code On the {poster ofthe cla ade and the asta noncode cn Rome, would appeat, forthe specie charter of the srotepaph and pect w to mene he anthropalog 10 Son whi i tepesets inhuman ito, forthe type of Comins it pes deed preceatd: the po gop sts fn fa nota coc ofthe things Teer (ahh any copy might eno), But 2 conscious sot the tig hningbor thre Hence, eae coed Mth a new etary of tactic: immediately pti ae Tnerody temps nthe ptagraph a ees enamtin au eters tebe the he Hence, on Ue el Gr ths dented mesage or seg without a code that we Sin fulyunderstand the photo’ re cai, 0 Seay 2 ht ofthe hr. for he photograph is never exe Geant maga chase of he photogapie Sage and ict tht of singer fr ery potogep hoe ite says stopping evidence of th how war: we th poses, by some pis mie, a eit rm which 1 ore tte. Th ind of temporal eguibriam (having Beenie) probably imines the image's pojeve poser (rer few pcoloia tes es to photography, any reat {2'aing) ste this Bw ben tims oe the thi cme1 these remarks have any accuracy, we must therefore Hk photography to a pare spectator consounest and not 2 {he more poet, note "maga tional comcossness on tvhich cena y and lange depends hence, we shuld e ast Fed in scing, between nema andthe photograph, wo longer 4 simple diflrence of degree but a radial opposition: th incr not an animated photograph; in the having oe there vanities, giving way to a being there ofthe thing: this ‘ould eplain how tte can be a hilton ofthe cinema, wth Pu a eal beak nth he prio arth of Sten, whereas pho tography somchow esapeshistry (dept ofthe techniques and ambitions of photographie at) and rp resents a “ite” anthropological phenomenon, at once abs isos hamanity Boos mage without a code. Hence the potogaph i not the ls improved) tenn ofthe get fanly ‘ut exresponds Yo aera tnutation of the eon tim To any ease the denoted image, insofar asi implies no code (this is the eae ofthe advertising ph fener structure ofthe fon mesage a prior zle which re can begin to api we shall turn fo this question ence tte have dicosed the thd menage): the denoted. image ntrales the symbole westge, st makes ianocet” the vey ‘km (epeilly in advertiing) vemantcatier of conn tion, although the Panzant ptr is fall of “symbols” there nonctekes remain inthe photoguaph a Kind of natural being there of cbjecty, invofar asthe itera mesge ir efciet nature seem 1 produce the represented ene quite spon Teneo the single vii of openly semantic systems ges ray sureptitions) toa pretty the abate of «code de- intellectuals the mestage Bee i sere to intate in tore the signs of eltre, Tht s dobtise an inportant Taster padon: the more techoology develps the cca iets of he age / 38 on of information (and notably of images), the more menns i yeoides of mashing the constructed meaning under the ppearns ofthe given meaning Rhetoric of the Image Webave seen thatthe sgn ofthe tind message ("mbolie™ menage cil oreomnoted) were discontinuous ewe whe ‘Be sige seems to extend to the efi nage, es monet tes 2 sign separated from the rat “compentin” cases an stele sged,smevtat the nay intonation hough spe Segmental sigur lated from languages hence, we are ie desing wth anormal tem whore gos ae dren fom seul coe (even the linkage ofthe sigs elements ap peas tote or es anaogcal). What consis the originality ‘fthis system i that the number of eadings ofthe same lesa ofthe same nage) varies according to individuals: in the Panza ad bete analyte, we have lete four signs of com otto: three probably thers (he stsing bag, for ample, tan sig the miacalousdranght offs, plenty, ete.) Yet the vatton in vending fs nok ana, it depends on the Aifcrent Kinds of koedgeFnveted ia the image (practical, ational, evltwal esthetic knows), and these kinds of Tnowledge ean Be cased, can join.» Spuogy everything fees af if the image presatedioelf to several people who Imiht ery well cost i snge individ the ame Tee ‘mobilizes diferent esc, What a Fexcon? It 2 portion OF the symbole Teel (of language) which comesponds to 8 They of practices and feshnigue* this certainly the ciseforthe diferent readings ofthe image: each sgn conesponds tora body of vate”; tour, housekeeping, Knowle of at some of which xn abviualy be mising onthe eel of an ‘ne ind, There fa plurality and a coxistene of eicons In the sme penon, the nmber snd identity of thse leicons fon in see each pero’ et. The nage nts conne tation, woul tho be constituted by an acitectre of ine Aran fom a vate depth of leone (of lets), each Tesco, however “ep” emaining coded if a8 we now think the pgche Hall alate ike a tangunge; beter sl he further we “descend” ito an india prichic depth, the more the sign ste rarefied and the move dasa they be ome: what ore stent than the eadings of Reachach fess? The variability of readings therefore need not thee "he image’ "Lnguage,” sf we grant that this ngage is com ped of icles, xconn or subcodes the ine i ei {sone Bythe stem of mesning, ese at mam i ated to bt very depths im dtint Languages The language of the image i not merely the entety of traces emited (fr ex ample, on the level ofthe combinr of sgn or the eestor of the mesage), tis ao the entirety ofthe wteranes resis” sac language must ncide the “worse” of cain Aother aifulty attached to the aoayie of connotation fs that no paricaar analyte langage amends to the tial of signed how fo name the sigufieds of cone tation For one of them, we have vented he term Iain, ‘ut theater can nly he designated by forms from the usual language culinary proportion, til ifs, plenty); the meta language which must take them over atthe momento sais ie ot paticlrzed, Here is an obiace, for sich sods Rhetoric ofthe mage / 3 ve a ptclar semantic nate; a8 a seme of connotation en does nok eal xine wth “plenty” nits denoted tering the signer of conzetation (here the peofsion and Condenssion ofthe produts) i Kind of essetal cipher of Si pombe plentcn, beter sl ofthe part iden of plenty the denned word never rls to an essence, frit always aught op iv 2 contingent speech, «contnsous stag (Chat veal dcoue) onened toward certain practical an Siviy of language; the seme “plenty,” on the contary, is a onept i the pre stat, ct ff from any spat, depeved fay conta; t coresponds to Kind of theta ate of Inceing beter sil (ine me are desling witha ga i tt yt) to am expnd meaning In oder to ender Hse metalongmage; we bave ventured Haba, sis Dasa ti this sot which might est asoant for sigieds of eonno futon forthe suicity served to peodace an abstract sab Seni fom the adjectives Haley isnot Tal ste Condensed ence of al hat can be Taian, from spat t minting, By agreog to gover aricially—and if need be quite brrbaroary—the naming of the somes of connotation, ‘re might fctate the ana f ths form* these somes are broly enganized in aseiatve Bel, in paradigmatic ati ation, pethaps even in oppositions, according to certain paths ore Grease, scoring to certain semi axes} Teiaity belongs toa certain ain of mana, onside Francis, Genanicty, or Hispnisty. The recoasittion of the axee—sbich, moreover, cam subsequelly be in oppo ton to each other—willobviowy be posible only when we have poeeded to a masse fmentny of connotation Htems, not ony that of the image but alk thore of other substances,38 / Rovano Banrans for if comotation tas typ sigs accortng to the sub stancet med (image, nga eects, hare it pat all "sigue in common: they are the same siguifeds That we wil rxogize in the prited word the imoge othe actors este (whichis why semilogy eonceiable ony in «con text that would be, sto sea, toa) this comman ream of ‘he signified of connotation i at of eng, wich cannot help Beng one and the ste forgiven history and soc, whatever the igniter of connotation to which reds To the general idecogy, then, conespond sige of conno tation which are specfed according to the substance chosen, We shal eal these sigue comtators and the totality of the connoators a rhetoric hus, sta appears the i ‘hing spect of Henlogs. Rhctoviesineviably tay by thet substance (hee article cond, there image, gesture, eke but not neces by the frm, it even probable hat these cit single setrel form, common, for example, to the ream, to Hteatue, and to the image "Thus the rhetoric ofthe image (iy the clsction of conootats) i spe tie ita ms subject to the physical constants of rion (dilerent om phonstor constrains for instance, but ge ral insofar a the “Sgure” ae never anything but fora ve Intions of elements. This rhetre coal only be constituted on the basi of «very Brad fventoy, But we can freee even now tat wal be found several ofthe gues Ferme en tied bythe Ancients nd the Clas thus the tomato signs Telsnicity by metonyay; ehewiure, the sequence of fhe secnes (cof in the beso, powdered ene, cae sipped) als by simple juxtaposition + cetain log rltion in the “Shc narme sam asyadeon, It bab, aa ater of et {at among the metabols (or gues of substitaton of one gic for another" it & metonymy which fumes the jonge with the grestest number of ss conotators: and that mrnng the pats fr sytagmati gues) it is the syne ton which predominate. "Yet the mort importa thig—at least forthe moment—is not to imentory the connotes but to undertand that they Constitute within the total image dicontnou fetus ot, Deter sil, etic fotres. The connctatos do oot ll the nti esi: vending them doesnot exkat I other words {and this would be » proposition ytd For seiolgy in gen ral) all the elements of the lexi cannot be tnsforned into omotatons there sil remain in dicouse 4 certain demo tion without which, in fc, couse would not be posible Ths brings w back to the sesoad nese, or denoted image. Inthe Panzani ay the Mediterranean vegetables, the cole, the compitim, the very profusion appear a8 eatc Blocks, at once laud and st fo geveral scene which ha own {pce sas as we aye sents "nening” they ane “cg” ia Topaz which not theirs and which thet of denetation "Ths ban important propo, fri allows vs to etal (cttonciey] the stata ditinetion between the second literal mesiage and the tied or symbole message, and to ‘pect the natuzing futon of denctation in tation to Cennotaton: we now know tha spoil the stag of the denoted mesige which “naturales” the systems of the fonnoted menage Or again: connotation & only stem, ito / Rotany Banrars eat be ded exept in praise dei tens ol Stagm fasecate denen ito ye the dicots enttsto alin aetna ken inital bth of mnocece Whey wes tht in he tobe ofthe tage the seta neon ate plac oo tne hand thee ie ‘ot of pandgmati condo nth leo coca ts es by and gs, of he “pmol hh a ag erat ad ene mighty “ee sg and cfs ee Ss yntgmati ow" on he eo dents Blea Abdel the eri “ene” aie tat With hing tint tom guy fom he nage es ‘ean nel (otal) een eo te calor and the tg astute toot ne cenit all cnet, tnagh ene a ee ‘aces dale, the Statin ef a ut, Be at ae these ges of nag and tein ocean 296 The Third Meaning Heri an inage fos Inthe Terie (I): to cot, conflate, oc spenucris (it doc® matter wheter ot not cal the storys deta exact) are showing the young thar’ head ith gl 1 bee Ie ting thre lev of Aan infomation! ee: eveything I can lean frm the acting, the cites, the cate, hc els hee ton ICT ha od mode of insertion in an anccdote fami “This eel i tht of comma anal for iT shold resort toa pinay semioticsth “mag, hgh Tal no el with this ol and "hs seit ere 2A symbolic level: th shower of gold. This level is lt sted. There iret symbol: the per sa OF baptism by gold Then there = dig symbol the Shee of gl of wealth (asin it ext) fa Tv he Tr ve hich i thi image would make a Sapa interven dct show tat gl, oa showe of glo he ean contd by this hover, othe degree produces Gan priate nase of dices and sats hance Hct, Fay te b+ htm than the preceding, that gold inode (esta) ae ton, a sceagaphy of xchange wbich ween ete both escharalstaly and economia, ie, emily. This SScond evel nt tty tof sigan sad of ana would be amore highly elaboted sents tha te ft a second or noose no loge ces 4 tects of te mesage but fo ence ofthe ynbl {psycho Te this a No, fer 1 cannot yet detach mye fom the Ie Ive, Teste (publ sth of, it) a id eahng ent et evi and penitent do ht Know what is sigied tet I anot ge its mame but Tam ee sce the fentrathesghng ecient of with ths het. fore incomplete sgn i compel. Tete etn dey ofthe coi’ hep in oe ce hick and emphatic a the other smooth and “stingushedy thse» Se stg The Thid Mooning / 43 oe one athe deste ine of eels on the ote, RaSh bond ahs wan empleo, te ated smoot etl which sgt ig he smnection wt me Menge wih ke powder Tam ot crain wheter at go i rd ning ost -i ca Be go Oita sem Toe Hat Ht Ser (he ae T have fot tempted t0 exes, if not to de ‘esa thew dint, Fo he oe ands hs vane aot be Went wth tbe single Dain of the ent ats the copy of the refrac sete anotne ending an nteston Desig preci 00 Temper ot on te sgl, om he reding, ao ‘Bloslon isa poetic” pecan. On the oer ha, ‘Ertoe be ldenied ith the epee damatc mening To serpents ree fo a scant cepeson’ of the Butane he remote and bores the Align ("Th dees not ogee st Simpy ding the Jb er cots), . resetting thse to es ances paso, 300 “Te tection sed; ino, esnng though hoo Bing scale piece wich any bom Day a Y , tothe st two ts, Bat ‘terete sent Tn opposition Thamrin ad tat pesto, tis thin xe Se atng of tel cern that ig ‘Sone wed ht the advantage of ering the ESberte sips and at of sition) ond of arene Henao the tal boed by Ja Kastra, who pepsed the We semis of the text Spaibaton ted sigiiag—and sot communication—ae stn crn ere mt hf me emily SMS the sod andthe hid mening ‘The smboie Seng he stoner poe wah te stl te) veel sy sagan by a dole determination, 1 te SRE atthe autor ar eat) and scl fom ‘tan Gt gene, commen cin of symbol i 2 meg sh seks me ote the ent Ft mesg, the sbff Rowan Danraes it of he nading—a menig whic posed om Esctin nd mores ahead of met tent, coe (ars the oe Inca), ut est nt cloned see petiating Compete ose of destination, {pope tel the epee “gn the obvious meaning Obie meas moving shee, wich it hat the cae wth ths meaning mich seks me ont In {helo we ae Wl, the evar eming be one “een sets quite satu othe hn op thio the Sef me the bales of sone of gad he sve ‘ceed endowed wth "otal ct At ft oer the thind mening fhe one wich ape a exon” sel ‘neat ny inteleton cannot gute shot, 4 meshing ble Stent and fag apparent ind ease, ope elie the obtre meaning,‘ wrd realy somes oy nnd end tise, pon expoing ety 1 End shady Sia tery hey ofthe Soplenety mea eben Berane hve emo, ws ak i tty ot Kindo go tuo eet mening 3 talent meaning Do they ge the ovo Sid indo nee ones, 8 ey oot cae my readlg to si? Ane ag gate ant "ght ange a obtuse angle of 00, ay the Sctoway he the mein feast nego tn the pe Pe penis, the tenant, lp ight ofthe mata ‘es oe te open the Slt of meng ttl inh ven ace for thi bts meaning the ward post onion the ote messing sett xen beyond ca tu, Inve information. Analy, ce & someting silos sont it hese operon he ity fl omg it can scm Ted in the eof antic tas. Tt telnet the fam pons pe ces exertions dicot & non or ath htc Ctr (he tthe fl, the ani, the pu), de wth the cabal set of things. Obtuse therefore suits my purpose well 7 The hid Meaning / 45 The Obvious Meaning ‘for ord here abot the obo easing tho atthe det of the nots He tw naps wich pe hei te pre stats the four Kgs of age 1 “sa Tehie” ther gs oft the nani of mourn (aku hos fea) the cenhad ft of age Ia cseup hot Spi iguaton, contol channel saps termined Teo jel styl t he ete Potent Fut the wooing cts power, and ts ll r= wae of remani tligence—thi st een pide dow, tape by isomer in Hind of sey (i the hand which Fr of of hangs matory logs the toss and wich (ren tony en, conceives ste an the sare fine fat sma ts patience and a hein) ante ed frist tT mites ts BS Spomeatty a pcan. Wherdy wee hat Eee ae ink olsen: sees ming pons BE Ue if oaientionearncd on bythe tose nan ee isaot hey dened or Blanes). The Eset smecing eerelns agty. How? By the aiiton of = ‘Eaten wv, emphass Een “coatenes” bes 20 ‘Slo fonction: it pes tt. Coser nage IV: git ‘Stine, gute Gas, fom the Bent head the sesng eerie Wood over the mouth choking back a5; but. one Shas Bon sid gute adegately i epee al ver gam bys docrae feature: the supeinpostion of the 60 Tents sstbesaly arange in a dest, mara, ol Moocion tard tie bending face Within the genera etal {ihe two women), another deta & isabel or abine de (nS Mos plc ere ike + qntation of gt fromons andthe Petit doesnot drat meaning but Thi accent ide poke of "he emphatic rth 0 stant of life; hee i the tat which requis emphasis. The Ei ft eonstitte an dependent Level: vd the obvons meaning tipats inthe cbviogs mean Fpaays fn Eastin, the Revelation, The Obtuse Meaning te oblose meaning with regard ie about thi kl that howe pet thy might be, ry rs mo st ve the rest) al that be st guerton, ote oon meaning fhe age, Content thatthe#8) Rowan Banrues pencating fetr—ditrting aa gust who pes ia ty ingat te party without tits an nen eave 20 teed f hime leds th a of he fend he Kerchit had wething todo ith fe Ye in nape 9 he Bett relacd then thatthe “enn” the plence Svon impr spon ti cna tepesettin of ice, Serine ut eps er ton hat fe Toe Kerchi the ce ee and the come mouth ert ‘opt Ene ovn daheton tower "the sade o the ated andthe shadowy shea” ft on Seton the “owns” the ecm abr ce tthe jerowy a nth gute wich sc ates rls and tid ees the canter seen foe By the faded bow te ce cane oe led ee eh cnet tgp Suing ad the ta a a {pe noth coven ote ceo the kee {eof he ows mephay sang “es out ‘tee Al hve fest (the ably Iw belt heed ‘oma, he sqinting ey the Bt) have os 8 ya Sea lesan ee np ea eet eae Pete dogue. United with te mle pe the ove esi hy forma ding so tema tt the no ear of insti. The chet of is had Iranng-at let in Esescin~actay te se grein on Sg, eta em hr tion quite ent on Elita empha te spent compl, sry nate argent (rag « Men tay of sigston, whch pers eed by Ete Stn hime when te Ibias 8 King Clee Bolen il: "Toho teat ee The con mening hs, hs someting to Jo with sus. Comer rn rome ae te at ofan ote mening mae Vil al atten fo at The hid Mosing / 49 as foe yet sont refs abandon the “spd ft" of iret (te ars hitoalcoutenance). An ator di ies hse ce vet (one actor in he aed, oc 3, ein the ems) toa hone dig destving the ‘fhe a les of tcings which alae ows te roo het nt, a in gel fomation, to peak the con Sh witout coursing ting conrad Brecht nod ve eed this (totem) date dali! Eisenstein ieron” is bu faevesion of lea patie ot prody and 2 sane ety sce exp bth sexeace a swe What we sei age Vl, he retchnet, Hence the pevius detachment, of the Bee peed the chin, That the top ofthe bead (the mt “obec” pat Of tic human pero}, at 20 or than a Bank of baie (in tage VII} can be the expression of gif tat (what i clos (abot the exretion, not about the gif). Hence, thee iso pay note of Page pts ot ape (he bv meaning ust emai evelatonary, he gene moun ing which accompanies Vance dexth as hist Dein) and yey cate” this chigoom ge afr Srerance a rection of contamination. The folk signee te ol sa (obvious mening) stop a te chon; ese esos the felch the bank of buiea Hind of oeptng rokey of expreson. Teenie obtuse meaning (3 poet {Prdstub} function in the eceive wad of hak Consider tothe chignn (tat ofthe woman im image TX): i com rat the Gy onset atopic i witout this Ydtetion Ttnving the sight sole (nll) ale, prolonged ‘ye, deg the face tovard 39 ovbe moe it ges the women someting tucking (ot era genious Pity cam often be touching) oF even someting sense ‘hes otlated wore they ft anything Ba oil tr revltony, being actives oft eta mystifetion— Sts aoneticley be sumed, I ble Hat he oboe menwut lovey wht sto be defended: Terme, Think, cam agree that Eesti’ grant thoughout Vaklinck's pean ethnography Peete comtantysofeed th love (taking th rreciation ah to age or sex}: maternal, best, vse, ttc” without esting stereotype Bis reopen Toae: we ris, we love the te lubes fonetion 3 a oe neigh he ease nage XI, whee the ve Joana scanng (has geste, young Viadimis bat ‘handsome sat tpi) i ied andr sited by Bas Tse but the otc incnded in the obtuse meaning tute an aesthetic acceptance. Fuphrosme is ugh * Rit gad XII), the makin image XIV, but sch becomes the Ble sbtuseness transcends the anecdo! ‘Muon tr defection: thre , inthe obtise searing Tat which ices the oppose ofthe bentifl and exe extemal to such opestion, i, in the Timi ci on, comfort; ad pepe sad’ conser the sot i eae ot the Charen the Furnace (XV), the shoo Shed of their alles dligenty wrapped around th sponte at curd whey teste of ther skin (ond their thes a e sct n that skin) whieh Fel seems to have (Broad for the hermaphrodite of his Satyricon: this ist Find of thing Ganges Bate coud Rave tant, partic hat tein Dcaends sich forme states one ofthe p The queers big o8 (1 Tine (i hee examples suce to Talon toa few emus of sme Senet nature). The obtuse meaning iind coumntatn td sicbatne sec mae tier t my tt ae ose ee et = ac Sint pre (opr thee ae obiae ang mt cen ik Spat Et thing. fate gue] but omewhere: othr ath of ‘ay Fao ey ed cvs mening at (in asthe ad smi ose the fa hh Cog he re tes Ct hs hans 2 i rth (Ua Soros Fe ‘manage that, I am merely des " ‘ity nig (en Sea es The Third Meaning / 55 jective exitence (bat what isan ould not acknowledge its Uective wading?) and if evident to mg, his sl pr hops (Hor the moment) Beene of the sine “aeration shel competed the wnfotanate Sausue alo ngmtiasbyexve, atid unoriginal vies, that ofthe ana {gam in ancient psty. The same uncertainty when isa mat {er of dvonbing the obtine meaning (OF ging some idea of Stee it ging. where going away); the ete meaning = Tloier without signed nlance the difilty of ming. my teaing remains speed tween the image and is de ‘tption, between defen and approximation, I we cannot esrb the obte eeaning, his Beau, lke the ebvous Ineaing it copes thing: how describe wl epesents neh Ing? Hee the pictorial “rendering” of words ir impowsble CConsequaty if we rman, you and I, oo the level of atic tated langage in he presence ofthese mages—that i, the Teel of my ova text—the obtise meaning wll not eome ato ring, wil not cuter into the cries metalanguage. Which neat that the obtuse meaning ix outside (artculted) lan tig, but sil within inteoetion. Far if yon Took a thse {inago {am talking abou, you wll ce the meaning! we cn indestand each ther abou "ver the shoulder” oe “on the bck of acl langhage: thanks tothe nage (fone it is trey U shall return to this), indeed thanks to what in the ict tl the eth very tle images purely image (a tnd indeed) we do without ses yet continge to wade each other, a shor, what the obtuse sneaning disturbs, stein meta language erttimm). We can oe several resons fr this Fintof ll the obtuse meaning is dicontinaos,indiferent to the story and to the obvious meaning (as sigicaton ofthe This discon has» conta natura ovat est a tancing fect with regan ote elect (treaty a5 mature zat instance). sensei would probably have acknowl56 / Rowan Barass edged and accepted this incongruity, thi im-perioence of the Sigil, for it she who remarks, apropos of sound and oer “Aut begins the moment the eaking of aboot (onthe sound tnack) accompanies «diferent isl shot and thereby. po robes conesponding sseitions. The ste is te of aor éolor begins where it no longer eorepons to natal clos ion. Thereypon, the sige (the thd meaning) not Ale i isin a permanent state of depletion (a tern fom Ta sites whieh designates the empty allpupose verbs-for ec Ample the French vec fae), we might alo sa, om fhe other hand—and this would be quite a tae—that thi same signer isnot emptied (cannot be emptied); it saintin self i stat of perpetual etethismy in it dete doesnot attain that spasm of the sgpied which usally causes the subject to sik Voluptionly into te peace of nomination, Ultimately the bt meaning canbe een at an accent he very frm ofan emergence, ofa fld (even x erase) marking the hesty yet of information and sigusestin. Tf it could be desl. (a ‘ontaiction in term), it wouldve erty the Being ofthe Japanese haiku: an anaphoric gestae without signee com tent a kind of ash fom which meaning (the deste for mesa ing) is expunge thus in image V rows mouth, suiting ee, ech lw over her forhead, She weeps Tis accent (whose simaltanoxaly slip and emphatic ttre we hve dscusied) doce not tend toward meaning (a Istria; i des ot theatre (Elesten's decortvenes ‘belongs to another realm); does not even inate a ee wee of meaning (another cintent, add to the obvioes meaning), But bales t-subvets not the content bot thee tie practice of meaning, A new-—are—pracce aimed ent 4 majority practice (that of signieston), the obtuse meaning Phe The Meaning / 57 ines ppea aly an expend witht changes ‘Story des not yet blog fo todas pl, hough ret pt of tomorow “Rr mains tobe sidabout te sya esponsiity cf ts thtd mening, Whot ts la nthe anetotes wo ‘Shon, n Be legobemporl sem teat which spar iy, not pre ora nara tobe undestood by te rma of aden and stato? The obae mesing 1 . snc nature without ceasing tobe = representation, the pice to pay enormous i is nohing Kes an death, Tn Dicpers Vampyr end reminds, the caters tacks fom the house tothe gavjard and takes in what the dead mg ses this is the lmitpoit where repreentation can be ball: the spe tator no longer need oeupy any specie point for he ett enti is ees with the Eons’ sed ees, the table hat ide, rst, Eientsin / 97 to pint of depatae, no support, gap. Everything hat Iapens on this seo hat Ht (and Us Buchs ase and Escstci's) can only be lea: ultimately the Law of the Party nhih projects the eplthester sone, the Simic shot ot frame, this i he Law which obreney, fms, centers, enune ales And here again Eisen aed Brecht join Didet (po Inoterof bourgeois domestic tragedy, a his wo soccer: mere the promotes of a sist ar). Diderot bappened 0 asta nuthin panting eran major practi, of cathartic fre, those go was the Seay of meaning, fom certain minor practise which were purely imitative and anecdotal on one Side Crewe, on theater Chad fn other word,» period ‘of ascendancy,eey physics of at (Chardin) mast be cowned witha metalic (Grea). In Brecht io sensten, Chardin Sind Grou ene (more devious, Beet aes ito his pbs le tobe the Greuze of the Chardin he puts before them) in society which hat aot et found peace, how auld 2 case being metainsical Le, sgifying, readable, eepesentative? Fetish? How long til the musi the Tex? Dice, it seems, Ine italy no Diderot at all (maybe the Paraione a le Comédin). Yeti is recht who in an til contingent tion aati the fpatite conjunction Jost proposed In around 1937, Breet ad the ids of founing 2 Dudeot Soviet, place for poling experiment and sods ia theater practice, doubles beease he saw in Diderot, be Sond the Rene of great materialist pilsoper, hat ofa man OF the theater whow tory aimed st presenting both plese tnd instruction, Brest dem wp the program fr this Society fd made tito a pumphlet which he planed to send 10 ‘whoa To Pict, o Jean Reno, to Esestein,{ Readings: Sign The Spirit of the Letter Masi's bok Ltr end lnege i pend eneycopdia of infoation and of iag Tes subet he Let Ye fea: the Os es, tke in eons whether of adbertsing oof isan, dint soation of fguatne metamorphosis: Oni it happes tat hs apart Simple objet, nay ode and to enumerate some diab alps oot fom aera ey Seton, hey toward em conta i what we cl soa tory igen entre For, onthe one han, the eter dkcres that Law in wow nine evry extagunce can be fede (Ker, ry yo fo he tof te fea), bat on the ote, fr enti, Matin show, it tila rs 2 profs of symbol on the ane han t "keeps ngage the whole writen lgsage, within the yoke of ts tnenty ‘larce, ad thee charts ate theses meey the i postion of fein few cures Buon the oh hand, fess an inagey vst t+ camogapy. onthe oe andi ‘gules the most extreme ceo (Lete, what cine ae The Spintof te Later / 99 committed in thy name, and on the other, the mot extreme peso (ll pocty—the whole ofthe oneoncows—is 2 retura fo the letter; i concems siltaosly the designer, the lologi, the painter the ot Whe restr of advertising the Pchosnast, and the schoolboy. The letter Aeth and the ‘pit giveth Bf? How sige eveything would bes there were Tot preci, 2 spit ofthe eter which ges the eter ite or tai if the extreme sol didnot tu out to be the letter ‘seh. Tei thie tajetoy ofthe eter apd of the Sue hich Masi enables uo glimpse Hi book, ike any succes fal enoylopedia (and thi one fall the mre valuable in hat itincades over a thousnd imager), enable, indeed obliges 1 to coneet a numberof prejudices: ie i 2 euphoric book (nce i concerns the sige), but alo a criti book Fist ofall stone leafs though there hundreds of Suet letters proce by every center, fom the medical xpys sosisops tothe Beater Yellow Submering its quite cleat {Dat the eter fe noe the sound linguistics dives language loom speech, of which it dares writing fo be mately a pat tial dipesiton; Mass’ book protest: the Fetes coming nd becoming (source and its perpetaa goa) re independ tnt ofthe phoneme. Ths Spree expansion of eter gues Sap that the word i not the only it the ony esl, the tly transcendence of the letter. Dp letters serve to constitute worst Ye ut ao something eke, What? Abecdaia, The {phabet san atonomoe ster, here spplied with sufiint fpedicats to punantee is individuality: “grote, dabei, omic new, magical” alphabets, and even more; i shor, the “Iphabet san object whose netion and whose tecnica locas Ge not exhaust iit is sing cal, a sytagm outside of meaning but not outside ofthe sgn. AIL the artists Massin Sier—nonks, ithoguaphe, painters, dexgnen—have blocked the wood whith eens fora 4 nial frm the ist articae tion to the sssond, from the letter t ke wad, aod ave taken‘voter sod, not of language but of writing, aot of communi ‘ation bat of signin: an advenfae Iosted in the agin ofthe soealed Sali of language at therey inthe er Masi’ bok fords setond (and by no mets 2 min) object of meditation: metaphor, Thee twenty lees of fur alpha, aniated, as Mastin sy, by hundreds of sts from every pid, ae putin» metaphor elton wth sme thing eter than the Tete: animal (birds, fh, serpent a bits some devouring others inorder to form a Dean fa Kan 1, ee), men (sone, inks, postu), sonster, eget strctres (Howes, tend, trons), iteuments (sts, Seles, tripods etc}: whole etlage of natal and human Drodets comes to double the alphabet’ br Ist he entre ‘orld i incorporated into the letter, the eter becomes an agen the tapesty of the wok Certain constitutive features of metaphor are thereby il tate, laminated, comected, Fist of Ite importance of wht fakobson cls the dig, which i Kind of minal ‘Prpitonal and net exhaustively aalge ‘ton betwee tera wo Ths ingen, eigen Ot acm th spe of fst of which asin fre» Yala coleton (nee ech things often metoned Boe Except fr Aponte, alt nove shown). Thee he po sen (esd be abc to sy fone) te fe ioe Sgn fed om singe oe (ertpton in pene rd) eter 4 eeyhing thre eon Nene ‘ening is ested beneath yal ones the se eter an spite conti (ppt Abie kaos sch tatctory Sues sich af Oi to wBich.Besueand JP CGhamay tate decked an prank): Yor Hah the Iptoing tsk, God ie or Bale the bad lee the ete of devine ater eget that asin bs et po vided respon ofthe ce padigm, woe and The Spit of the Later / 10 age-old, ofa single eter (he ad the mezns to dos) al the Fawres of M, for instance, which here range fom the three Anges of 2 Gothic master to two sbowy peake—in + tavel prnter—of the Mee incang in betwen, 4 pitchfo a [prone man, thigh ied, presenting his ramp a painter and his sel and vo honsewivesnging out a set Formand this the thd chapter of this lesoninimages about metaphor is obvious that by dint of extravagance, OF extaverons, of migrations and aseiatns, the Tete 00 Tonge exit notte ong of the image: ll metho is norignaed ace we ait om uence to spose at, om Tangunge to writing the analogs elton is clr, without preeminence the terms it appends are ting tems inthe Signs presented, which Begin, the man or the letter? asin fates metaphor bythe letter one fst al, sign a “sb ject” to out Books; but one could alo enter fom the other fel and make the letter ito specie of man, of objet, of pint The lets, after als only = paadigmatie,arbicary Fridgchead, sinc discoise must Bega costraint-whick Is not yet been explored), But tht rgthead can alo be an eit Ine conve, for instance, atthe pots and syst fegues do, that the eter (wing) instiats the wold. To SSsign an origin to metaphor expansion i aways a choice netics eslgeal, Whence the importance of revere tof onign (uch asthe one psychoanalysis performs upon the Teter bel) As Masi keepe ting BY i images, thre rly etn chains of sgn which ass aod inteset ach oer: witig is hea, Conder the elation of eter Sd figore—all ge exhausted by (4) he eter the fre, this [isan houplas (2) the gue iris the Jeter, slipped whole ito it sheath, like thes two aeobats coiled jako an O (Ete bas made great eof this bcation ia is precious alphabet, which Manin wnfortnatly doesnot et) (5) the eters in the figure (as inthe ease of al esseee een {Ao nt sop the symbol tis estos reverie: the etter T an fr to If, bt the if in its tris erly x point of departure at the end of which (ax pryshoanalyi has shown) you ean reiseoier the I (caught sm some word that matters to Jour unconcour thee are never anything but evans, All of which tell uf how many elements Matis book ontebutes to the eurent approach ofthe signer, Waling onssts of ets, rated. Bat whst do the letter cont of? {We ean look for «historical answer—anknown with gtd 0 ou alphabet, bat we an alto make we ofthe question in et to sult the problem of origins, providing a gradual coneetva zation of the interspace, the foating relation whote anchorage wee alos determine abusive. In the Oren, an idengraphie ‘inzation is what is ete ein ad paatng which it traced, without the wieder ofthe bth Beng able to eler fone tothe ots this permits evading that eininal lay of Slatin, which i our Law, patra ei mental scentife 2 sagreativ nw, by vito of which ne set gophic ris on this sid, pints on that novels on thi side poets on thet whereas sting it one: the dcontinlty which evcywhere ‘stables it snakes whatever we wit, pint, daw into 2 ingle text This is what Masins book har shown Tt ou tk rot to censor this materi eld by redacng the prodigious Sum ofthese ete figures toa gly of dreams and extro agances: the margin we concede to what can be eld the baroque (to permit wrt ondetand the himanite) edhe vey Ste where the wits, he painter, and the grape aeit—in 3 ‘word the performer ofthe texts function. Erté, or A la lettre ‘The Truth In onder to be known, arts must safer 2 minor mythor jel pugatory: we mast beable to asociate them quite smechacily with an objet a School, «fashion, a pid of which we ell them the presto, the founder, the witness, ‘or the symbol n'a word, we amt be able to ely them ‘iy to anjet them ta Iba ike a spose ot gens TAs purgatory is Woman. Gente, Esté hat devo a great many women; infact, one might ty e Bat never dawn an thing chemi i he could never separate him from them (Goal or aesetor, obseon or commodity?) at if Woman signed ach of his sketches more cetaily am the dicate ferbble of bis mame. Take any lagescale compostion by Ent (lhe ate a number): the desorativecomplenty, the pre ‘ue and baroque exuberance, the aitact tameendence in Forming the ins nonetekes fel you in the manner of = rsbot: Checes le Ferme, And yo aly nd hr tere she i tiny ined be, elning a he canter of motif which, oncetog / Ronane Baxrre She is eaten, makes al ace collapse and converge upon the ar where she wothipped (nat krtared).This gow stant patice of the feminine Sgue no dub ret fom ites ‘carer in fashion, but this career il augments the ants mythologies] comin, for Fashion is one ofthe best sitesi wich to deem the pit of modernity, is plastica occ experinmenty now, EM bas coatinuocly occupied, for Taf «century, the tenitory of Fashion (and of Spectacle which often ines or depends oni}: and this terion com Sete attatonally enjoy the Blesing and the gratitude of society as 1 whole) 2 kind of national prt 2 mologiea ‘evewation in which pretend, tasfonmed aod ened by controled experimentsthe species Woman. Rarely, i shar, hasan art station (a combination of practic, fe tion and talent) boon ckae: Ex is a pure and complete sharacte,bistrzally simple, eae and. harmoniouly in forported into 4 homngenens world, died at ts cardinal pots y the major atti ofits prod, Adventure, Fashion, inca, andthe Pres, themsehes summariaed under the aes of thee most glamorous editor, Mata Ha, Pal Pout, Holywood, and Harpers Bazaar and forts center this werd has one ofthe mot strongly indvidalred date io the tory of style: 15. Exes mythology fs poe ofl that weno longer low (we no longer think to wonder) if he ee ed the Woman of his pido fhe managed to intercept Ier=it hei the witness of «Bistrot founder, 2 heo or 1 mthologi And yt Woman realy inv in this obsession figure Aion of Woman? Is Womnn the ft and ast object (ice all sigilying space role) of the story it hasbeen telling from drawing to drawing Over ftp yer, from rol Ports studio (1981) to New You taleison (1968)? One ste feature lade ut to wonder. Eté doce’ Took for Woman, be produces heron the spot, repeated, actualy duplicated in the Enso Al tne / 108 especive of meet ino multiphng the se Sew 1 ‘Ben al thw thusnds of nomen hte ou 10 Inor af ation bering onthe eine body wich ight to toi symbol deny and nga. Ents Woman at Tent an eben? Not a te Fthion model, om hh En eompaphy deed (and tht roto in bat sree dined and incamated afters Tonio i {quip cra ciate dime, bat ely 4 bra an senso, seching tom a technique and pore by» de, Now Ends Womun a sybu, ie senwed epesin of «ody thos Yom woul pre the tana spe of i restr ori wade: a the ae wth the Romie Woman ef pants ad wes) shes maya eiper x50 refering to comentonal emt (he stake of otal po), Be tension tthe ate and nt the expen of the Semoun countess women ace nt ports of nie fenton eprint, Bo esd fhe etn of am ete Srorpbene thich tls fs pein he ngage of & pete Sd constituting cur Hinge eons poms ws (0 opsk aha pred hth a grat oon): Cold me peak withont, Inco oft Aad do went nel sgn of Wom, of ‘Women a sarin oder to speak of ober hing? Ente should be honed athe founder of og, cat f= engage, ike the Lgatete whom Pato computed toa go The Silhouette In onder to consti thit feminine igo, something temen hows mt be serie which the body (a eet, founding Site ofthe unconscious). OF coun, ts impel to abstractv6 / Ronana Ranzans 4 representation of the human body completo transform 4 into a pure sgn: a eid ean attach bis fntses ese t the anatomical plates in an encielopedia. Hence, fo all is egant (but cotinuoas) chat, Estérsemantis—vbat me night ell is soatogrphy-—iavolves seve lls sites (how ‘ver rar): the finger, severed fom the boy (Hhis& the ce Aeteritc ofthe fess) and consoqunty designated by the jewel which decks its tp Ghostead of ining Hi the uta tanner), ik a phallic (eastating) bandage, inthe astonish ing Finger Jewel (for the tle ager: orignal burtowing dig, then symbolsly promoted tothe sank of a social ens Diem sigtying the wpper cls among peoples who let the litle geal grow eareely long, not tobe ecken by any 1nd of tmnuat labor); the foot, of sour, dgnated only nce but exemplary (is wot to make am objec into the sub jet oF painting invariably to Fetihize i) by the delicous Slipper statancosi docile and refined, punted and scold, ique and verte ofleted in solr splendor, in. pofle like ship ors house, 2 receptive a the ater, elegnt the foxmer, folly the romp, empasid by the eererence of the tain which depts fom (i the eter of Estes alpha et), bat most often ede (and hence supersigaic) by the nearing dplacement which the arti imposes on this ste train by 0 longer attaching tat the hips bot rather at the Shoulders, a i the Guadalgivir costae, This are quite ordinary fetishes, indicated a passing, one might ay, by the ast; bat wha is sposealy ft for Ext who has made it the specnty of hr oeuvre, ia site ofthe body which apes the csi cllecton of fetish organs, an ambos site limits, reluctant symbol but tc owe fay 9, 2 fot of at muh se tha of oe: int fel since it pei the reader to manipulate the woman's ‘ody fantamally, to do with it what he will to imagine itn the fate tense, caught up in & scene adapted to his dese Enger Alan / 07 and to his tenet, and got «denial of theft, since jnstend of resling from a fragmentation of the body (the fetish is by detnition a fragment) ts hbo ot, incase form. "Ths intermedi sit (or form) between he fetish and the sign, visbly peeged by Erté, who provides 2 continous representation of the whouete The alhouete, i only by its eymcogy, i a strange object, st once anatomic and semantics tthe body which has e ply Become 2 deaning, cuefully ontined on one hand, Entirely wid on the othe, Thit body-dawing 1s esentally (by fonction) 4 soil sgn (hs was indeed the meaning ‘which the artite of Finance Miniter Eteone de Siiouete (pve hci dung] sal serait (and its mbolie subsites) E absent from iy a souete, ven sobstitatively, is never tke: we eanct undies not bens it is excess secret bot beense, contrary toa trv devin. ts only ine (sgn) Exes lhoetter (never sketced, but ofan adaable finish ive at the ger’ Himit:they are adoreble (ea stl be desir) fd yet steady enielyintaligble (Whey ate admiably pre (Se signs). Let ur ay tat they eer oa ne relation of Dy Sind gurment Hegel has ated at the garment i sponsible forthe eamstion from the sensuous (the body) t the signifi, the Exo sihooctte (iafnitely more thoughtout than the Fashion mannequin) performs the contrary overent (hich js mach mere sae) takes the garment sensoous and the ‘ad into signer, the ody i Mee (signed bythe slow ttt) in ener forthe game 0 east its nt pose to eon feive 2 garment wthoot te Body (without shout) the Empty gaunent, without ead and without Hmbs (3 shin ‘plvenic fantasy) Hs death, not the body's neta ane, Dut the body decapitated, matted Tn Eités work it isnot the feminine body which i res gowns, fr, cinolnes, tins, es, jevels and 2 thoosnd ‘baroque trinkets whowe pleasure i as inexhaustible as thetinvention): itis he garment which is extended 2 «body (not ed by it, for Ene’ gues, propery unrest ate ndierent wat is unerenth eveything invented, sabatitte roped poctially onthe sac). Such the function of the te in Eee to pore and propose an object (a concept, 2 form) which sunita, an indisocinble mista of bey fasmnent so that we can iter undress the body no ate the garment: Wom ielysoclined by het vament stubbornly “orporeed” by Wotan’ contour The Head of Hair Why this object (which we have calle, faut de miews, 2 te)? Where dos thie invention of 4 Woman-Carmeat Where doe tit invention lad? Before nding certo fad ot), we mist sy how Esté deals with that ele ofthe feminine body which is precely, in its nate and its very stor, a Had of “promisad” garment, ie, the i. We ae familiar with its very sich symbols, Anthopoogicly, by a very od met hy appearing ont of the mists of time~sinee region oblige Women tide (to dese it) upon entering page of worshipher head othairis Woman beret in her nttatingdiferene Peete, ‘mii a tt substanee, clove to the get vital mile, maine which a is that pat ofthe body which can immediatly become 9a. ment, ot so much beau it can coer the boy, at Beate it performs without preparation the nerotie tsk of any ga. ment, whic mst ike the lush which sens a shed face, tence conceal and ped the boy. Symbol, finaly, the head of air i “what can be braid” (ike the hae ofthe pubis) etl which Freud places at the origin of weving nstttionlly devolving upon women): the braid i sist (this the very definition of the std forthe mising Fetish so thot "to eat off rds”whether the amsement the phallic attribute of their Manchu invaders and master ies enstating at, Now, thee are italy no ead bai in Eats gynecogaphies. Most of his women-—a period feture— atactirely sexpetine oF mephistophean, simple graphic Signtie of the head and ceowhee i thre shoul be any at ai the bai set mediately tsformed ito something thes it feathers, extavassted above the harizn of ehors al to forma whole curtain of pltmes into Beads, streaming From Delis tiple looped dade to for hee tain, imple Traces, sod ‘even the double chain which Keeps Sono Crouching at er fet int sey inthe alteating Sees ofto / Rowan Banrnes Blondes and Brnetes (Curtain for Manhattan Mery) who cfr the puble only the font of their wavy tess. Yet Bite Sows what head of hair (symbol) in one of is ravings, coming of nothing but the face of « sheping woman, drifts and fata easade of broad cul, doubled (end this isthe meaning ofthe objet) by black spily ws the Dead ofr were here estabithe in nator ln, eth ing Me (doer not the head of hai remain intact on the rumbling corps’); bt, for Be nthe interest of is system (bic we ae bere atempting to describe}, the head a hale Sau viubly give way to le symbole and move semantic Appendage (or atleast one whose symbol sno longer tee tal organi): the core The cof (8 vestimentary sppendige and nota epilary seangement) i tested by Et what we might ell a oe plbeable fthion: like Johann Sebastian Bach existing "otf in all its possible inventions atoms, fags, ee and satiation, Erte initiates, room his beni’ hea, every posible drvation: horizontal elt held at arms egth above {he hea, thick tbes of fabric (ce of hat) spring down to ‘he wast then to he ground, eres, plumes, ull aden, sures of every shape and dimension, exavagant (but el int) appendages conadicting the histovcal mod! of which they ate the baroque and excessive reminicnce (busy, chp. con, fotange, Sevilla comb, schapk, pchen, ete), the arenot wo much aif (we donot suppose fora oment that they an be wom, i, taken of; nor done imagine how they an “stay put”) as suplementay lnbe itendedt form now body insite, without conftng witht wihin the «ssental for ofthe original one. For the oe of these chim tril headdress tosbjet the feminine boy to some new ides (which we shall shortly name) and eonseqenty to de form (sipping this word of any pejorative mewning) either case the ei, a iod of baltsegeal, halfsole Bowe, Bit orA oete / unt repeated at the bottom ofthe body and therehy makes unset "he erinary meaning of te hima figue, or Besse, much move fequenl it extends the sale by Hs ent hgh, ‘ower to double it power of extension and artclatons then the face is mexely the ipaive proscenium ofthis excess high coifure in which ae stated the potential infinity of forms and, by «prado dilacement the fce's very ee reset: if the woman of The Annunciation has her “hat Standing on end” borane er hai i alo the suplice of the angel spead hove the composition in an apotherss of wings. The coife’s ypper dupleatin ofthe gue intersts Ent to the point where he malt i th el ofan endless move ‘ment onthe bigh pchent of Prats Wife pated aetbes Pharaoh's Wife en ablmeasalled atop a pram of wer Shippers, the trtemphant Courteunieiled wth high tare, but ti tara ints tom ie 2 women: the woman and hee cit fare (we shouldbe able to i: the eifuse and its woman) herby continously modelate toward each ota, by means of ‘ich other. This preference for acensionalcomttons (be Sides the sealed ofc, me mst eosier Princes Boudour 4a Badoar perched on her palanuin and susnrunted by 24 Infnitely aerial mot, or Du Bary, whose ncliacs ate sup ported by tno angel) may well dene a phenomenlegcal pchomalsis Ta Rachels but the tah of ur ati as as been sa is ot inthe en of the syne the ascensional ‘heme is above all for Ext the designation of posible space forthe lne where, stating fromm the body it ean mp fs power of sigaieaton, The cfu, 2 major acesory fit hat its miner subsite nace, tts, nhac and bracelet, ‘eything whieh departs from the boty), is the means by which the ans trout onthe feminine Body the tana ion he eed inorder to eaborat, ike an alchemist, 2 new object that is either body nor garment yet partiates iaFn 12 / Rotana Bantans The Letter ‘This new object which End crete, a knd of ehimeta com Posed half of Woman and half of he ofr (or her ta) this objet isthe Letter (this word must be undestood le lettre). Estés alphabets, belie, quite famous hte exh of ur twenty letters, int eptl foun, is composed ei ey few exceptions, which we wll mention atthe en) of woman or of to, whose pests and adornment att deed 354 Tanti of the letter (or ofthe igure) which they are te rpreset, and to which this norman oF fhe women are subjugated. Once you have seen Este’ alphabet you cannot Fong it. Not ony ds ths alphabet fore ou memey fa rather mstvionsfshiow (wh inpels w to remenber these Lett Women so insistent), but farther, by 4 aster ie citable) melons, it ultimately impresnates Ente eis ‘nue wi its meaning: behind each of Ft’ women (asks ‘anmequin, theater model) appear a kindof spite the Le. te asifthe alphabet were the feminine bodys atu, inet. ing and somehow domestic te ad wif the woman eomged ‘tom it inorder to cerupy the sage he fabion pape say ‘export and bya kind of momentary reese ater which she Imus rear to er plc in her native ANC: cond Semon and Dell: nothing t do with an alphabet, snd yet don't th to bodies Inge within the sme spac ic to etext ing initabe Outside the alphabet he has eoneied Ene omen tenan letters let us ny they ae anknown fetes, the ete ofa alen language which our partial happen to ep us fom speaking: doesnot the es of metal ator pai ings have the homogeneity, the wealth of variation, andthe formal spit ofan unpablshed alphabet one wou lite to End orAlutetbe / 113 spall ow? Such paintings ar, a8 people sp, nonfat, ha scot or wi ey a Seated to the pale * uoowa): he ir the ste pon whch a phic abc converge In Ene gene ape, tee i et xchange Woman sem fo lend te fig to he Let, smh any he et es Won tion: by fing the es, Et unger the oan (0 Setar etsy se tse noma of her Spe Oat eat exposes —nithotdigung bet) a lca Sh sec8 Bae gen tron tino women, bat sia (our tngmge tal shnewitps, Ue elton) amber (es) it jnbages (nates). Now we der ‘ode pn fe tt Bi oe be fe i : tesape): te alu en coetal gue product ‘alert hasan bd lato pent, os be Ths cen ft in wo ty fedine dig, nos & ay coveton of ese piso: that Psion (the sind fguation of anaes it femiite spar) naaly invokes & ceva pile of ‘Woman: ccc (yet oma) thins ht Fen in the serie of temal Woman he prs ho ke Terie toa rg. Ar ot courses he pot rh, fom heat wie aion e ‘Won and ain tioned? Hance tc Sine Fob ion nti change (or intanc,iting fo Tog ot) te fod rote cape quastoning the pySaoget aod Silage to doer wat new Woman il be generated By the ito te sack A weft, rot wo one can ante. Gute catan settee no dase en te barton Fihion, once itis tte a he mba expenaig / Rovann Banties of the body: Fashion stubbornly este any such notion, and this only ata: choosing to produce the ig of Wosnan (oe Woman assign), Fashion cannot travens develop, debe oie capasty, contrary to what we are supposed to Believe (and unis we haves very undemanding ation of i Fashion ss not ert; i socks lary, nt pleasure, the cove is nots good abject for fantasy: hei to bay eonsttng heel at ng: oon to lve (in imaginary ers) with he, she mst merely be decoded, or moe esl (For there it no sert in her) she mat be paced io the general signer hick makes ou word intelligible to ui, able Hence it something of an son to soppoe that Fashion is obsesed by the body. Fashion is obwned by that other thing which Ext hs dicovered with the at's fal ii, ad which i the Let, the bo’ aston jn a senate Space of signs. It may be tht Et eablahed a Fashion (that tf pss), inthe contingent sense of the word but what much sore portant i that he aia Bis work (een fon this int Ie every tre innovator he mot nite widely) re Fond the ies of Fashion, neglecting the “Feminine” in in which pubic opision idl (the ple opinion, for ex ample of mast ule) and tendentony siting the symbolic ld from Weman tothe Lette. OF conse, Woman present in Exe’ ave (nd even omcipretent); But she is nly the theme ofthis ene not ts sybase To interogate ees Women would be nose whatever they would sy nothing more than themseles, being setely more loquacons (9m Dolly) thn a dictionary which ges the (generally tao Jogi) deition of « won, and anti poctie future. The Charactetie of the signer & to be a departure (for olber Siguier}; snd the signing pint of depts, in Et, is ot Woman (she becomes nothing # nt her own eifie— she the simple cipher of myth ety) it the Let, Bits orA tate (135 The Letter, the Spirit, the Letter For a lng tine, acoting t 4 famous aphorism of the Coupe the Letter ich hl) ha been set potion to the Spt hie ges ie). This Later (hich il) bos eri out Chilton, «mabe of morderou extor ‘Ss thw macy en have dou stor, beng ith {he hin of our tigen, for amen), whieh we might fxp thing mats He, nr he genes nae of Flog severe gaan ofthe "ue (Oneal estore Pei hy Teter ba ll the onto of he sopeeg of “Thich he nt, denying tak vu to stl soo, Teo pat ths orden Letter hl stcken with owas of lengua, eb (ato fom all gy Sot chtys man wed soon and ithe ambit sa Wires ie Bers te dni oF which he makes ml the gk rc elt «symbole acti wich des ot speak enews in ts dy il me ope is mo dros ter bythe ight of he set. The pnt hese nok the sac of bo ut eny that of meaning the spit of Shenemenon ofa spec, simply tight Yo beg tos iy (hoe pesly the ef to aga in a proces of ssieaton) the spt (oped othe ete) fis therfore tewome the fndamental vale of Hoe] Helo Jo th Hah to iteretation io cone pa 0 the sevice 2 Spt eth but ths tlh gun esi t pyar Sie (aint the Beno th thing), Beyond hat appestane, {hat prmnt which svt Be striped of with 30 fete Pps secnd revel hovee, dey reams to the Iteee ‘ys then beomes 20 ence sity, ned othe dsp where “grphisn” poses a veiablecivlng p inti), ee, Before ER (bat thi i vitals ne age 0 ompletly hast been forgotten), the Mile Ags bequeathed tsa thesunes of experiments, of desu of mening in the labor ofits uneasy and graphic at if we cam sake off or socty’semptct yoke, she redoces lmguage to simple instrument of communication, shoud ke the major at whi transcends the fate opposton of hate an of astra for a letter at one andthe same Hine, mau and mans nothing Snitates nothing and yet syebotirs, diines both the ab of elim and tht of ahi, tiara tate / 287 RT. Saussure iknow wich bas emerged goo share of modem gue. We are bening to veal, However, by certain framentay public fins hat te Genevan philsopbe' gnd design mas not at {to establish a new linguists (he thought ater lie, we tre tld of his Cows), at to develop and impos upon lee {highly skepisl) phisopher a discovery he had made and thick bene tie (nach more han strata agus} iy that there exists, ried into the vere of the old (Vedi ‘Geck, Latin) poe a eran mane (oa goof 3 Ber) pat there by the pectin a tather etre fahion—and yet in a tcenlar fashion this maine waking Melt undentood Dy the soevenive selection of several prvoged ete. Seuss dis Ccery i shot, that poet is donble: line ove ine, eter fre eter, word over word sig over sigue, This ana iganmati phenomenon wat what Seuss, one he perted Ie believed he could fd everywtre; he was obese by ibe Cenk not ren line of verse without Bearing in the mite of the fist mening cexemenial name formed by the federation ff seal letters apparently setered hroughout the lie Divided between his pilcnpler’s reason and the cette of this second hearing, Sausure was gently tormented: he Feared to pas for a hinaic, Yet what an admirable synboic ttt Meining is never simple (aret in mathemati), and th lees which form a word, though eadh of them i rationally is Come de ingustigue gna, fom Jnsignieant (lings bs suey taught os Hat sounds foum distnetne wits and nt signifying units, = opposed to words), Hep esching in ws, for hic ee, which to ig tity someting ee Te cannot be by chance that, on the treseee eee eaten ceeee een cece am Bi / Rotane Banrars of his exer, Fete took the iii of his two memes and out of them made a thir, which has becine his ame 2am tt ike Saussure, he merely tend to this doyble— braided without his owing ito the mandane, everday terme — of is identity by this anuncitory procedure aed desig tel the permanent object of his eave, the eter the lett, wherever it maybe 2nd thal the mre reason in out name), lays makes us asin ike that woman who, holding aspen Aid bird in each and and ringer ast diferent height, fons the F of the Eran slp the woman makes the iy ad he sgn makes gn 2 Kind of srptrl at nse in which he sig can intel regres. ‘The Alphabet it as composed an alphabet. Taken in the alpha, the Jeter bocomes primordial (ordinal ite 4 capital) given fe 1 princops state, st reinforces is exsence av ltr: bere It re lets, sheltered fram any temptation which wonld fink ‘toad disole into the word (ie into «contingent mean ing). Cadel ance said ofthe Chinese charter that i pos seed a schematic being, sxiporal pesos. By his poe work, Erté makes each of oor Oceientl tes into an ideo am, ie, into a "graphien” which i efsufcient: he di ‘nss the word: wh would want to waite a word with ets keten? That would bea kind of misunderstanding,» sleds {he oly word the only ymtagen Exe composts with his eters is his own nae, which i sil two lee In Ete’ alphabet, there ia choice which denis the sentence, which repudiates Alscouse: Here again Claeel peu sake ofthat indlenee hich Teds ust soppose that letters are mtely the int ele ‘ments of mening generated only by combinatins and cornlations of neni fot be pst ended what stay letter en be (show solitude garantrd fo by the alphabet): "The eter sn exence soap every nord icone isa nee tone of afontony wich the tye and the ce spell ot othe wit ay on the sme the, another unk, sod the protons stale rested nd ‘oie in perpetal variation” Et eter an afrmtion (however fll of amenity), pots Sul ater to the word's precy (hich is andone rom one combination othe net) Son it seks devlpment net the diction of ses {win the sentence} but inthe endless metaghor of iva for a sty poetic path which dow nt led to tiseoure, tothe fg, othe (ave sntagmatic) rat, bat to the inte sm, Sock i the alphbets power fo tdi over Lindo mato of fhe eter, Fo the etn, i soe, once: the all begin when we lig est take them ito words (what Ber seas of pling a ad tothe others iene than to undo Re word and me {rtm t the prior let, ur popula Toston has int ngage (NO, NO on in ech e fil T stood ike to die icy hee md penal, The sutor of ths ins hs shay fa x dep diction with hina Being unable to Seep fom making the same mi tskes in retping text. The mits ate commonly om sins or adden: boli the leter foo mucho foo tl, the wile mistake, however, and the commonest as wel, rmeathest: ow many tines (doubtless animated by a0 ot conscious initation aptiat the worde which were falar to tne and of which I consoqunty felt myself tobe prone) fave 1 not typed strctre (instead of struts), ssblitate (instead of mbttte), or tameripton (instead of toner tion)? ach of thee mite, by dint of repetition tales on a bizare physagnony, penonal and malevolent sigs to ‘ne that teri something aside me that ests the word andboo / Rotaxo Rantans nies it by distorting it. na way, ei begin withthe word, with the intelligible sees of eters. Hence ster or eteot to the word, the alphabet achieves a Kind of Adamic sate of language: i's language before the Fal beease ii langue Defre discourse, language before the sytigm, and je a ‘ready, Dy the letters subsite ehnes,eniely open to the treasures ofthe pmb. This i why, de from thee gee, thei imentivnes thee aesthetic quality, or rather though thse very propeses, which are ditmed by no intention of meaning (dscouse), Fstésletesate euphoric objets. Like the good fi who, touching the chill with her wand, gaiosy ses roses to fll fom her lips with every word instead of ‘he toads “uttered” by her nasty tal), EH bestows opon the pure letter aot jet campromitd in any asoition and ‘hus untouched by any alls gracous and ineorapble Sinuous ‘The substance fom which ité makes he eter is as we have ‘sia mitue of woman and adorament body and geen sup Dlement eich other the vestimentary appendage spar the ‘woman an aerobatic trai and transform fe into etter with ter losing anything of her femiinty, 2if he eter were ‘atrally” feminine, The “opemton” of Estes letters ate ‘numerous and ave: wings, tl, eet, ples, sere, ba. Toons, tin, Bes, vel hese “unany (th jese “mutant” (they poem the ‘mutation of Woman into Letter) have not ony «formative roe (by tei complements, thei cometions, they help erste the letter geometrically) but abo a conutive one they make 18 posible, by recaling a charming or call (emia) ob ject, to ewe the wicked letter (there ave such): Tit 4 deadly signs a bet, a eros, a torte Este makes i into & Est orAtctetve / 325 ‘ema, ral nymph her Body naked, er ead covered with x thin veih where the Hite alphabet ys ares ered, Fete symbolic alphabet sae ame open, engage na geste st once Inodest and favorable Thi i bczoe Ete maker of the letter atthe oot makes ofthe word: game, s form of pon. The Hay on nds based on avery spl semantic methane tne andthe sane sige (a word) simultaneously takes two diferent signified, 0 tht audition of the word & divided French appropatey call this 2 double enters,» double hearing. Tose) within the val Bel, Est practies, one night sy, 2 double vison: you presi, a ou He, the woman tthe lier, and sappementaniy, the angement of the tne and-af the other Lack at the Signe 2: it 2 ncaing woman, ifn ple shaped ikea gueton mak i Uh etter i total and immediate fore which would lose its Dwoper meaning if we mere to analyze it (acording to Getak theory), but itis at te same tne «charade, ie, am analtic ombinaton of parte ich of which aleady has = meaning ike that of rogue posts or painters of sperpasitions sah 1 Atcinboldo, Erté procedore i wy: he sakes meaning funtion on levels which are tinaly contactor (becase apparently independent): that ofthe whole and that ofeach Dat ERE as one might sty, tat touch of mind (as we might Sy touch of the hen which in ingle gesture opens up the ter ofthe signer, the mer play. "This ply ie consttted by several simple forms archforms (every letter soppows them). Let us reread Chudel "All ‘witing begins by the tok oie whi, by itl, nis con Tinos the pure sgn ofthe individual, Ether, then, he ne is Horizontal, ai each thing which, in mere palin tots principle, find ficient razon for beings ote, vertical ab [the tee and the human ting i adates action and pots afimation, or agnin, oblique tanks both movement and meaning” Wl regard to thi analy, Et wil appear on/ Rovaxe Banrmes CGaudetan (a ne might hv expect). iat thee a ing ee ng : ave for him, he opin * state pct a Signed to thi lin, or ht witha iil wet to” Comer the gare» this wp in be ar eta Sa worething pinot het ua ft be Bor we tobe Seto al incre inte pina te Pot As for vet vk ch ce by het the moan deep, he dt ofthe ead fom ts tank he etal te naked nese, one mighty Iter ack he wound oy hey ee ety hse na by te epic alles Se mdference a for EME excane, ans ets wht se ad what a to vetlel rit ago ph Dut complement this jel tton: he veri stag he ft what cat it he cating ee which ities the spate sion (ahi in Greek means to split) by which the sand Faden schiaophrenic mashed, There are obligue nes in End’ alphaer (how make leterswithootthen?}; oblgity Tends Eité to unexpected invention: N's traverse vei Zs body fung bac K's broken and expulsed body; bat his obiqne Tine, which Claudel mae into the natural sol of movement tnd oftezning»is tthe one Erte pees. Wel then? Two indierent lines (horizontal and oblique) and one bad one (retical): where, then, i Exté's (aod out) suphoria) The Sroctre anaes, cooborating the erence: we Snow that ings the ideal paraigt involves fur terms: two pol terms (A's opposed fo B)y a ied term (both A and B), and {Deutal or vt fxm (aether Aner B); the primordia Hes Sf writing ave ready lati within this paradigm: the two pa tes ae the orzo and te verti the mised term B the eblque «compromise ofthe fst two; but the Fourth term, the neutal ten the Hine which rejects both the hot ont and the vet? This i the ose which Erté prefs, it ‘the sinuous inet win er i, the emblem ofie—not tra, pinay Mf, « metaphyseal nation alien to Eats un Sense, but of dat, cv, socained if, which the fer rine hen ets "sng (as was sid of cent pty ey which ‘Woman iets ws speak o, which she opens to graphic speech): 2 autora (onl no longer “natal val, fei Siouous: the ac fou ofS pets waiting Lowe, Jou, the ery dati of itl sentiment x you prefer = moze psycho el (and yet ll material tem dup. This phiesph ff sinuosity is expresed inthe Mask (Mrtery of the Mak, Says one compostion by Ete) aide fom the fact thatthe ‘Woman 2 to speak om the Mask (Rer Body nteupt the Trige of the nose, hee wings ze its cheeks, and she is aso Jog in the ee sortets, the entire Mask Uke a piece of Chinese abe nto which & woven a symmetil and verted nfl whose four ena voters stare at os (owe not Say the ee ofthe volute): for gaze sect only by an epiDepartures136 / Rouaxe Bastues M Ye ar we knw, to late yin ee pontncooe actin pe ainaton bacon ean ey ean ‘tn impantdy te atti the fos bly celta ining. lic eatin ia be aio sacle a does tc pinay ening of ean ten. Cone hs E nortan! bec prints i is or ten sane) the ket api nt to be open by it tee Branch twa te ftw ato the od # pee, ‘cyfoes witho dtguing te En uns teen one he ck the tr cess ot th ete ole tote (ae sendy ped, ssrding fhe Se ona or wg) ap ot tard fr, ae tin andthe wing ofthe two women como wee Crohn cnt wid Ook athe Q om eal fete hier French tnd comessety sone tah throne the ont har Ee has aga two ide fom» con hn es othe ip oft ong thn nerping to for ta ta of he eer wich ‘ite tom ©. Bejond thos capes scents Ex kr iste wih rep toa mle mytnog of ‘hele obit hough pled port, ener ie to fan thon Rb hat beaten hi ome "Voor Ft As ot "lf of sds” hay ak conc” tthe slow ching of two baie facet ae who lg a tanh gan em tc acai ae Seton of msc ey agli od fini not the snc of gr aces I is head seve fom 1 Coates mode bly cofen spn ts ected at we hve ‘Saya supi fant catty mt ple Coe Endo Alsat / 12 4s never any Blood in Estes cove); U, whose two branches coe, Hike those of two communicating veel, 890 Bere women ot the ele mask alchemy pent on stadins Torecads and Eités O aie raw i ee a ike the figure two aarobaty, 8 in uo way the “sopeeme trumpet ell of Stange soon,” i not Omegs, hearth ofthe “Viet Ray ff Her Eye” bt only a moat, open for suing, King, om Spesking ‘This is becase for Ent we ss os, the pace of the aipabet eve i the keter rear its phoneism, & nat ponie but soph he teil emcered with a symbolism Uf lines, not sound: Ie the letter whic “departs” not the ponete, om oot the letter at last that something which etre hig identi with aistinct sand i= muscular ges tare mated in us by certain movements of celasin, of eon entation, and of lea (this ithe work ofthe acrobat, figured {nO in Ain X; in Yi 4} Ee alas looks frit in the team of the ling the stroke, raph unit; his symbian is Timed, but it does apprehend st sbandoed by out high fatsethetyporsphie at. Rooted fn his at the ete, de tacked from sound dr at eit mastering i, icomporating tin itstines, reer a symboton of ts own of which the ferninne ody becomes the mediator Lets conch with for of Ext tcterssbich exemplary fall thi entail development, fn which sound and Tine are braided together. Khas, pho hetialy ¢re value (ison exepionaly that the P Sins fst of aly hen the French evade it): 8 roa ext, material soon: Rolls (fr Cova, the Togothete god had Inade it into» Busia sound); fom the posterior of 2 naked woman, exposed on er high eds, despite the muitatve ges tore of he ied and, spends Broad stream of Fabre or of hire know that we arnt and mt aot distinguish) whose thick cuve supported on her Buttocks ike abuse, forms the tre sco of fhe Ry af the woman wexe abundant desig rating in back what se sen tobe witha in front. Thei36 / Rovans Banrwes same mats (which never cats beng elepant acu in {his x sinwoot woman ced within the shape of the letter, itu consisting of «piokefenerence—a ifthe young body were swimming in some primordia secthing yet smooth mb Stance, anda ifthe eters a whee were alin af eral hye to the excence of sintosts, the line of Ue. Quite diferent ia nciby eter, St twin yet fe: isnot Zan inverted and angulatdl San § big? For EZ sa melancholy, cepa lap veld Iter in which Woman inserter both her submis sion and het supplication (for Balzac, too, Z was 2 "bud Jeter a he explains in stale Z. Mare). ial inthis alphabetic conoprapy of Este’, there s ME a sng eter, the ony one, bev, which ones nothing to ‘Worn ort he favs subtitte, angel and id. Tin human eter (since it longer anteepomorphic) consis fof Sere ames: ti a bursing doe, devoured by wih the Jeter of love and death (at least in our Latin Tnguages), the fal eter of buck despa, dames alone amid so many Letter ‘Women (a8 we might say Flower Maidens), lie the mortal absence of that body Ee har made into the lovclest object fraginable: eit Arcimboldo, or Magician and Rhétoriqueur* Oficial, Arcinboldo wos Maxi’ ports His at fit, homer, ar excoded painting; be composed armorial ea ings dt ams, desig fo stained las windows and apes Ihe decorated organ pals and even proposed 2 coloimetric method of mosaltaneription by which “a mely could be tepid by minuscule patch of clr on 3 pape bay Sepuited and sted palonances, veto torments ore, Hic compote ead which he produced fortes fey atthe court of the Geman epeon, fonction, cnr speaing an pc games Loy cond, we layed Fee led Foie exc paye,holing 2 band of th {kc dh took te sing his peste for the members af the ty hems coltng! the pk bey, he pork but rh wile tc to, thieves, het dog ete leoing atreconstitute the family of ey, Winter Task hee stand of ey there, mic, 2 en unt T have the whol eral thematic before mee the amy” of Vilon's mote son, Ox agin, with Arch we are playing the game known at Chinse porta 1 lester the tom, the othe decide on Someta be ented, and when the questioner retms he must soe the "idle bythe patient ntelayof metaphors sod tony TE it wore chee, what would it be? “A peach, Ik wet 4 ru “Faso pe wheat. it mere an get cen. know 1m the fue of Antu, the (eile ce const of ith iin Pench, at asthe botanic pel Becomes the ecole rma oor word for eyeball Te ati Aimbot, or Magi and Rr like « baogue poet, Arcimboldo exploits the “curtis” of Tange, plas on synonymy and homonyms. His painting har 1 Hogaiti bey hi imagation i, sly seating, pectic it does nt creat gost cobs them, permater thea, de fete then~—pesly what the practioner of lnguage dos One of the igus ofthe post Cyrano de erg com site in thing 2 petty tana metaphor inthe lnguage and éndlessy exploiting titel meaning Tf he language as “aie of geh” Cyrano cones the story of # condemned man hte eects sng him toes 30 lgubrows hat he Bl dis of ie over his tm death, Arco pend inthe same way as Cyrano: ordinary diourte compares (ait often doce) headdret to an overtumed dh of fond, Arcimboldo the at becomes 2a, the dh becomes ele (2 “ala celta). The prod functions in two tine frames: a Sense, proposing the most otdiry thing im the weld, am analogy, but fn second te fame the analy gies wil be Cause His radially exploited, cared to the port whete it dkestoy tel ae analgy:compariton becomes metaphor: the helmet ic longer like sds, «dich, However, by Bal subtlety, Arcimboldo Keeps the tw tems of the Hentfetion, Tet snd dh, seperate: om one ae Tread = ead, om the other the contents fds the ienty ofthe two object does fot depend on simutanity of perception but on rotation of "he image, preted as reverb. My reaging slates con Linu ony hele munages to are t male the pice the porta ofa Cook, bere fom the di we metony aly infer the man whowe profesional utes it And then oct a new repereion of meaning: why docs this cock ave the fete expresion of» cppercompledoned ol wii? Bocas the met ofthe dish necssatstrmor helmet, and he cookyf / Rotano Banzus right say; hone had rooms for Hips and wore # lemon 2 4 pendant; another had squash fora nse the neck of 2 ‘hid onsite ofa biter ing prone ete. What eer agult Tein the image, ie memory, the inatence of a model 2 fantastic tales T sem to hens Perle deseribing the mete Tmomphoss of the words spoken by the good ster and the seks oe, ater they fave eneamteed the fy with each Sentence, two ros, tho pail and two big dumonds op fom the younger cme’ igs, wie fom the ee’ mouth to vipers and two toads. The parts of speech are transmuted fnto objects in the sme wap, Arcmbolo pints not so mock things bt athe the description» tlle of fantastic ales might five of them: he llutates what i aleady the Bnguite copy ‘fan amin story Leto reel, once agin, the sructre of our uma. en nig: its doubly acta the soqumnce of dictum cat Be divided ito words and the moe divided in thes ar into sounds (or into lees) Yet there ia get dilercace Between these two sticuaton the fist produce units each of which already has a meaning (he words) the seco predoces ne ripping uit (te phonemes: phoneme, i bel signee nothing) This strctre, we know, ot valid for the vial ts it gute pole to desompore the “sou” ofp tue int forms (lines and points) but thea forme spi noth ing before beng asvembld punting noms ony one aiuto, Hence, we cn feadlyandastand he srstaral parades of he Arcmboldesque compton, “Arcmboldo makes panting nto a veil language he gives ita double atialation: the hod of Calin Sst decompones into foms vbich are aready mabe objects—in other words, word «cick crs, a dramstick, a Stal, srbled pages These objets in the: tum deeompase iat Torms whide a Uhemsles signi aothing: bere we retum tothe double sae of words and sound, Eventhing fiction aif Acimbol had Acid, Magi ondRidtoriguur / 155 pat the pct syste, sbusvely doubled it, hypetophying thin the sigfing analogical possibility thereby peodcing {kindof sacl monster sour fa suble (because ite Teco) menses, even more onetatig chan if the hoor dlsived frm 3 simple exaggeration ora simple mistore of ele tment: iti becrte everthing sgn, on fo Lee, that Arcimbeldo's printing factions ar arate lang dei of etl langug In the West (contary to Faster practice), painting and writing have had relatively few rations letter and mage fave commeniated only in the somewtat responsible marge ‘of ecation, ouside of class, Without eertng to «singe Tete, Arcinboldo nonetheless constantly verges on the graphic expences fend and admier Canon Cormnini sr the composite heads a an emblematic writing (which after al wat Chine idengrphy i); between the two levels of the Arcimboldegue linge (Bat of the ce and that of the Signifying fates which compove it) there the same elation of fision, «galing relation, which we find in Leonardo da ‘Vinci between the der of sins and the order of ages: ix the Tratato deta Pita, the minor wing i sometimes ne. rupted by heads ofa men a pair of ok nomen: wing and raving ae fasted, caught up by cach oft In the ame as loking at one of Ascnba}0s composite head, we always feel ithe a if were stem. And pet, no eter. Ti re sults fom the double ialaton, Ar in Leonardo's case, thre tr doplity of graphiome they are dekberatey Bal images, Tal sign A composite hea i made with “things” (fut, babi, book, et.) But the “thing” which sere te compose the head ae not dred fom another function except peta in The Cook, where the animal which upeide down, produces the man's face is made tobe eaten). These ave things which are236 / Roane Baxrwes here a thingy, a ft came not fom 2 fami, eves ‘pace but fom a chart where objets ate defined by thei gua fhe analog: hee isthe Stump, here i the fy, hee ithe Lemon, heres the Doormat, ee, The “thing” ae present didactic, atin book for citen, The head is composed of lesengrphic units which come from a dictionary, but this Rowe an ts Sg: hs wa how the West mediated on ngage onto thea Sea ner stoped Steet that te coud bef ngoge cant of ‘ning toes), sod that se mel col be odd tobe pout wie te ght cid and name. i feos Arno, ty toi: by fit compote ns ents in the dc ofthe tage» hoe Ele Of ttn Ege: the comer bone eal bet he ns for acti Metaphor A ep fh stn or Wein whic hye this Met ‘iors ming had this ian Ago Ta cuneate paces pon cheney bury and os of meat nerf pay Siri tan Alon. To teper the finder to ake thre ne aa th Sto moth: he an Antone (Cree nod whe ‘olingit change is eming) To olson sane by aot hich the me ound os Feb ot per he pe Tram =): ths ian Agpnination teks ve thing y note ich ht he ame fe (anne ya 9) oma on apwmiaton of ae Rabelais made grt ove of certain comical languages ati ia—butssteatialy-eabrated: thee are fren, pao. dies of language ise, in 2 sese. There wa, for instance, his Borage or coding of an utterance by substitution of ements ‘Aecimbale er Magia nd Rhtriguewr / 337 ‘Bere was his chris, or coding by transposon (Queneay, today, at deed certain comic eects from this cipher, writing foc instance: Keketga for"Quentce que cet gue g2") Sally ‘here was, esen cir than the oes, bis entero, magna of shally indecipherable sounds, a eyplogram whowe he Test. Nove, Arcos ati am art of fone. Suppor there SSamesag to deliver Arcmboldo want t spy th head of ook, of peasant ofa Refermation leader, of eve of umn, tte, fre tht mesage he encodes, for to ence means Both %o conceal ad not to conceal the mesage is concen hat the eye is dvertd fom the foal meaning by the meaning of the detail at fst I dont see that the fy or the animals heaped up before me ae anything bt fnts or anal and it isbyan efor of distance, by changing the lel of pectin, that I reve another mesage, « hypermetopic appartis hc, ike «decoding ei allows me deny fo prea the tou meaning, the "al" meaning Thur, ArcimboWlo impose 2 stem of substitution (an pple comes to stand for a cheek, sin 2 coded sage 4 letter ora sible comer to mask another eter or another sjlbl), and, fs the sme way, 2 stem of trnspostion (he whole fgure is somchow dawn back toward the deta). How: ‘ver, and this Atcimbold's peeaty, what remarkable hoot the composite heads thatthe pce statr between Coding and deeoding: even when we have diplaced thereon of subatittion and of teaspoon in order fo perce the head composed 5 an effet, our ees retain the acer ofthe Smt meanings which bavesened to produce this ect, In ober verde from linge point of riew-whih, ined, ie hit ‘paAtcnbelde speak + double Bnguage, both dint and lone be produces “batagoain™ and “choi,” but thse foxgries remain etiely inteligbe. In shor, the only ody which Arcimboln doesnot produce ta totally acompehen Sble language ike “Taner: hie a sat inane,238) Rowaxe BARTHES svimphant wen of ctor ia Acimboldo, ering Timea mg is ce dee, since al the Cts aa ey i soe to oon = ad tv 2 {ins Sp ace ti rag ieee) 2 incoing ea, cst beyond sl (is i OD ah nd maaphor mess). often Ascot, cals wat te By wtih we met abet Te ai amin ie rb ome {wo mt reno. teeth "potency" & “ty 2 he en ds Arbon mit have) mt os tay esos on thc a Fe se ren cs have bape como: DD ae esd on alee =e Sogteaie ine: the nose resembles an 35 oP ripen hese ie se "ane as tenga cling Sap he Ry not St ne its ior aint ere nk Nn Ye sen hen smal, He Ar a sot ey nea: ArcinlD Bet Mele een tay nb ame fom al ae ay rem scl tht te Bt of St ne th ct ata the Hip wo one woul a We ay eee he eto cor 0 2 os He en tei ot mouth (ks 3 atte UF ther organ, this ene female, a5 satel by a folk mean et Sun we td In short, even when wel SR ce dnd in mn Tags) wet het T tainlue meio deeds on 8 2 fect st oben to Non the guage ey aemate Ce, too, the metaphor is 0 suas (i that nee dara or excl se pst) ta ee ofan ere gamete Ge thing ets 3 ean so ts aldo 3” Acinbole ar Magician nd RMtoriguew 239 eat (Herod)? How cn omen wax tape erst man's forehead (Foe)? to any ct, the prosedore gute sey of peat spite; the ansogial lnk i etched (be omer te, pris) the ello clr of he ax wich Sages the smooth skin of he force, that pr of hams sh wre the blond i ot abundant, ee the coi of ax sugests, at bes, the froming wis of the aman bow ‘We might ay that in tho xteme recaps the to tems of the metal a aot na ction of equaenc of Deng) but stay of pres (of doing) he ath of foe tiny mae tex mar (abe, procs) the ante Arbol they ales uso the product, taste carer of mete. por hi in any ce seat spl obseatins of afin, they donot segiter pole analges which might ext batue and which the port would be response for making twas they undo etn fri objet ode to pode ne sang oes tom thc by a etal coup de foe nother), which is the visoman’s work and not merely hit {alent fr collating resemblances, Perhaps however, the gretet suai ofall two in hese lmprotuble metaphors but these we might eal offhand Such offandedness means, not metaphonsing the abet, but changing is place: when Arcinbo replaces the teeth ofthe Desonage teprcenting ter by the teth of » pik, le does ‘ot affect he objet (ts il test, But be causes tt shit fom one realm to another the metaphor bere sno mote that {he exploitation of an identi, eer of a ttoegy (teeth are teeth), which has simply slipped and changed eeence (com teat). This sight imbalance prodoces the stengest of shen tos. As Magitte understood vo well when he eal one of it compositions whose procedure i related te the Arcnbeldesqoe esp” The Rape (1934): fete, #00 what i in question Iss uplicitousinage, at once—and depeoding on the fun ofthe140) Roane Baatnes gues woman's head and/or her ust the beats sppesing SE the viewers determine, in pace ofthe es, the ave pice of the mouth Here agin the cbjets merely change pcs, Teaving the rex of modify for that of ceebmality-—and this tofcet to etete a supematua objet, ke the Arophanic adr IAs poet, «make, poder oF ngage, Arcos vewe scntinuos the symone wotentingly Sung on the as, Arcinbeldo constant employs dierent forme to sy the sme thing fhe chores to)" the none, his ese of synonyms alfods him a branch a peas, 2 suas am ea of com, ‘flowers cays, By ubbts rump, a chickens aces, If he wants tS" an eat, he need only daw pon a beterelite Stalag, from which he extracts» tee sump, the underside ofan umlllatemahroom, ae camation, an appl, hel an inal head, the crc ofan ol ap. Ife wants ive his character Beard ere i shtal ora cays an fennae Ir this repertoire an innite one? No, if we abide by the slate infeguen alleges which have come down ‘calms hve wt involved ae fy, plans, comes, since we ate chicly concermed wih the Seasonal Byars of Mother Earth; but only the contest limite the mesg, the ingestion eli indeed init, ofa acrobat sppetion ose asery is sich that we fel ready to size upon any nd every obec. 1k mas fashion of the prod to produce revesible image: upside down, the pope bectne a goat Calin a str with els such diversions seca carcatues forthe partisans or aver tars ofthe Reformation, We have one reversible image by Acmboldo—in oe dition ook inthe other simple dh of meat. ln thet thie gre i clied a palindrome; the te palindrome makes no change in the menage which is red ‘ential in one diction and inthe ther: Rema i abito Acnbold, or Maginand Ridge / 344 tottus bit amor, Quintian says seta minor atthe end of ‘he ine snd go wl recover it intact, reading it inthe oppose dlzecton the same i te fo the ges on plasing care the tnnor bisects and repeats, does nok denstare the image. On the contrary, when you evese the Arcimboldsque image, ou ‘eruinly econ meaning (andi fo thi reason that 300 hive a palindrome), But ths meaning, in the movement of iverson, has changed: the dish Basomes a cook. "Everything i alway the same," syste te palindrome; whether you ake ‘hing nome direction othe oer, the twth rmang, “Every {hing an asiame an epponte meaning,” say Areboldos pulindiome; ie, exerting alwaye har = meaning, whichever ‘ray you rend, but this meaning is never these verthingsgies and yet everthing i septsing, Ari. bokdotnakes the fantastic out ofthe fanart ftal hat another fet than the adding up ofthe pats: me cold say that iis he remainder, We mist make an efor to understand ‘hese ed mathemati: hey ae mathematics of analogy if we reall hat elmalogially analog means proportion: meaning Alpen on the level you adapt: Ifyou Took at the image cose ‘ap you se only rte and vegetable you step ack ou m0 Tanger sce anything but a man with a trible ee, a nibbed Aoabiet = being raf (Summer: distance and proimity re promotes of mening. I this nt the great ere of every vial Semantic? Eventing proces rom spacing ou oe aging of articltions. Meaning is born from 2 combination of non Signing elements (phonemes, ine); but it doesnt ui #2 combine thee elements toa Sit degree ode fo exh the creation of meaning: what has oun combined forms aggregates which can combine again aznong themsees a second, 4 thitd time, Imagine that an ingenious att could take all of Aci bole’ eampoxte herds, combine them with 2 vew toa new (Meet of meaning, and fom ther arangement predic, fortgs / Roane Banraee instance, 2 lndscpe city, fort to defer perception is 0 fngende a new meaning: petaps te sane pribiple apis in the histori prade of forms (to elage five square centimeters fof Ceenne iin away fo come up with a ants by Nicolas de ‘Sta, and in that ofthe human sciences (tral science thas ehangd the meaning of eens by combining them one other eve: bts, enti, and egus—the level whee tad tional histor sed to sop-ven mite to a perspective tthich would di ther meng ate now merely the signs (fnew langue, of new inflight, ofa new history) In ho, Arimbold's pining i mobi: i tates 1 the reader by its ety projet, the oblgnton to come doser oF to step back, asuing him that by this movement he wil lose no meaning and tht he wil always rain in a vit relation tit theimage. Tn order to btn mobile compton, Calder Frey atcltedyolumts,Atcinboldn biainn an analogoos sult while remaining on the sorface ofthe cans: not {he support iis the human mbjet tate ashed to move, This ‘hoe, “enetaining” at [i Arcos cs), 3 nos tneacons fr being t,o at least extremely “moder,” for it lnmples a elativantion of the space of mening ocoding the reader gaze within the very sractre of the canes, Arn bold vitly shifts from a Newtonian punting based on the Fry ofthe objets preted 1 an Fisteinian at acoring towhich the observer movement patiptes in the works Acimboldo is animate by 4 great an energy of movement that, even when he sons sevea veronr ofthe same hex, he produces era signa change: fom version to venion, the head stsume diferent meanings Here me aria musa ‘nivere: thr ir certanly 3 bac theme (Sumner, Autumn, Calvin), Bot cack varition has diferent eft. Here sc tome / 1) sonal Man as just did, winter sl ramet with a ingeing otumn; hei lead ple bat the eel swollen, have jus lose here (andi hk second version peste the Ss, It dost matt), the Winter Man ie now no moe than 4 ‘conpeeinanadanced stage of decompenition; the face i guled tnd gry instead ofthe ee, even a led one, there no fnget thing bot dak cavity the tongue i vid. In the sme ‘manner, there ae two veons of Spring (one isl ta Pe the othe, mote chert, afi the coming samme) snd tho of Calin: the Beyamno Calin is aroget, the one in Sede is hideous its if fom Bersmo to Stockholm (t Aloe not mater whether or not hiss the ode of eompition) the homble countenance bas turned gay, collapse, fallen to pecs the wicked eps go dev, stop thercturof the mouth {grows more marked; the bones which seve a6 2 raf tur ‘tom yellowed parchment to ld paper, the impresion i al the more digiting Beau thi ad formal fee sab stanet it then becomes, eal, inde: the chicken and the Suh tum into garbage, or wore: these are the discards of 2 bad westaurant Everything happens asf each time, the head Were oeitng hetmeen manos ie snd omble dent These compute heady are hes which ave decomposing Let os once agin tur tothe question of meaning —fo, after a, ths ie what interes, what fscnates and ite os in Acinboldo. The "anit" ofa lngunge ae here onthe cans uli the phonemes of atcolted language, they already have a meaning! they are namable things: fat oer, ranches, fn, sheaves, boos, abies, ete; combined, thee units produce 2 entry mening: but hi second meaning, a8 mater of fact, doubes onthe ene nd, I read» human head (asl et reading snc 1 can name the shape I perce, cn make st join the Fesicon of my on language, whee the ord ed cet) bt on the other iad, Talo and atthe sn ime edan algaber dient meaning which comes fom 2 diferent resin ‘of the lesion: "Summer," “Winter” “Autumn, Spring” “Cook” “Cabin,” “Wate,” “ies now I can con ‘ave ths snc llegnncl meaning only by refering to the mening ofthe fst units it the as which make Summer, the stumps of dead wood which make Winte, the fsh which make Wate Hee altead then, are eee meaning in one and the same imag, the fist ten ar, 29t speak, denote, for onder ta be proce, they imply nothing ches than the work fof my perception, init asi i immediately articulated on 4 Teco (a word's denoted aeaning i the meaning given by the dictionary, andthe dictonay fee to mabe me read, scoring to the level of ay pectin: bere Sy, there ahead) ‘Quite dierent the thin meaning, the alleguial meaning: fonder to red here the head of Summer or of Cabin, Treguce nother culture than that of the ditions req a meton onc eltre, which makes me asiocite certain rts (end not thers) with Summer, ore sly sl, dhe austere linet ‘of face wih Calvin pani anda soon ay we leave the Alictionaryof words fora chart of cat meaning, of ani tions of deat in short for an enilopedia of eed ets, we enter into the ‘nite resi of connotations. Arcmboldos conaotatons are simple, they are steobypes, yet connotation ‘pent an interrogition of meaning tating rn the allegra meaning, other meanings ae posible, no longer “elt” these ater, but procending fom certain (attting or rep ng) movements of he body. Beyond pereption and sis tion (telex retral) develops a whole word of vale ooking atone of Arcmbldo's compote bea [fin myself saying not onl I ved, I vin, 1 find, I ndestond but abo Tike, I don ike Unssness, fet laghtt, dee in the Doubts, tet ise ealtwals Dogon masks sik oat having pac exprestion beens they ae asked for us West Acinbuideo Magician and Rhtrguer / 148 fener, with extism, ie, with the unknown; we persve nothing af hr yb, we arent loupe with tem (ne are not religious); doubles, they produce an ager die fet eect om the Dogont themes, So with Arcimbole's heads is within our own etre that they provoke the afc tive meaning which we shoal, wth etymological appropri resell the pathetic meaning; fr me camot in Crain of these heads “asty and spi without sefeng, by fining the body—of Language to an entitesociay: as "exes sion” sopidiy and nastinasparpate in certain stem of isto valves: we may doubt tat, oking atone of cin bolo’ heads, an Austin abouigine experiences the vague rea which this heat ips nme The ects sie yp in ws by Arco’ ata often pubite. Conder Winter that fungus of the ip looks Ue 2 hypertrophied cyan, cancerms and ideo. I sce the face of atiman who has jst died, an asphyaating gag st into his ‘moot. This sme Winter, composed of dead atk, has fice vere with pistes and sale; he sem to be fa the grip ofa diguting skin dite, iyi or pura The face of another ane (Autumn) is shtly sum of tomo. the se face i bibuous,tgescet: fi an enormous ifed organ ‘whose brown blood i becoming congsted. Arcinbolieoe Aes is alaysexcsive: eter ravage, or faxed (Hered) ce swell, or sunken, dads hese not ingle pleasing Head? At least there is Sprng-docs® st sagget a happy compos tion? Trae, Springs covered with Boner; but we can hat Arcimbsldo demystier the flower, pec, tothe dence (2 logical sandal) that he dace not tke it eal; wo doubh seeing 2 omer, ora bouguc, ora meadow, ein itl an allo gether veal delight bat roduced tos sora, the orl extent ‘ealy Becomes the eflrescence of me dtrbing state of mates; decomposition produces pulerlene ("Bower of fur) and molds that resemble ower skin diss tn uggest16 / Rotans Banrwes tatooed foes. Hence, Arimboldo's Sing is incamste in 2 Tig id face tainted wth some arface may, What thereby dooms Arcmteldo's heads to an effect of malate pres hey are compost: the mre the frn ofthe thi seems to have proceeded rom a fist impale, the more cupoi it (oe Ino dat a whole aspect of Oretal rt hs favored cee. ‘io lla rime): inthe meta an 0 to speak uncomposed Fou tht is the please of a supernatural it some muscok ogists have een connected romantic melody, character pre tof the ely by is ne enitary development, ga the Moths, whee the joy a fasion Bloom forthe ci we might atte the fame symbole eflect the “eat om ied by the artist onthe popes, the cess, at the Sis tuk, alle prim, Arcinboda's art «den ofthis fey: not oly. does "he igre head proce frm a Inbor, bat even the complies tion and hence the duration of thit bor ae wepresented fo ‘efore“deawing” Spring, he must “a” each of te flowers that wil compos ft Hence i the very meted of "ompet tion” which disturbs and dass the unity evelopment of form. Thematiall, for instance, wll coull Be soother and more one than Water? Water & always a maternal heme, ity safely; btn onder to pnd he alle of Wate, Acibol images centan contay foes: Water, for him, isfy shells,» whole heap of ba, discontinue Sharp or swollen Shape Water iin ftt montrons Arimbold's heads ave monstons becuse they all ree, whatever the gace of the allegorical subject (Sumer Spring, Fra, Water), ta male of ebstnce thing or smerng The swarm of Kvng things (plots, animal, babies), ae ina chsepacked dsoeder (before joining the snteligity of the fmt figure), evokes an enteral i the entanglement of vegetative beings, worms, fetes ikem which ate at the limits of te, not set bom and yet ae putes ‘Arcinboldo, cr Main and Rhee / 47 For Arcmbolo's century, the moniter is a monde, a mare ‘The Habsbunp, the pater pation ad ther eabacts of at ‘nd castes (Kunet-und Wanderkemmer) which exited Strange objects: acient oF nate, egies of dar, of git of bite men and women: anything "which amazed aed i spite wonder’; these cabinets, thas Den sai, partite in the laboratories of Faust and of Caan: Now, the wonder ~o the “monster's esentally what tensgreses he sept tion of reals, mingles animal and vegetable, animal end humans iti ees, dnote sit changes the guaity of the ‘ings to which God has amgned s name: it & metemorphons which casi one one o calle into snot in shot owe another word itis tansmipation {it sad that Aci bod’ day thee icalated throughout Ewope cet Inan Iinitures representing fnttie animals whose Boles, weve rade “of « most of human and animal shapes inttwine ‘osicas, hunter, lovers foxy, Kons, monkeys bby each ‘imal thas compose cama phan, hone —eprsente the simultaneous regrouping of sucesine incamation’: what Wat ‘spparentlyheterodite refered in fatto the Hind dacne of the intsor unity of beings). Aci’ ead al in all, ‘merely the visible space of tanenigation which led, Before (ures, fro fh to wate, om the faggot to the Be, ows the eon tothe pendant, and aly, om al staan to the Tnuman fice (unless you preter to take this oat inthe oppose ‘iretion and descend fom the WinterNan to the vet realm with which e is asiate). The principle ofthe Ac bokdeque “monster”, in shor, that Nef doesnot stop, Take Spin: its aorna afterall, hat Sping should be rep: seated in the for of 2 woman wearing 1 at made of foes (ouch bats have actly exited in fashion}: bot Acne fontinue; the Bowes descend fom the bjt to the body they invade the sin, they constitute the knits lepreny of flowers which overtakes the fae, the neck heb. Now, the exercise of such a iapnation relates ot only touf / Rotawo Bantars sit” bot abo to bnowlege: t0 “suprie’ hoses (as Leone da Vine id on wer tof kooled al Knonledge ikea to a lasing ard to agendas or spl to change Knowle i to experiment, by (eran andacios operations, upon what subverts the casi tons ne ae accustomed to: Bhi the noble ncion of magi sum of natal widon” (Pico dlls Miandol) "Thos Arcinboldo proceed, fxn game to Grand Rhetori, from thts to magi, tom magi wisdom, 1998 [ Readings: Text Is Paintinga Language? Since linguistics has attained ts present extensionin any ‘ae sce the author ofthese nes fst expres hi inteest Tas he been asked ths quetion: Ts pting a lngnage? Yet til now; mo anor: we have not bet able to estab ibe Dotng’ escon ots general grammarto pt the pictures Signet on one side and is sigueds onthe other, nd ton tematie thei rls of sobstituton and eombiaton, Semil ava scence of sigs, has not managed to make ined ato at an unfortunate obstruction, since it reinones by deft the 1 humanist superstition that sts ration cannot be “re duce” toa sstem: tem, a8 we know is the decaed enemy of man and of at Aa matter of fact, to ask printing is a lnguage is lead an ethical question, one which soqies 4 miligtedy» censored anser Safeguarding the rights of the creative Indies (the ait) and those of + human univenaiy (society). Like any inovaor, Jean-Louis Seer doesnot anaes the Tiged quesToure), stoctre, text, code, stem, epreenation and Bf the hong: What te mtn betwee te tre state ngage ely linet sad Ses In mtg presume fo be a hog ss fas Shee cage opanch isthe pt 0 0 ge po SBic and in ne Scheer ge to emo oo of trl to ate ac design yh the peter eo Sul essa te dete state o pape, as cbt the nny beste of mb Tagan ec Of couse, te Heniy of wht pe cet" ee tered the ago amy ped mais endlesy ut ht laage hi sity of langage is precely the pte’ sytem, the image & nt the expression ta code i i the variation of work of colicin: i wot the repostry of stem bot the generation of stems. To Paintings Langage? / 151 [rrphvse a famous ttl, Scheer might ave called his ook The Unique and Ite Structre alti srt stration sale The ideological epecusions are esdent: every effort of classi semitics tended to constitute or to potlte—con fronted sith the hetrolte of work (pctrey myths, naa tnes)a Mode, in relstion to which each product could be eine in tems of dhrepanies, With Scheer, who enends Joa Kiste’s work nth fndamental res, semology emerges ‘lit frther fom the age ofthe Mosel the Norm, the Code, the Law, one mighty, fom theology This deviation or this reveal of Sasran igus obliges 510 modify the very douse of ana, and tht exteme consequence i perhaps he best proof oft validity and of ie ‘ove. Schefr coud expe the sift fom strate to soe teration, fom the remote, foam, estate Model ofthe work {of the stem), oniy by analysing wage fictie; he hos chosen the Venetian printer Pacis Bowdone’s Chest Came thereby afrding us sme admirable “trasrpton,” wing ofa quality which Snaly pats the critic om the writers side) his dione ofers an exemplary beak with the dietton his analysis doer not famih it teu,” enna inde froma total of statis sampling: continu he act of language, since Scefers principle i thatthe wey practice (ofthe pct ts mn that, Sebel dscouse revels nat the ert the truth ofthis Chess Game, but ony (and neces sanly) the atvity by which ite stctred: the work ofthe reading (which defes the picture) i aay enti with the work ofthe waiting hee is no longer eit nor even a swt talking panting, thre isthe ganmatogrphr, someone who waite the ptr’ wing. This book contittes, nthe oxder of what is commonly tale aesthetic ra etc, labor pine, but we must understand that his bor cool be achieved only by subetingthe contest of our diiplines, the easton of the objets which deine our “caltore” Scher text fn no way dies ‘Eom that famous “iterdacipinaty progam cooked up by tur new cade clr, It ot the disciplines whith no to beexchangl, it the objet hee sno question of ppp ing” igus to the pice necting a itl ealgy nto ast history, there fe question of limnatng the distance (the Censorship) intitatioaly separating pice and text. Some things being born, something which wil ivahdat “iterate as much 36 "patng” (and thoie metalngstic comets, stam” and seth), subwttting for thee od ula lines gencaized “ergosaphy,” the eta Masson's Semiography Fro the srt Masson's semiogrns, by a kindof unexpected precron, “take up" in advance the chief propositions of a theory of the tet which twenty yea ag didnot exit and ‘hich today constitutes the dtinctive sgn ofthe avant ade Proof that iti the ceulation ofthe “ar (or diewbete: of Theseiences) which produces movement: painting” Bete opens the way to “Ute” frit aces to have postulated a ne lect ahead ofl, the Text, which decisely vais the ‘epuation ofthe ats.” Maton na iy four when he entered Ine Asti ora shoud preter to cll, his textual) pod most of our etment theoreticians ofthe Test were jst geting tom, Here ae the textual and einen) propositions aleady to be found in Mason's panting (Tw the word peinting split ates would be bette to say semgraphy cst, Mason deliberately estates what we eal an inter the painter nls btween (at est) to eaten he ‘me hand his own {ltt sy te tet of pnt, of ep tow pests ss inatments), and an the be, that of Chinese teogrphy (ie, ofa Ioealied cute): ai tums out fn any true otertertuaiy, the Asntisigs ae not inspiral54 / Rouann Bantices odes, “source” bat conducts of graphic energy, distorted stations eniable according to ine ot letter what hence forth dipaced the wos exponsiity to longer conse erated bya now ownership (Ot oft immediate ctr), it journeys in acuta space which is open, without lint, ithoat partitions, without hice, whee we can vecogbiae stich, plans, even impertore—in 4 non al forms of the “copy” 8 own t. ‘Masson's semiogaphy alo tll his, which capa inthe caent theory of the Test: that writing cannot be teed to 4 pute function of commusiation (af tamerption) as is flamed by dhe hatorane of language. Mason's work uring {his pid demonstrate thatthe identity of wit and painted features i nt contingent, magia, bara (abiogs ony in talgaplya practice, moveover, vitally unknown to tivation), but somehow petted in, obese, inladng Doth the origin and the perpetual present of any drown ine there i unique practice, extensive to any functionalaton, which i that of a undierentsted “guphis” Thanks to Mason's dang demonsttion, wating (imagined or veal) appa, then, as the very plan of its wn function the pntr helps us understand that iting’ tat is either nits mess nor in he system of tension which i eonstotes for caren meaning til es in the pychelogical egret attributed to it bya suspect since, graphology, compre by certain technccaic interests expert, tet), Dut i the hand which preser down and trates lint icy inthe body hich throbs (whi taken please). This & why (Masson's complementary demoaseaton) color mist aot be undetond 2.1 backgroud aginst which eetain caret “Mand out but rather at pisos entre space (we Know the pons nature of color witns the ssn cae by the Fae Hew tin): in Masons semiogapic work, color provoke the with netice cindonned 40 dst by socled Manon’ Somiography / 255 Arava of wing from is merantile, Bookkeeping bass (at Jest this the oii aig to ou Srin Occidental writing) something i “corimunicated” in writing (and hen exc plain Mason’ semngrams), it isnot reckoning, a "reason {etymological thir the ame thing), uta dese Tasty, by toring (ehiey) to Chinese Weogrms, Masson secognze aot only the astonishing bevuty of rock wtng he fluo supports the Ips which ieographic characters eect in ‘what we might call the Wer sxpory good conscience: are tne not proualy convinced our alphabet the bet—the most Iatonal, the mot elie? Do not our mow rigorous shales ‘alti a “sel erident” thatthe invention ofthe consonant slphabet (ofthe Syrian type) and then af te voce alphabet {of the Grek type) were irevesble ads of progres, com agus of reason sod eromony over the Baroque sibling of evgapie stn? A fine testi to thet impenitent eho. ents which gonere our very science! In tah s we rect the idengram, iis Beare we constantly ty, inoue Occident to sbrtte the elm of speech for dato gesture fo teasons thick derive fom a truly montmental itor itis in our Interests to belo, to maintain, 10 assert sential, hat writing is but the “transition” of aticnlsted lngiage the Jnetment ofan intramentachsn along whore enti length Sin the bady which dnapear, Mason's semsgzphy, rectly ingens of sept htry, refer wm to ogi (what stance of new tcc meant hee, photogaph, stig iy} mods no only ats fos but tery cong. Repetition a fete felt. mea tit we can make sue of spt in ede to propose ean poly ofc tons. Pople or extn European cles (ering om a0 ethnogopty) aknowlcge ap mc, and ere mesg snd plese fon he fact (need tly tance today’s i nul moi nd dio); Oxienl high tre den ee i a eed tion oe we pn the Baroque pend). Pop at on the oer band, peste feel, War prpenes soes of enti iags (White Ironing Car Twice) or figs wich Bony by somesoo / Rowan Bantues Sigh vation of color (Flower, Mardy). The stake of hee repetitions (or of Repetition as method) i ot only the de- struction of at but alo (moreover, they go together) anather ‘conception ofthe human sobjet: repetition affords aces ‘fect. 0a diferent temporality: where the Ocidetal subst fapetcncs the ingatitade of 2 world from which the New— 42, shimately, Adventue—is excluded, the Waholin subject, (sine Warhol a practitioner of thetesepetitions) soles the pathos of time in ime, esnoe this pathos tala linked othe feling that someting har appene, wil di, 20d that one's death i opposed only by being tasfonmed into a secrad something whieh dot nt reemble the ft. For pop it important that things be "nite (outlined: no vanes eoce), bt isnot important hat they be ised that work (is dere a work) be gen the internal organization of dee tiny (bith, ie, death). Hence we must wrleam the boredom ‘ofthe “endless (one of Warhol's St lis, Four Stay ste trent Sve hour; Chelies Girls the and a tll. Rept tion distr the person. (tht cas! entity) in another fashion: by multiplying the same image, pop art eedicovess the theme ofthe Doble, of the Deppegnger this ra mythic theme (the Shadow, the Man ce the Woman without a Shad but in the reductions of pop at he Double is harmless hes Ital malefcent or mera power, nether threatens nor Taants: the Double is a Copy, ot 2 Shadow beside, not be- hind at, osigicnt, hence lginas Done Repetition ofthe port ndess an adulteration ofthe pe son (a notion simultaneously eve, moral, prchologia, nd ‘of eouse historia). Pop at, it has ao buen si, take the pice ofa machin; t prefers to use mechani process of production for example reas the ta (Mata, Li) a he inage a tar no more soul, nothing but stil imaginary stata, ce the a’ being the jon. The objet tel which in eva fe we inesanty pesonlize by incorporting int That OU Thing Ar... / 208 our individual world—the objet i, aconting to pop art, no Tonge anything but the edoe ofa subtnction: evrything left ot from atin can once we have mentally amputated al its sible themes, als posible aes. Pop arti well amare that the fendementalexpetion of the peton 1 se, As Buffon ssid (a celebrated semark, once known to every French shoal. boy): "Sje isthe man” Take amay style and there is 0 Tonge: any (individual) ma. The notin of sy in all the ats has therefore been linked, histoscally, toa himanim of ‘he penn, Conder an unlikely example, that of" gaphin” manual wing, long innperonal (dering. Antiglty and the ‘Mile Ages, began to be individualized inthe Renabwace, daw of the modem period but today, when the penon ita ‘moribund ea, or at Fst 2 menaced tne, under the pressire (ofthe reasiossforer which animate mas elt, the pt Sonali of writing & fading ont. There i a8 Uae certain relation between pop art and what called “ep” that snonymous witing sometimes taught to dyraphie children bene it nme bythe neta nd ot pen, elementary fextres of typography, Farther, me must eae that pop att vas blck of closed eyes A generalized revalsion then sizes the sinter, reveling neither wera nor mises but only = hney of hating and cttc movements thi he moment when substance (sete) i aoorbedabsctd in vigous or entsacute vibra a puting (let os continue to se this‘ord for al ids of tretments) becomes ane (The ex treme srl of oie i «fom of sadism”). Thi exces of rentals what denies the theological appontion of bay and soul: itis the body without opposition and therfore sto Speak, without meaning, ti the inside assaulted Le + ep from within Thery representation The Rliguaie Yet the Reiss, being boxes atthe Bottom of which there isomething to se, sere extsn endoscopic machines sinteral mag which spaced er, atthe Relig. Ths means that fr hin the box mas forced) frame ofan exhibition but ther a kid pace, the caclsure im which his body weed, ew and added sl, roll and un rol itself, dichaged lf took peur: the bow is thesia / Rouawa Baxrans reiqury aot of sin’ bones bet of Réquichot’s pleas. to the same way, on the Pace coast we find ancient Pun tombs where ‘the dead peton is vamounded by teracofta statuettes: thew repent nother relatives nor gods but only the dead person's prefered mays of making Jove: what death take say ate not his poseson, 8 in 0 many other eins, ‘at the tee of his peur The Tongue I certain collages (ound ao) appear many uz, snout, and tongue of aimat:repiatory angus, 99s one Ente No, the tongue i lngoage: tele speech, for that puss thteugh the feth (denied prominiaton i «sign fof distinction; the teat supenise speech), bat the viscera, ‘rete lmguage: the tongue sa pha hat als. In one of Prow's tale ti the tongue of» magnetized corpse, nt its teh that fete unpenble words: "Tam dead” the teeth shape spesh they make press, ne, intellect tutto, but ver the tongue, Bera spreads and swe ke 2 springboard, tventhing pases langage can explode, rebound, no ager be fostered: Hi over the tongue ofthe maguetied corpse that {he ces of "Death! Death” explode without the magetzers ‘ning alt silence them and end the nightie ofthis aking fares anditisao, within the body, onthe evel ofthe tongue that Regie epsesents total langwage: i hi tis pers and in hs snot lags, ‘The RetKing Résuichots investigations conse 2 movement of the body which fascinated Sade wel (ough nt the sat Sade); this movements rpugrce he Boy Bogie to ext whe Réguichot and Hie Body 211 repute, replies, yt wants to devour what digut it and Capltethat tate for ditt, therey opening sl to = aaa ‘es (vertigo what does ot end vertigo disconnects meaning, postpone) The fandamental form of epugnance is aglomeratin; it ot gatitounly, for mere technical experimentation, that RE {hit tm collage, hie colages ae nok decorate, hey do {ot istapone, they conglomerate eending over huge sues, ‘hickning nto volume in «word, thi truth i etyologal ‘hey take Ite the cal the lac atthe origin of thei name: what they proce i the ghtinou, alimentary paste, lxsrint tnd nawiestng where oatling citngoat-e, nomination se done aay ith ‘A shetorial instance: what Réquchot'ellags agglomerate aye animal Now, it seems tht the conglomeration of erestres provokes in vt 8 paronem of repegnaee raring sommes, fests of serpent, hives of wpe. A fabulows phenomenon (8 2835 yet seetically pone 1 havent any idea) summaries the entire hoor of these animal agglomerations: this i the rating “In ther natural ats an old sola dition fy, “ate ae orcsonaly subject to the strangest diene, A {reat mumber join together by he fail and has frm wht ‘ormonly Iowa asthe rating» ~The cae ofthis cous Phenomenon i sil unkown tow Tt supposed that there fra pil exdation ofthe tall which keeps hese ngs ck together A rat ing ha ben peeve in Altenburg, comstng of wenty seven indie, Sar groups ave been dened in Boon, Schpptental, Fankft, Eeit, and in Lnderaa rear Leipaig" Metaphosal, Réguihot has wot stoped paint ing this ating. pasting together this olage which does not tven have a mame; for what exits, in R&qbichot, isnot the ject, nor even st eet, bat ir tace: et us andertnd this teord in its locomotor meaning: bursting out of the tube of Print the worm is it ova tat, nue more sepulive tha ts Ee.aus / Roxana Banzans Resch ond His Body / 313 Ae adduces desie—tet ws ubtitte another myth, at once more tact and ove tv let or maging outside all history, Erection ube rig of piting "The Bt woo be wing, te tang of fate dg the Dig is panic ection: i i he ene Doras exec ofthe (o the rsh ofthe pc ead ofthe hich ells aren sod cole nd th what cmt of at sits ta halon otceven it the aero @ eis poatng fits hardon, Pegs se ee leed tcc epee by cl The std wold be ooing ny Sith an indie itene tern ping ad dca fev which ne tinting ssc srg fo ae log sel he mm he cata bse i Compl ele of cosencs, by vavoue operon ach Ene, voids in the buyer vie “wise in 2 tnpisatoa,lyiecon,gumation,lbteton, produ {Eng on or ony by pale afr Hens we mit tke ing wht ington ced the ene, thee he ‘eay ts decration of Req’, descbing his work not creamy, the rip, le Th, Fe stn apts d i i an cee (wich woud be tonal enough) ta 98 Ievaecorth pang pore; bt i ating sl Sree vent and whe flo: an taking bot tat thatthe opposton ppm: the oppaton Between acon Simple yd wich forme make a cava sop soy, (the tn") and unto (he “eating” ) then gadaly become moe tvling abd by hinge There two ogi cold bese to the to eres of the ‘rend lads me fom eeresnence onthe ed ofa ose. tad, which smetines ste, sometnes ety sets [rs elmo, fhe ping stadons nee a he aw ot, sets smooths oe in wod foe ager Tt of ry pore it go hen Know tat my 4nd othe fal tothe Gg and tthe oust of Ven tng Buh y ned fo pat nt ad hs porn This double hand dds up the whole ea of puting De [atone by + get dsappoitnent” Regios work & cate the hand ithe tth 2 ping. ot tee Crepe ths detente othe body (which he sti ale By tsti” or Sgt, o1 the copy eb 9 soa te the very nod some to ene puso: dt) Incorporate, an ab 9 tanspaneney id rt the Detwok of lbs and cing’ shadow eat ocactl : tine). Another try of piting posible, whch & et i so Sources of Palnti that of works and ari bt tat fel td btn for 2 | The Two S i Balning cy long tne the ait aoa awa ot dings by issn ich muir, he bay whe pking ; ‘Wetngond Cooking cote wp is bitrate nstumens we mle I pled and the rw mater wel the as ben a nate f Toward thee of the ihteenth cent hs i ow no ioumey of ixrbing objet 2d of a por he its / cus pointe repsetd the tho paling: lester, ff the pti! too hve Bos continual ped back (een | the daughter ofa Contin pote repodees be oe for Reguchot: sn, con shovel, polyene agt) One om host by dvving the ote of ft shadow on all For seen [til ob aplred) itt the tol ne ge cole, i this mantic image—which, moreover, at ae ne, sine tly escapes commence: et-auppy ores can no longer kpaig / Rouaxe Baarnns op: they now ditaibute ther merchandie only to docile am teu it isin the department stores, i the housewares Seton, hat Réguchot goes looking for is a materia ommerce i piled (to pilage means to appropiate without respect 9 ‘e)- Punting, then, ses it aesthetic spac, rater that {ageeld) speci proves fallacons: Behind palting, Behind is plondd toca indy [the soblime art of colored guration, s something ee: the movements of the Sngerai, of the otis ofthe vice, a projection ofthe bod, and not ‘aly amity ofthe ee Requichot holds i hs hand the Rerce reins of painting, Ae an onigial painter (here we ate ail peaking oft mythic ovigin: nether theolglnor payed nor strc pore ction), he constants ets to sting ad to Kad. Cooking Ponds ave you ever watched the preparation of Svs dh called radette? A emigre ofr chose Held verily above the gle: t mes sels and sie, the kite gently sees [rs this igi ites hs runny sup, fom the shape, tally ke 2 white dng: i hardens it yellows on Se plate; with the hie, he ampotted are ir smoothed ot; ad then the procs pins allover again, ‘This i, sty spain, an operation of painting. For im printing, a in cooking. something mat be elowed to drop fomewhere: i in th fall that matter is transformed (Be. fom): the drop spreds and the fds softens: thers is Droduction of 2 new sobtance (movement make alter). I Requichor's work, a state of alimentary substance (ingested, Aigistd, evacuated) ate present: the exytalied the ceed, euch ond His ody / 235 the sing, the ganalrthe did, eth ecement, the iy indecency, the earn, the inti. And fo cows the specter ofthe egies, the ge colle, in the ast eiquircs, the mater ign expels alimentary, then from howell magasns hee a Pane Rasa ds hee are pss, cate ster, stage (med wth cols of i with dag uz); oti the seaming together which is calinary (and pictral): the streving the ineacog thestew (Japa mak pntng tential deve ped in tine). Here Regichet bingy ws bck to one of piting’s mythic ovigins: 2 goad haf of # belongs to the nuttive (vcr) rd If wear oil the aera sesulty ofthe thing sine we must dm oiting ell you ean ater et nee omit jsp Kosuth' Thing bt lo thee ne pang Xft (no iting no setching): the pints hand end the cooks ae ampotated atone andthe snc tne. Reqd, hover il ner nt (or doa at) gts vomits his dese (painting) the vey gat sepeentaton ota need mans 7 Metaphor We might stil say that fod & Réguichot's neurotic center (fe didnot Hk red ent, ad let himself starve to death, bot this center is not certain, For once food imagined its {njctry fom alimentt excrement, fm the mouth (he ene hat ets, ut abo the one ai eten the ot) tothe ss the metaphor shifts and another enter appa: the cavity the intvior seat, the intestinal rept isn enero phala Hence, to eancde, thematic ngiy becomes fate: we reise that Réquicho ssayog only oe thing, wich the vey deni) fo all metphor: the whle body i tine this inde is ths both erte and digestive. An inhuman anatomy govems235 / Rowan Bantwes pleasure andthe work sel: thi anatomy i tobe fond i the Tew abstatobjcte Réguicht produced: thee ae (all abxae ‘on resembles something) seathels,enting in themsches the spias-graphion” (a theme of wating) and digestive animals, fete molines (pte, sells anaeliae fused with lecamotr bristles) at gastropods: if they walled it would be ‘sth ther stomachs: ite the interior which produce movement cate Around 149, tthe beginning of his work, Régiehot made school driving of shoe: the hols inthe uppers te emp fly fagment of soeace remain oll is athe so forms, this shee ta warped objet. Here egg for Requcht, «long ‘pc of the ato it was appropri tat the shoe shuld be ft the origin of thi ep seeking to invert the ioe rd, Fourier makes the womaut shoe, a major cast eal 1 gs and reine, toa amnbovant objet). What i he east? Te ‘the name of what has had 2 mame, isthe name ofthe de minted: we might develop here what wil be sid ter on: the abr of denomination, of whi Requichotsocurt s the theater beter for ow fo zatach the ett o he fondste “The estof igure the fowdstall bec it exceds it une tion: it what & wot ingested; it & the fodstu projected outside of hunger. Natwe, the otis of fas fall of Casto, the very ones which fascinated Réquichot and which he pot int certain compositions (chicken and abit Bons, feather, watever cme 0 him frm thee "country encoun te"). The things which enter into Réguichot' painting (the things themscves, aot ther simulaca) ae alms castot, ‘ontottheseaysopplements, abandoned objects: wht ha al ay from ts Fanction: the vermiel of pnting cat straight ‘ont the exe nt the garbage pil pin espn rm te the, gine photographs ext up sod daigued, thi orgs Réquishot andi Body 317 nrcogizable(joaralon’s vocation isto be ast of) rts of brea, of pint). The esto isthe only excrement the ovens can permit his oi (ils that substance which augments the fodstuf without agmentng i which thickens without hardening it= magically, sh the belp of thread ofthe egg yok ase a growing {umes nd thio pay inthe sane way thatthe onan {pow by intusnscrpion, Now os that sme substance which ‘Eira for foo and for painting, To abandon ol fra painter, ito sacrifice patting icf, the ela) gesture which, myth ieally, stobisher and stain #. Réquichot has experiened the histor agny of painting (he cou do this Beate be trav painter). ‘This means tat, on the oe hand, he hat een {ery far ay rom i (in bi collages, ring selptures ball point ravings) Du ak tha, onthe other hand, be hasbeen con- Stay tempted to sur to iy as Yo a ital substance: the nce ml of fod Even his collages without ol they the principle of hikaned proliferation (that of an infite Irajonnae); fr yeas, Réguicot grows his Rlqueis one Advlops a Body enanied By the slow ingestion ofa juice Writing Spi ‘Where do eters come fr? For ideograpi writing this is simple: they come fom “natre™ (Qh sate of 2 man, of = ‘roman, of the rain, ofa mountain); but tat’ jos i: they are then immediately words semanthemes, ao lees. The kter ed218 / Rovano Bante (the Phoenician Ite, which is ou) is foun stripped of Imezning” that i is fst definition. ‘The second is that the Teter not painted (deposited) bat scatced,inied, ho lowed out bythe puch o thea teat of reference (and of gin) 5 ao painting but shptics. In Réquicho's work, semiogaphy no doubt appears arouod 2956 when he draws witha pen (lt ake note of he ast tment) tain clases of cold lines gn, wing come vith the spa, which wall not henceforth be absent fom bis work The symboliam of the pi the oppite ofthat ofthe ree the cle religious, thokogia, the spn, x Kind of le lend 0 infty, is dneetel om the spt, thing ec euch and His Body / 219 bot at another lee: there is a retum in diferenc, not eet fim in entity (fc Veo, an audasious thinker, word history followed spit). The spiral govern the dali of the old fd the new thanks to i, me ned not Delee: eveything has ‘een sid, nothing har Ben ad, but rather. nothing St ser everthing new. This i what constiiter Réguicots ‘pil by repeating isl it engenders a diplacement. The same thing happen in poetic language (I means prosodic and/or Inet) nce the signs ofthis language ae very limited in omer and infin fee to combine, novel her, more than Elewhere cons of very cloeact repetitions. In the same try Résuihot's sal componitons (we might take for ex Impl his War of Neves) explode i all detions, stating from a repeated and dplaced element, the wbot (hte elated tones stems, pases hey Iave the ste mode of expla fncatin athe pootic pase. For Réqict the spl has ‘ily been new sgn stating from which, once dcoveed, he could elaborate anew st, «new language. Yt ths an ige—and in thi i v3 woting—i alway inthe proc of titating cf the spl of corse ig ie, bat Certo est hi sign seeds a novement, which ie that of the din wting sta, the source of al mening eentally the leverage of muscleof metal, Réichot would sy ite atthe moment it bert down (however gy) hat it becomes intent without tie weight which advanes, the petural (or phic) He remains stupid (he stupid ine one {nade onder to remember one made in order not oresemBl: for example, the lie made to undlate 10 at not to eemble = simple straight line). What const wting liatly is ot the sg (ana abstaction}, but, mud moe pode tly the curity of the continuous (what is tepated is ‘neces dacotiouus). Make 3 loop: you produce # 5g ut tif forward, your hand sil esting thereon the expt surface; you generate a wting: wing is he hand which Bears ‘down and advances or hangs bk, layin he same deton,a 90) Rowane Bantites fn short the and which plows (whence the country setaphor sthich designates boustophedonie wting acai othe ack Sodfoxth movement of omen aco the Bld). The copoal toeaning ofthe repented sil that the hand ever leaves the paper until 4 ccan plasue is exhausted (mening transfered fo the gene figure: each of Réguchor's drawings iene. Mgite In ug the atchesogit Penson dicoerd ia a Myeenean tomb ar Beating certain “apes” on 5s impertri- iy, Person tensatd te insertion, in which had wen ined cetain words ich sesblod Grek, bot ter 00, Soother archaeologist, Ventn eublabed that this was not rng a all merely an incised patter moreover, at ove end, {he ding ended in pel decorative cues. Requcht fakes, ‘he conver ection (on the sume path): 2 pil composition fof September 196 (Hh month when be constituted thers Soir of his al fr) eds (the bottom) inane of ting "Thus born speci emiography (already practiced by Klee, Et, Michous, and Passo) ilagible weiting.Fiteen days ‘efor is death, Réguicho ites in two nights six ndeipher able ents which wil remain so forever, yet no doabt buied oder sme fate eatalsn hese tets will finda Peso to translate them, for Hitory lone states the legibility of 3 ting forts Being, writing dees that at fom ts meaning {itm ts communicative function) but fom the rae, he tow lessor the igor mith which te tobe nd crested, Teg testment, REquicho' ast eters ay seve thing: Si of al tat mening i alnays contingent, itr, imveted (by some overeondentaehacologt) nothing separates wit {ng (which blew communicates) from painting (which we éguichat nd Hi Body / 331 eter expres): both const of the same tse, which i periaps iit simply, ain very modern conmagonit: spend {requicot’ legible wntingy are at runaway a5 certain of his ‘Govases). Another thing: what lgble othing bat wht as en otto wits, tou, orev, to ets he nite ply af under and over, to bring the signi loser, to make it I pant, a monttr of preene, 10 diminish the sigafed foperepibiy, to unbalance the message, to ztain menor’: fe but no its content, make the impenctiabledeiitve— ina word fo pull witing al atin pling, and to make ‘hirpalpsest exhaust what has Been writen continually tcuring in what written inorder to make it speregible— fey ilegible, Te, im shot, by the same movement that RE qichot has writen hi lepbleletes and ereated the pital limpet, cating out and seving together certain cameses, {ing down and espaterig his oct siting, ntodusng the Book (by its Brewer) into his ge compostions with Supe Papers. All this mpereting. a meninges sobbing. ‘opens out on oblivion: ian impose memory: “On islands (of the Norwegian coat” Chateaubriand writes, “have been “sumed certain ame engraved with indesphenble chants ‘To whom do thee asber belong? The winds bnow nothing of the.” Representation Substance On Réquchot’s workable (indingustable fom a kitchen counter), bunches of curtin rng bought at some department Store they wil make, later on, the Plate Seulptaves, the Glued Ring.m2 / Roawp Banrues {ray (Lean if ef othe toy ofa), the wok ross om pe matali as et eed on "yng ee (powder, doe. Hence it cy, he ‘nv ats dep frat, The se ee Stic ety he th» dong, nh cen one thing ot of oting: his the Aeron def oat (tc), and itso te a image of he Tews Crt iclngh cst the wt hs Gl eat ae Ach a te the Org Regt’ igs en he tes then, ey star (suture) jes wich happen be pete fo ‘hee tnction: he mo the dept tm 9 peas pte Be yh of Onin i hen, ping tele se gen {vith the it cle the “eynnr This Bag he Fit (orp) notte tomato ate {al wil Son req her mane her the (oa lea) Ten othe Tes, fm oe tran words Soane fact” wt vif nny commana oe 0 Proce 2 ew objet tne age and hence Sie sn The fl (paps nthe wc) cose ‘hs dation oss ts matt ste st ssn te whch ttt one whe at sya pure ft) ts ope the nt fe {eens + ite melon ads te dnt, bate desea symbol hich gn teat nn eps hn fom he ros hat obstacle etl dplcomet hs echt) non te to fin fo tah eveyone th bone i nv fe ple (other in the plo nin in the fa fs we} sich perp sw of eyetng am acted ‘8 atimaton that hee sane (he tence ested by th at ds pe ol a the sore when be foe iy eb yal eit te pee euch and His Body / 335 otblshed by alison: where the symbors innite dspace ment cases) The Loupe Jost a5 in palimpest there i wating fm wating, 0 in a pct” (tater litle whether or not the word i acre) there ave Several pictures: not any (in Réqichot) eenase {vases are ewifen or epic as partial objets within ne Ensemble ut bectue thee are at many works as there are Inet of peception: lots, enlange, and teat = detail, you Create new work, you crt oer cen, Schools, ste, out fof the very old yon can make the very new. Réquichot has ‘pactie this techno on himself “Looking a pice ve cy yo ca ee futte pictures init He has happened to tne Ue cul up big ones and ted to lt the pacts that ok Interesting” The potential instrament of painting (Foe that petapetnypat of elf which concer the ee and not the Tan) might be the loupe or even the taatble, whieh permits ‘hanging the objet Dy making Ht tr (Réyuichot Bat hs way alized dog. muzaes inte, without any adjnetion, bat by taming ther) al thi ot to se Ber or to see more Completes, butt ce something ele ze am object i set ocr it not fice to tablish mar at architecture? The loupe nthe tamtable produce tat supplement which disturbs ‘mening, Le, recagniion (Lo undestnd, to read, to recive 8 language isto recgnie the sgn it what is recognized; RE uihot belongs to that ae of ast who do no recognize. “To change the level of perception predces a shock which shakes up the cited, named world (the rcogained world) ‘nd comequently liberates a setable Mallacaaton ene. AS 1 ater of fact fat (etm continu to use this convenient tod to desgnate ny unfunctionlaetiity) ad fort gal234 / Rouann Banrars aly tomate we ete, would be nothing bt» ehnigue of ais an cst sce (which etic st a dame te}; btn scking to pods tat omathing ee whch in the thing sober a enti epistemology ts i i wok wih ie wots common heh tof al, re") ception, the nomination, sy sction (Ce att os” Yet sha) Reino th ota, thet no pve rtf he Bt pesto: pero ‘sine petst whch, one apa dpe th ‘test cacao the metals nt the ody ted to other le of peeepion: what Requichot cal the “nce went” Nene Let ws take two modem tretiments ofthe objet, In the readysmade, the object i tea! (art Begins only at pexiphery, its framing. its meseography)—bence it as been pole fo ‘efit petitbourgens reali, In so-called conceptual at, the objet is named, rooted km the dctonany—whih i why it would be beter t ay “denotatve at than “conept at.” Tn thereadymde, the object isos thatthe art en permit himself the eccetsty o the certnty of denomination, conceptual at the objets 30 preiely named that i m0 lenge neds tobe sai can be rood toa ditonary etsy (Joseph Kosuths Thing). These wo apparent oppose ts ment derive from one sd the sme activity caste, Jn Hindu phicsopy, casscation hasan ilstious name itis Moy: not the word of “appearances,” the wil which hides ‘ome intimate trath, butte principle which causes al things to be clasied, neared by man, not by nite; once an opp sition appears, there is Masa: the network of forms (jet) | Maya, the pandign of aames (language) i Maa (the Réguishet nd Hi Body / 335 ‘ahman does not deny Mays he does not oppose the One to the Many, he sat a monist—for to unite i ao May; what he seek tthe end OF opposition the extinetion of meas: ment his poet not to witha hamsl rom any cls, at from caeaton isl) ‘Reuichots efor ie not Maya: i sees aither objet nor Jangunge. What sims a io ando the Name fom work to storks proseds to « generalinal exaomination ofthe object. "Ths ia singular poet which separates Réguihot frm the seats of his time, This pot isnot simple: examination of the object nee pies throogh a phase of exuberant super mination: we mat outbid Maya before exsing it this x the thematic omen which today out of fshion. A thematic fatigue of Regichot sot only posible but inevitable; his forms Teele” something summon apa procession of ames, tecorting t the method of metaphor he hinsel knew this "ly pings you an 6nd eystals in them, branches, grote, lpse sponges Hess analogy ie repress (3 ind of jpreccioos plese), bu rom the point af view of langage, Fes aleady ambiguous. it Bosse the dawn (painted or Compou) frm bas no same Bat sever ate sought for itand fnnpred upon st; metaphor isthe oly way of maming the un abl (t then vey speifcaly becomes »catacress): the Cain of somes valid forthe name which i ming, What Ippens in analogy (at lest the kind which Réguichot prac tie) ott tem, opposed sigaid ("this blotch sgies 2 sponge), tthe femplaton of he ame, whatever stay ber extravagant polaem the ist inistry) episode of an feces the one which leds nose the dictionary, outside smesning "The thematic suggested by Réquichot is deceptive because sa matter of facet eannot be mastered: meteor doesnot Hop the labor of nomination inexorably contnaes, constrained to proceed forever, never tobe Seed, constantly nding the246 / Rouaxn Banrnes ames found, concluding nowhere, if not at a perpetual ex nomination: because ths escrble not eveything ut succes Shey someehing. thie resembles thing, Or agin ta ecm Des yes, but what? “Something which hae no name.” The smlogy ths fails own dein ad the gap of the mame mintained to infty: What eat? “This question (the oe the Spine asked Ospa) is always 4p, the demand of 2 dese: ick, a Name, let me be te assoed! Let Maya cease being aerated et i be ecnstiated ‘nd sestored na ediseonered ngage: et the picte gine me its Name! But—this pecsly defnes REquihot—the Name i ‘er given: we enoy only ou dese, ot our pleasure, Pape that i what sbstactio realy es not the painting proced by certin painters around the ea of line (pupal pinion wants the ine fo be abtaet, Aplin; the image of an art magna, a ia Réquichot,ssemsincongaats), ut this dangerous debate between object and language, whose sesipt Reguichot has provided ux he hs erated aba 0 ject: objects beease they sock a sume, apd astt becsise they are umnanable: once the objet there (and ot te ne), it seks to engender a mame to produce + stion—that of language: language what sega ow by an anterior onde? In his wort, Reguichot procads to an exeredaton of {he object he sever the iertnce fon the name. Fon the Signies very sobstance he remover any org: these “ees ents” (om which certain eolages of hit te woven) ate what? Canrases pint long ago, then rolled up and put avay dlsnkentes Requichor’s projet i doubly determined indeterminable). ‘on the one band, om the avantgarde game brad, he explores the cris of language, astrbs formation to the pont of breaking down denotaton, om the ether hind, he peronally Pusits the definition of his own body and dicoer at ths ‘sintion begias where the Name ops, ie, inde (ony doe euch nd Bie ody / 3 tors can nam, far from any realty, the aside of the bsy— ‘hat body which sony tise All of Réguiho’spalting night carey hi legend,wrten bythe painter himself “I don now what thinks mee ne ans pas equ que. Representation How does the printer know hat ht work is done? "That he should stp, pot the object dove, move on to another wok? AsTong ashe punting strly gute fh is concevable vas even constituted an aesthetic value—snce it nas ruler of achieving a resemblance (oat least amet) nce this (he ilsion) i achiened, Team drop tht (the cana); Dut in ltr painting. perfection (to peect mean t fins) ‘eases tobea value: the wok sine (ar way ahead, Balae’s Unkwonne Meterpee), nd yet, ata certain moment one det leave off (ether in onder went to dest) the measure ‘of work of atmo longer rider in ite Salty (Ube fhe roduc which it consttates) bat in the abr i exits (the production into wich stacks to ben its “ender” in the proces of its cation (and reading), i end is tanformed Now this is something Me what happens in pycheomaltic therapy: itis the ver ides of “cre,” nally ey spe which wpuduily grows more complicated, trosforms ie and be omnes ditt: the work of at internal, ie the ee: both cass, ti les 2 mater of absining'a result than of rong problem, ie, 2 subject: guining rae from the ‘imprison nal ofthe pint of depart [As we sex the dilly of Snishing™to which Réguchot has often testified implicates representation ilu i i the soliton ofthe figure, bough about by x whole interplay of Istria determinants, which compels the nonscaleaton of sits end (goa and ter). The entire confit may ves n he26 / Rovaxe Bantues two meanings of the word epasnttion. Inthe curent one, tthe is the one fom which the eaical wosk derives epe- entation desist» copy a sion, an anaogil figure, eemblanceproduc, bat in the etymelogal meaning, re Droentation is merely the stor of what hasbeen presented Tit the present reveal its pando, which 0 have aed taken place (since it dote not erape the code) ths, what i Ines iepresuble inthe artist (in fhis ase, Reguichot), i, the exploion of plea constituted only with the help of thet which is lready in lngunge, which i language; and i is Ihre thats despite the apptentiyfmexpiable war of OM and [New the two meaning ait: fom one end of ts story tthe bit art + meray the varied confit of fage and name: Sometimes (atthe guratv pole), the exat Name governs and the sign spose ite bw op the sg, smetnes (a the “htt” polewhich psi very badly indeed), the Name ‘apes, the spies contin n expen, tres fo undo the Stosbom signed which sock fo rear i over to fom a sgn {Requichotsecgiality derives rm he fac tht, anscending the aitratsltion, he har undestod tha, in onde to undo the Name, Map, he mast supa to exhausting it: sey pes through ao exoberant, desperate ply: the name dss not stein place). Th short, there & & moment, 2 level of theory (ofthe Tet, of art) where he bo mening oii its posible to assert thatthe most Suave of patings never represents (copies) anything bat ony seks 2 Name (the name of the sen, of te ject) sbut it abn posible although tay more sandsoas) to ay thatthe let fgrtve“pnting” Qi epreent ome thing ithe language tel (hi one might sy, the postion ofthe canonical avant gede) ofthe inside of the body, the ‘ody at nde o stil better: enjornent: this what Réqicot oes (as punter of enjoyment, Réquichot sigur nowadays: tut of fashion-—for the avantgarde is ot often gven 10 enjoyment), euch nd Hi Boy / 339 ‘The Artist Beyond What? Must we seintate Réquicht ia the history of paintings? Regie imc ha sen the fatty ofthis question: “Going beyond van Gogh or Kandiosy int mach good, ars wanting fo go beyond them: all that is only 4 Historia) teaneend nce. What is called the "history of painting” only fal squence, and any sequence partite in an imaginary History: the sence infact what constitats the image repertoire of oor Hisoy et nonfat, an odd automation to pot the pats, the wate, the ais othe eflad of is Sing? A Slit image which, once agin inpertrbalyientifes Antcedence with ogn: we mst Sd Fthers and Sons for the ats 50 that he can scowl the later andl the Former uniting to Bearer tide and independence: this what we eal “ong Beyond.” "et theres git often na sng pines 2 whole history of painting (we need merely change the levels of perception: Sols de Stal ie in thee square centimees of Canoe). fa the sequence of hi works, Réguichor has performed that de- Sowing progres: he has skipped no image, making himself Tito! at top spend, by an aceumolation of abrupt Hbrations he hs ped hough many painters who have preceded, su rounded, and even followed him, but this apprenticeship was fot ato t sought no ukinate mater was Site, not ‘by mystic isatsfaction, but by perstentretum of dese ‘Peta this i how we must rend panting (at lst, RE ‘quichot®); oubide any clr) sequence. Thereby we have {ome chance of squaring the ole: sathdiawing panting from the ideological suspicion which today marks any penultimate2y0 / Rouaxo Banrnes ork, and sill aving upon it the imprint of i historia ponstlity of i inetion ina eis of Histon), which fn Rouichots ase to prtipate in the agony of painting. The result of combining these two contactor movement i a ‘fect, a remainder: What remains fou ght tothe enjoyment ofthe work Amato Disaing the wor, one wold to Be abe ty at Reguchot ws an emer The rate not oeemay de fel by «over kaorfedg, an pet terige in hich ov Ragu nota ater, bu her by hi: he 8 the one who doer not, theo wh ds ae hi Sa haw The meaning of is ocaaton sm fons he Site el op nl sc xjpment (bt nhng tei obec oi don thot Ns wing 3) te is enjoyment i suntd toward mo Bytes. Beyond the rere pre eet ithe fo np Ress) In begin the imagery Se he si the ati en tai af eo bt soe Be exis and aes ns eat; once et 2 pe his enpment mt come terms ih ania, wie the dscrme the Oller fs about ite doc Ruch i oot eat hs ease (he me IRM wdc unknown) “Every goer at wlat male a ouput fy hvght nd oy Beat What Take Isom made tobe en Yous opti a oor pre mem tomeintolen who dsb and do the gees eae, the delete pception af the ening something fernnating gto ow Raqoch sing 0 Fete came out hs weet ssaltnenly a the highest and the owe ela he ran feet and 2 modest Mabynt tbe ened Réquihot ond His Body / 332 ‘The art (here no longer in opposition to the amate. what a womaut word! How dots it happen that if me apply t to Réguichot it less ite romantic and bourgeois ovetones? Fint ofall, Becaase ofthis: Réquichot's panting starts fom 1s body: the body's inside works within it uncensored: whence this padon: this ceuee & expat expenses Réichot (Réquichot expresses himself in iin the Mera sense of the ord, preset onthe canvas the violent juice of hi intsor ‘yreticia), and therefore seems in a Sst impute, to pa pate i the ebjers Healt aesthetic (am aetheie no days ably cimtsted); but in 9 second impale, since this Subject precisely seaking to aba the apes contmat be teen “Woul” and “Bes since he mas every fort to put before ora new substance, an unbean-of rovubd,divorgnied ‘ody (no more organ, no more miles, 0 more nerve, nth ing but sabation of pin and of please), it ithe subject himself (the subject OF clan seoogy) who i no longer hoe: the body dismiss the subject and Réguchot’ painting then joins the extreme avant gde: he one which eno la fable and whose ppt daracter sacety denounces beaue Uhexy tease set cam name ‘And thenanother exon otto ers the arti” in him— Réquichot conceived his work, his oral hie Ibori experiment, ark, ("You have to pun, not fo make an es, Det to know how far an oewte can go") There wat sothing Ihomanist about this experiment, thee wis ao question of et ing the limits of man sn the name of humanity i we delber: tel autarchi tend ahays remained an agonizing enjoyment fand cen 9, twas aot an iniidanlistie experiment, for 3. ‘hded—cven by superBatythe notion of 4 cea totality &totality of making, it ofall: REquichotexrcied and reied all the techies of deity, not hestating to incorporate into his work certain mathes of ainting and ever neglecting shat his predeceioe might teach bi, competition of heat 2 wel: jst at the Renaiznce punters were al, very fe ‘quently, engine, architects, hydraulic engines, Réquichot Uslzed another signe, writing: e wote poems, eters vate day, anda tet etd, precy, Peustur for Fr it hl he eponpmons hero ofthis eof ati hee knowledge {is pocalypi: they any out at one and the sae tne the cxploraion of making and the etastophic destaction of the product Sucre ‘To be medem i to know whet ito longer posse. Ré ichot knew tht “painting” cannot retum (exept pers, tomeday, to nother plac, hy spiel), and he paripated {nts detaction (by his collages, hs scapes) Yet Réquichot vas painter (iting in the density of inthe Sut of ink in the scarfcations of a tale, wilingly taversing the Pinter ofthe pas, entering the intertext of cubism, of ab- traction, of tackime), Doemed by hist necsty and by what we might eal the prea of a esponsie enjoynent 0 1a nt what he loved atleast what he knew and ew how to make, he worked ina condition of serie, However, this ssaiice had nothing obatory about ity Réuichot offered the apocalypse of his knoe, of his eetin, of his “oltre” 10 no cneto no ides, t 90 la, 100 history, t0 no progres, to no faith. He worked 2 sls; he new be could nat rach his speeator as he hinself had been reached; he therefore practood «stetiy suicidal economy and decided tht any ‘communication of his work (2 mocking communication) would Riguchot end Hi Body (333 redcem nothing of what he had invested in I nom, by the fare fa find we exe some of Requichots work, we mst ‘cline Hat this enormoae tree of aknce and of enjoyment ‘tes not made for Reguichot wanted to lose fornthing: he tested any exchange Historia, tia somptuary oe, atizely subjected to that encondtional loss of which Bataille Tae weiten, At Auction very aesthetic (but thesey destroying very idea) eomes down to this question: Under wht comitions does the work, the text, fnd taker? Bad (today) om a subversion of any fchange the wonk (even today) doc aot ape exchange, fd it bere tat, determined to Lgaate every sg, it Stil poses a meaning. AF ation, who will bi for Re (guido? His value is protected neither by tation nor Dy fashion nor bythe avantgarde. From a certain point of view, Tes work is “mall and yok” (wo pies at the Museum of ‘Modern Artin Pass, only one of sich hasbeen exhibited). Ad itis for his eso that is wor sone ofthe sites where ‘he lat subversion i aciowed: of this oa, History cn re ‘operate nothing excepts owe cis, Te Tah about Pointing? [At random, let ws compare Réquichot to one of the sets ‘which have felled hsm In so-cle conoeptal at (releive Te). theres in principle, no pee for deettion; the artis Se well evar, aching anything ee, tat in ore to cutesze the iesloial gangrene once and for al it dese which ‘most be eliminated for die i alvays feds. The work (ifay / Rowan Danzans sve can il al hi) no Tonge foal, but merely vial Simply and dict artcaaing «perception and s nomiation (Cor is wht i Betwee the ting and its mae, fom is wt hays the name); which why f mould be beter wo say that this tt denotatve her than concept. Now here is the onsquence of this piston, ae iso longer fatsratis there etna scenario (nce hee i exibition), but tis ‘eetanio ir without subject the operator and the eds can 0 Ino pot thenseies to concepoal compost than the toer of language can pt hint nto = dietioary. Thereby, ‘of atin alls awl frit xn no lnger thematize, poetic, interpre; ieratr i foreloed athe very moment when her io bnger ny painting. Art then comes to the point of taking Aso Hheoy in hand can a longer do anything but speak ‘tut edacng tet tothe speech which ie might oer upon itu it consented to exit deze bing expelled, discourse return fore: art becomes fale atthe very moment it Cate tbe erotic Ldoloy ad is defects are banished ee tans but at the price of phan, the fons of dese, a word cation, Résichots path i conta: he ext ants Wein ot bythe redostion of form but by ste exasperation; he doesnot str the fata, he overloads it to the point of collapse ‘he dows nat cllactvize the artis bor (niferent, evn, ‘biting it), he supecndividating it eek that extreme Print where the wnlnce of expaion wil ransarn the sa ees neurotic cosisteny into hat something ee which - ‘ly loates in the ele of eye, Concept at (which ‘se ae simply taking at tn example ofan art contrary to RG ‘uit sock to establh a thie of frm (the icons); Réguichot want to seach the other eof lnguage; 10 dos, instead of tering tthe symbolic, he radials t= he di plaer-and it here that be sides wih the symbol. ("The forall blotches of my paintings nt trying to make them Se Reguchot end Hi Body (235, fal inte ight paces 1 ater they fli the wrong ons”) enc, it sil pou to take sbowt Réquicht; hs at can be spoken; erte (Decne st is is ody he displaces), oF sricked or vet, or diy, or elegant, oF viscous or obseed tr poet in shor, he can rcv the lngutic mark ofthe fetasm, as read bythe Other=ie, the edjetve, For iis my {Sie which, pemiting the Other #o speak of ne, establishes, srt one and the srt movement, ajetve and etc. ‘The Signature Réguichot For a good while now 1 ave ben witing nat on Réqichot ‘ut rod hn, this name "Réquichot" has become the em bem of my present writings Eno Tnger ber int anything but the fama soond of my Own work, F549 Réquchet aT bave said Michelet, Four or Bec. And yet, avakened rom is Cage this name (Uke any mame) i stage: 50 French, evn Sor hase i it, by ts sing sound by is dimsnative termination {ia French), something gourmand. (ache), Something of the farm (clo). something fen, (the Tile Chap) hee something in tof he mame ofa good lamas We can transfer thi inetity of the majo signer (he ‘proper name) to the signatre In ode to dtr the law ofthe Signature, there nay Beno need lo suppres if, to imagine an umymoas atts sofiient to place objet: Who signs Soha? "Whese does my signature sop? AE what support A the Tawas (asin eal pining)? At the objet (as in the ‘eudyamae)? Atte event (as the happening)? Requichot Tas perered thi nity of the signature, which rless its fppropriative link, forthe further the support extends, the236) Rowawp Basrwes further the sgoature i removed from the subj to sign i only to et of to et oneself of, to cut ofthe ote. Wh, éguichotsopposed, could 1 ot sign, beyond my canes, he smd eat which has moved me or even the path where Ts itstucke Why aot put my name on the mountains, the cows, the facets, the factory chimneys (Fauts]? The sigatre 0 move than the fuguation the inciption of ses he topic and caresing imagination of sity witht atta (Hor the ats will aay be Fisted), i which, boweve, cach oft would sgn the objets of his pleasure, Reuichot, ‘ite slong ar momentary preSgwed ths sblime society of Amateur. "Torecoguise Reguichts spate isnot to adit him to the cltual pantheon of painters, i to poss an addtional signin the chacs of the enermous Test which is watten without interptio, without agin, and without end Right in the Eyes Agni what repeats ll. Without sepetition theres 0 sign, for we could not recognize and ecgution establies the sgn, Now, Stendbal noes, the pane ean say everyting but ono repeat isl, "word for word.” Hence, the gaze is not a Sig yet te signies. What i this myst? Re tha the gre Tog to tha elm of gestion whose ont i not the ie (discontinsty) bot signing [sigifone), whos theory Ben Aeniste has props Tn opposition fo language, an order of Signs the ats im general derive fom signifying, Nothing su png, the, that there should be Kind of afi between the gise and mbxic or thet clas pointing hat lovingly re produced so many Kinds of gae—inploing, impeius, frome Ing, pensive ete. Sipping doubtlen ha a specie semantic fore without which the ge cold not mean something: Ite tly gre cannot be neutral, exept 0 signet and fit {sung the vagueness evident fl of duplicity. but this ‘ce it sounded by 2 Bal, a eld of infinite expansion in Wich meaning overows, i dif without losing imprest (the action of ipresing ul): and Wisi in fact what hap pens when we ea me or lok at a pete. The “mystery38 / Rous» Barnes ofthe gus, the ditrbance which costes it is obviously stunted a this “overfow”aone. Hate, then, isan objet (or an ety) whose bei inberes in ts exc. Let's examine such ovesons alte Science interprets the grein thee (combinable) ways: in tems of infomation (the gee informs) in terms of teaton (gazes are exchanged), in terms of ponetion (by the ene, tooth, Fata, Use, Fam sind) thee functions: epi, linguistic, haptic. But aways the ge seks something, some fone. It an amiou sgn: singular dyoamis for sign is power overBows it ln front of where Hie, on the fhe side ofthe set, level with my windows, there an apparently anoceupied apartent however, fom tine to tine, ae in the bt detective stn, Aer is 2 preence—a light latent night, x arm which opens sn lowes a shtter Pom the fc hat Face no one and {hat I mye am looking (pesng) {induce that I am not looked at~and I leave my ernie open Bt it nye ast he ontary: perhaps Yam bing costal, intensely ere at by whoever i Taking over there. "The leon ofthis fble would be that, by dit of ging one forgets oe can be pr atone sell Or again, in He er “Yo gave,” the fone of seve snd Dasiv ae ance, Neurpsichology has cle estabithed how the gazes bom, Inthe ist dys of if, here isan cesar rexton towed sat Tight tthe end of 2 week, the infant tis to sce, focuses is ‘9; but ina till somentat vague and estat manner, two els late, he can focus on a nerby object at x wees, ion is Sem and selective: the gaze i formed. Can we not sy that those sir weeks ae the cner in which the human “Soul” toma? re | Right inthe Byes 259, As sigiying’s site, the gaze prowohs 2 synesthesia, a i Aivson oF (physiological) spenings which share thi impes sions 30 that we can atte to on, pti, what happens to avother (Baudelaire: “There ate odors scelent a6 oun fe"): Rene, all the sass can "gaze and, conve, the ‘gue can smel iste, gope, ee. Goethe: The hands want to fs the es want to cares. We sy, scomflly: “His gaze wat crane "as ft as proper for the gaze tobe diet, pesos. Yet paychoanaytic Economy tls something quite diferent “In our rato to things as consid by the path of yon and ordered in the gure of eepresentation, something shit pase i tnt ftom stage t stage in onder bein, to seme depee— lied: this what is called the gaze” And agin na general vy, the relation of the gaze to what one wants to see ft ‘eation of deception. The subjet presents himself ay other ‘han hei ad what be i alowed to scent what He wants to se. Thereby the eye can fonction a an obs, Le, om the level of prvation” (Lacan, Séninae X}, ‘Tosetur, however, tothe det imperious az; which dos ot evade estate, ees inch. Anata has so forsee this case: such a gaze can be the fascinur, the wicked spl, the evi eye, whose eer "to atest movement and to Hl fe {Seminve XI), According to an ol experiment, when fan wat shown for the fst tine #0 ‘aatver ofthe Alsen bush, they pid no Menton to the scene repreented (the ental quae of thet villge) but only to the hen rosin this gue in oe comet ofthe seren. One mighty: wa heen tat gre at hen ‘A msacce in Cambodia: the dead tie hexped up on the tis of x hlflemolihed house siting on a step above ther,240) RoLaxd Baxraes young boy lok tthe photographer. The dead have delegated to the ving the respons of pring st me; and it im Be Dboys ge that Ise hey are den, [At th Rijtsmaseum in Amsteadam, there i 8 seit of pic tures ploted by the socalled Maser of llmast. These are seenes of every if, people gathered together for reasons Shick change fom pice to pits; im ach rou, hee is ne gue, stays the same: lost in the cond, wih is repre sented as though unawate of Being obsered, only this pean, ‘ach ime, goes tthe printer (and hence at me) rights the ‘es Tha gure & Chit. Richard Avedon’sincompanble at consists (among other ‘hing inthis al the jet he photograpts, planted infront of me, lak t me righ inthe ex. Does this prodace am eBect fof “Tanke”? No, the pose i aia (it obvious that it 18 pose), the station is ot psjchologeal. The eect pro- Ave sof “truths the charcter i "toe”—often into bly ‘0. Why this rath? As a matter of fact, he port ooking 890 one and US it only gzing a the le, Le, at nother enigmatic eye: the eye of truth (jst a Venice main tained, in order to ree anonymous denunciations, various ‘Mouths of Trth). The ge, rendered herein an emphatic manner by the photographer (in the past tis cold be done ‘by the punter) act ne the very ngan of ths it apace of ation located Beyond appearance: it implies at estat tis beyond” exits, that what is “perceived” (guzed at) is ter ‘than what i simply shown, ‘Avs pantcnlar moment the pyeboanals (Lacan, Séminaire 1 defines iaginary nteraubjectvty aa thee term struct: (2) Tce the other (2) Tse him sezing me; (3) he knows 1 see him. Now, inthe oer’ eatin, the ze is not so devious, Right Boer / 248 so to pen, it acs one of thee tnjctries. No doubt inthis ‘eatin, on the oe hand, Lace the othe, with tenis T see tony the other, I scan the lhe, I want to pencate the secret UF this body 1 dete; and on the oter hand, see the other Seeing sme: 1am intimidate, zal, pasvely constituted by the others allpowerfl gue; snd this panic so great tat T ‘anoot (or will ot) seigeze thatthe other knows Use him (hich old dvaienate me): 1 sce mye Blind in. front of the other 1 gaze a you as one grasa the imposible” For months at tne, the tick con rmuin net 0 a re, vwiting fr sme warm-bloaded animal (seep, dog) to pass “der the branch; then it op o, sues to the anima’ hie, ks its blood: ts perception sslecie: all t knows ofthe words warm bod, In the same wa in he pst, the slave ina peeved only asa instrument, ot as a human fg ow many gues ate thus merely instrament of singe fray {gue at whit Iam looking fr, 2nd aly fone may advance tas prado, Ise only what I gaze at, However, in coin txceptonal tse, and Dow delight they ar, the guze is Chie fo pass wbexpectdly from one aly Yo another: two fovs intent without waring in the hosed eld ofthe gue, fd thexeoecus a distrbence of “reading” ‘Thos, waking in 'Moroccan souk and Woking at «andre vendor, 1 see Cleats that this vendor reads in my eyer oly the gaze of poste purchase frie the ck he pereives stllt only 2 2 Sop spces,castomen. But if my gaze insists (Kr how ‘many addtional seconde? What would bea good problem in Semantics), his ‘teang” suddenly vain: 8 wee i hi tnd not in hi mexchandie tht Ivar terested? 1 Tf the fint code in de to enter the second (at of complicity)? Tt ‘sth tion of the two codes that I, a my tm ead i isae / Rowan Banrnes ze, All this forms Btn fbr of sueenive meanings And for a semaatican, even one stoling trough the suk, nothing is more stimoltng thn to vee ia 2 gaze She ute bith fa mening As we have seen apropos of Avedon, it is not excl that a photographed sje shold gare at out gaze at the es the dtection of the gree (one might sy: te adr) x ot pertinent in photograply. But i in the cinema, where tis Fedde for an ator to lok atthe cere, tthe peta tor, Tm not far from considering this tan 36 the incma’s Altice feature ‘Thi act seers the ge: one of ws ges at the othe, docs ony thats tty night and my dy to gaz the other never gua he guts at eventing, except me TE Single ge fom he stec came to rest 08 me, he whole la would te ot. But his isony te itera tt Frit can happen that, on soother, invisible level, the sieen—Hike the Ain ender nat ese ging a Unpublished by RB, his tent ‘may nt hae bee competed Il Music’s BodyListening Hearing is physologeal phenomenon; listening i 2 sy ‘holies posible to deere the physical condone of heaing (is mechanimas) by recourse to acovstir and #0 the physiology of the ex, but Hotening cannot be dined only bye abject or ane might sy, by ite gal. long these of Tsing beings (the ancient naturale’ le vive), and Ahrouphont human hitry,Sintening’s obj, considered ints most gencal type, warts or har ved. Therefore, simpliyng to the extreme, We shall propose thee typeof atning According to the fist, 2 Ting beng crents ts arog (the ‘excite oft phsilgia faculty of beaing) to certain in dice; oa this level, nothing dtinguies animal fom man {he Wo stn fora (pose) node of spe the hae for a {posibe) noise ofits hunter, the lid and the lover forthe approaching footsteps which might be the mothers of the Telos This fist listening might be called an alert. The sect it a deciphering, what the ert to inecept ae eer tain sgn Here, no debt begins the oman 1 ste the way Tread ie, sccodig to certain codes. Fal, the thi listen ing, whose approach is entiely modem (which doesnot mean246 / Rouany Banzass ‘it supplant the other two), det not aim ator avaitcerain determined, clawed signs: not what i id or emitted, but ‘ho peas; who eri suc Titening i mppoied to develop ina intersubjective space where “tao Entesng” ao means ste to ine” what i sees uponin oer to tansform and store to the end intelay of tansference—is a genta signing” no longer conevabe withoot the dternination ofthe wonscios. “There ison seme which umanity does aot sare with the snimal wo Sei sue apparent that phylogenetic de- Yelopment and, within human history itself, technologie Alvelopment hive modifed (and wil modify Farther) the Iierarhy of the Eve senses, Anthropologist repr that 2 ving Icing nvttive behaviors Hnked to teh, taste, smell, and aMfectie behavior to towel, sel, sights eaving Seems ee tilly inked to evaluation ofthe spatiotemporal station (02 Inhich humanity 20d sight animals sell) Based om beasig. Tseng (fom an anthrnpoogiel viewpoint) i he vey Sease of space and of tine, bythe preption of dees of remote et and of regular retuns of phonic stimulus. For the mame tak its teitory marke out by cdonr and sounds; fr he Toman being-and thi ia phenomenon often snderestinated whe appropriation of space i abo a mate of sound: domes tie space that of the hose, He spartincatthe approximate ‘quale of anima eton ia space of fami, ognized Iie whowe exseble forms a Kind of hoohold symphony Aifeentiated saming of doo, raed vices ltchen nies, {gle of pes, momen from oxtdoos: Kata has described ‘ery presaly (j nat Berta an incomparable storehouse of Lisesng / 247 Snowe) this dominy symphony in his jour: “Lamm siting in my room, i, the noe hexdqurtert of the whole fpatnent, I her ale doom slamming, ete and we know the anguish ofthe hoypitaied eld who no Tonge hears the familar noises ofthe nateral ee, Tt agin the sutive rckgound tat fistenng oma, aif were the excise of 2 function of ntligence, i, of lection. I the ative back round invades the wlle of phonic space (if the ambiant foie to lod), then seetion or iteligense of space no Tonge possible, Ising is injured the eclgia phenomenon ‘wich today elled polation —and which i becoming a lack tay of our tshnologieal cations precisely the intler {Ble cormption of nan space, insofar ae humanity news £2 recognize ttf in that space: pollution damages he senses by hich the Hvng being, fom animal fo man, recognizes it te ‘ony, ts habitat: sight, mel, esting, And lode there i tudiopoition whieh eveyone, fom hippie to. pensioner, feck (through certain nthe of ature) i dleterions 10 the ving being’ very tlgence, which iy stro ses, it poner ‘of communicating eetvely with sts Unvelt:plltion pre ‘esting ts doubles by thi notion of teritory (or of appropriated, fama, domes pace) that we can bt gap the fenton of listening, invfar as testony can be exentilly defined as the space of secuiy (and at such, as space 10 be defended) Tseng is that proiminry atention which peemis iter cepting whatever might distr the tetova sstem; i 8 tne of defence agaist spi; ts objet (hat i is rent foward) is menace cr, comers, need the i material of Hntening i the ines, beau it ithe eves danger or prom ‘ts the sfaction of need, From thir dosble fonction, de fenve and predatory, thee remain, in clued Isteaing tain tier think of al hose hone fis which rely on oor Titening for the alin, on our bewildered expectation of the ab48 / Rouane Banrnee inegulr nose wich wl dtr ur aural comfort, he Scuiy tthe howe: th tage tenn ha 8 sential partner the unartomed, ie, danger or windfall and converses, when Usteing it eneted ford asuaging fantasy, it immediatly becomes Pallucinated:T believe Tam really hesing what T ‘ou ike to hea ar promise of pleas "Morpholoialy on the speci ee heer Ses made for this eaptre ofthe Booting index is motions, fed, poised ke that ofan animal onthe ler; ike 2foneleaing tothe Interior eos he greats posible numberof inpressons Sind channels them toward a spersioy center of selection and Gzision; the folds and detours of shell seem eager to mult ply the individuals contact with the wold yet to vedace this tery mally by mabmiting it to a Steing treet for {Ris eaentiland this i the oe of sch intl Kteingthat Srhat was confved and undiferentsted Become ditinet and patinent—that all ate some the spect form of danger ‘rp tenn is he very option of this metamorphosis. Long before writing was invented, even before pata gu tion was. paced, something war prodoced which may fundamentally dtingush man from animale the iotetional ‘reproduction of sy there have Been found on cave walls ofthe Mowsterin epoch cts shyt ineisns—and every thing sagets that thee At Aythaie representation ete ‘le with the appearance of the Gist human habitations. OF fous, we Anow rthing about the bith of phone shythm: ‘ot it wool! be lpia to speculate (lt us aot reject the alum of gins) that fo prodoce = shthin (incisions or beats) and to build «howe ae contemporary aes: man Linenivg 1349 {y's operational chareteriti sa extensively peated hth ine persion, a i tested by brokenstane “choppers” and Fhamared polhedeal “all: by shythm, the preanthrpic ‘este eters the humanity ofthe Atxtralntropes By rhythm, to, Itening cesies to be a purely supersoy sctivty and boromer centon. Without yt, no language |r pore: the sign based on an cscllation, that of the nated andthe nmairked, which me call a paradigm. The ‘ost lgend which accounts for the birth of lnguage i the Fenian stoy of the child who mimes his mother’s absence and pesonce as a gme ding which he dows ava abd polls ‘bck a spool attached toa therd: he Whaeby creates the fst Symbolic pune, but hea crates sythm. Leto mine is hi lstening for nies which can tell him of he mothers les etum: he i inthe Gat sage of Histning, that of indices but when he stops directly supervising the appearance ‘ofthe index and begins miming ep setts itself he SS making theavated dex ito sgn he shits othe second Stage of itening, whichis tat of meaning: wht Usted for no longer the posible (the re, the trea, o the object ‘of deste which oar nithoat warning) tthe secret hat Svhich, concealed in reality, cam rach human eonsciouess ‘only tough » code, which seis simultanecsly to encpher fd to despa ality. Listening is heceorth linked (in a thousand varie, indict forma) toa bemeneutis: to liten ito adopt am attitude of ecoding what isobar, Bored, or mse, i eer to make avalible to contcouren the “andenide” of meaning (what ‘i experienced, povtlted, iotetionalized 2s hidden). ‘The fonmunicaton implied by thi ccd Hitening religion it ligatures the ltening subj othe hidden wold ofthe gos, wha eveyone knows, speak a language of which oly 3 few Cnigmatie fagments reach me, though itis ital—crely noogh-for them to understand this language.250 / Rovaxe Baxrues “To lien i the evangelical ved par excllence: isting to the divine word what fh amounts t, frit is by such Theenng that man is linked to God: Lather’ Relormation tras largely made in the name of listening? the Protestant Ghuech fb excosbely a ste of tening, and the Counter Reformation ite in onder not 0 be left Behind, paced the palpi inthe center of the church (i Jesuit buildings) and ‘hate the ffl into “Esters” (toa dseouse whith self estes hed hetore a ao art of “ering” stern). By = angle impul, thir second listening i weigus end eipering: it intentions a oce the seed and the sexe {to lite inorder to dps histor seit, the ody is ai indr vais ly alibi religious site). What is that tering Hen seks to decipher Esentally it would appes, the things the ft (sofa a belongs to the ends) oF {Cansion (insofar a tanagession is engendered by God's ee) By her wis, Nature shudders with meaning: at lest his is bom, teoring to Hegel the ancient Grek steve oes. “The oss of Dogon, by the marmor of tee Hourhs, tered ropbec, and in ctber iatons as well (derived more Fata tom ethnography) noises have been the immediate fa material of diatom, edonomancy: to Tien is, in an Tantotional manner, to fy to find oot what happening (it i impose to note all the ties of this archaic finaly in fur eel extene) But alo, stoning i taking sounding. As son a6 religion 4s intra what is phd y Tieng Intimacy, the ‘eats secret Sin, A history and a phenomenology of ntsor fy (hich we pth Ick) sbool here join a istry and a phenomenology of Istening Fora he very het fa iia ion of Sin (oor JadeoChsiien chzation, diferent fom ‘uations of Shame), ineriety has developed steady, What the fst Chistian listen #0 ae stil exterior voces, those of Listening 252 exons orange: it i only gradual thatthe abject of Ute ing interline to the pont of Becoming pre consience. For centuries, all that was rogue ofthe gly petsoa, whese peitene invlved the ackoowlagment of his sts, was only that he wake public confession: private litening by a pct frat racded aan above and war roundly condemaed by shop Anrcalar onfessm, rom mouth to ea, nthe secrecy tf the confesionaly didnot enti the Pattie age it mas thorn (around the sven century) from the exes of pubic Ccnfeson and fom the advances of dada conscience ara public sn, publi cnfesion; fora pate si, priate onesie Tie Esteing wall in and vis candes. tine ("one to one) as thos costittd “progres” ( the rnodern sense oft word), since thar assed the protection ofthe indvidual—of hie rights to be an indidal~agaist {soup contol, pve Istenng to sin as thus developed (at Test ongnall) inthe margin ofthe eclesistial isin: tinong the monks, seeors of the marty, or among bere tier like the Cats, or ete in Tes institutionalize sligons like Budden, whete pate listening, “bother #0 brother is pated regula "Thus foumed by the very httory ofthe Chritin religion, listening brings two rbjets nto relation; xen when it 2 crowd (a poll asembiy for example) which most pot i ‘elf in htening staan, thi in oder to reccve 2 mesage from only one peso, who seeks to make the singly (Ube emphasis) of this message here. The injoetion to Ten is the toa inepellation nf one subst by anater= it paces above cventhing che the qusiplysial contact of these sab Fete (by vice and ea) exeats tasfrence: “sen to me" means touch me bw that Text In akobson’s teminolgy sen to ms a phatic expression, an opertor of individual communication the archetypal ixtrument of podem Tseng, {he telephone, collet the two partes into an Kea (andase / Rotana Banruns der cetsin romstances, an intlenble) intersbjetiity, Trecase ti astrument bar abolished all senses except that of Teng: the ede of lien which any telephonic eommani Caton anuguates invites the Otherto colt his whole body Sh voice and announces that Tam cxlesing all of myst a tay eat, Jst athe fist tening transforms ae ito index, thes second Istening mctamorpons ran ito a dul sabe intepllation leads to an intelocaton in which the Titne’s Slee will be as actie at the Toutors speech: titening poss, one might ays at this (ether Stora ot srw teal stage tha poychoanayi istening interes. The wncousions tocar like a nguage, isthe objet ‘of pec and af he same tine exemplary Interns tha of the prcoanalst “The analst mast ead hs ox uneoniios” Feud wie, “tke a receptive gan toward the emerging unconscious of the patent rut be ae he recier of the telephone to the tlie As the reccher transmuleshe electric wbration ode by the sound waves back again itn sound waves, 30s the yin’ unconscious mind able to recnsteet the patients Imeonsious mich ha direst his sociations, rom the com ‘munications derived from i” Te, feet, from uneonscions fo unconscious tat pyehoaaltc listening fonctions fom 2 speaking unconscious to anther which i presumed to het ‘Whats ths spoken emanate from an wconscious knowlede transfered fo another bjet whese knowlege is presume. Is thi iter subjest at Fred addeses, tempting to sstablh something he regards a8 the corlay to the fund ‘rental psychoanalytic rule imposed pon the patent: "We Litening 253 mt make no effort to conentate the attention on anything in patel, bat to maintain in rgd to all that ope hts the same avessre of alm. quiet attentvenee—of “evenly oven’ stetion a8 I once before dsc it In this way {train which could not be Kept up for seve ours daily and 4 danger inseparable fom delibet attetreness ae ave. For at soon av atetion i deliberately concentrated ina cer tain degre, one basins to eet from the material before one; fone post be fain the mind with patil dearest Gd ome ther consequently earded, abd ia this selection tes expectations ot one incinatons willbe fllored. This i jst hat must not be done; if one’s expectations are fol Towed in this selection, thee tthe danger of seer ding anything bot what alsa known, and Hf one fllows one's iniatons, anything which toe peeved will ost ce tainly be faied, Ie mst not be forgotten that the reaming ‘ofthe thing oe hers, tll events for She ost pat, only recognizable ater on. t wil be soe, thereto, that the pin ‘ple of evenly datbuted attention i he necesary coma to the demand onthe patient to communicate eveything that fects fo hit witout catism or sleton. I he pysiian Teavs others, hes throwing aside most of the advantage ‘0 be ind bythe patient's obedence othe Tundamentl rule fof prchoanalyn’ For the physician the rule maybe expressed thus: Alteossos exertion eto be wthld from he expat for attention, and one's ‘unconscngs memory” to be gen fal play rt eps iin terms of technique pare and simple: ‘ne hat spy to Tien and mot to wouble t Keepin ind eying in patil.” "An ideal rule, by which iti Mele i not impossible 0 abi, Fred bins derogates from i Either Besse of his ny Mend af Tene 015. Tamed by Jom Reast / Rovaxo Basrwes concen for an aspect of theo, a jn te ese of Dora (seeking to prove the importance of he incestuous feings towed het father, Fred meplts the role played by Dors's homosertl fecngs for Faw K.). It was alo a theoretical cancer which influened the courte of the Wolf Man's estment, when Fiend’ expectation mere s seperious (he was eager to oer edition! prot in his guest with Jung) that all mate oncering the primal sene mas obtained gnder presse of 2 Timtate be hel had st. Or ele because his ova. uncon ‘cio seresentations interfered ia the conduct of therapy (0 the Wolf Man's trestment, Freud socates the eobr of Itetys wings ith that ofa woman's garment—worn Dy Bi he himself had bee in love with atthe age of seventeen) The origina of psychoanalytic listening sto be found in ‘that silting movement which links aeutality and commit nent suspension ofeientation and theory: "The rigor of ensioas dese, the lie of desire, ae revealed ony to Someone who respecte both these apparently contditory requirments, onder and snglanty” (8. Leds). This sila tion (which feminds vs ofthe movement generating sound) engenders for the pychoanalst something Hike 2 resonance petting him to "cock an ea” tovard the esentily the Senta Beng not to mist (and to make the patent mis) cost the sng ad sete intence of a mgr ele ment of hie ungonsciun,” What i ths designated asa major ‘nent ofleting il othe pychosnals' Hstening ia ter, A word, « grup of letters vefeing to body movement: 3 Sigs. inthis hotly of the sigur where the subject can be tea the principal body movement is the one the vice og tes from The vo, lation to sence, ke wating (i the graphic sense) om Blank paper, Litening to te voice inaugurates the slaton to the Other the size by whieh we fecogize ether (lke writing onan enelope) indies tos Litening 255 their way of being, thie jy or theic po, thee condition It bears am image of thet dy and, beyond, whole payehol ‘ogy (an when we speak of ware wie, a white voi, ete). Smetins an interlocutor oie stokes ws wore than he con tent of his dacouse, and we catch our Ttening to the ‘odultions and banmonc ofthat vice without hearing what itis saying tow. Thi dination is no dou ply spon sible forthe fing of seangenes (sometines of antipathy) trhich cach of us fess on hering his own vote: reaching er traversing the masses and eaiis of oor own anatomy, it sfonde us a distorted image of ounces ab Hf we wet to flimpse our prof ina thee way sia. “The act of hening isnot these, depending on wheter it aims at the coherence of the veal ela». aceomn: dats iets» speech to phonie modulation, to some goal af couse anaes tonal, phonetis, even of msi power"™ “The singing vice, that very specie space ia which 2 tongue enconterra voice ad permit hose wo know ow to ten to eto far what we cam ell “ain™—the singing voice isnot ‘the breath but indeed that materiality of the body emerging from the toa, a site whete the phonic metal hardens and tals shape, [Corporty of pcech, the oie i oeated atthe ation of boy ad dicot and ts inthis intespace tat isting ackandfeth movement might be made, “To Hien to some: net sa hs ee, reques onthe listener’ part an attention tjen tothe intenpace of body and dpeure and which cot tect neither at the impreson ofthe wace nor atthe expres sion of the diconre. What sich listening oles is presely what he speaking sobjet does nt say: the ancanscnus tetare Ihich ascites is bodyarite with hi dicomne: an active fenre which eactalizs, inthe sujet speech, the totality * cos Lc Fay 6256) Rovano Banrnes of his history” (Denis Vai), Here the project of paycho- Sali to conte the mbjot' history ia his speech. From this pot of view, the pachosnast's Istening i a posture ‘rcted toad tihng ular a8 thee orgie ae nok Sidered s historia. The prchoanat tempting tgp the sige, lat to “speak” te language which Wis pa tients uncon, just a the ei plunged to the bath of lnguage, eae the soands, the sll the consonance, ‘he word and lvoe to speak. Listening is this means of tap ping sinifes by which the aja Becomes a speaking boog “To heat the linguage which i the other's snconscious, t9 hep hi to seconstrt bi bistory, ly bare his unonsions deste: the paychoanaits Ustening lads to 2 recognition that of the eters dei. Listening then, involves 2 nk: it cant be contrite uader the shelter ofa theowtal app fats the anchsand isnot scenie object fom whom the Anas, deep in his arnchaz, can project himtelé with objee thity. The pychoanalyte ration selected between two sabes. The cognition ofthe other's deve can thetfore fot be etablted in neatly, kndlioes, or beri: to Toongize this dese Spl that one enters it imately find ing oneself there Listening wil exit only on condition of ceptng the rk andi emt be set aid node for there to beans ti by no mesos wath the help ofa therein shield. The prshoanayt cannot, He Uses bound t0 is tat, enjoy the spectarle of the seas without chs and wth tut aceping its Snseguences «Tere wns something at elo in that song sce, simple, and everday, whic Had be immediately seognized song fom the abyss which, nce heard, opened an aby in each word and Tred one 0 ‘ash into fe" The mth of Uljses and the sens does not telus what a socesfal stoning might be; we cam sete i contri between the re the mavgstorpichoaalit mst ‘seid at all ast: plugging on’ eas ke the men ofthe ce, enplying deception and giving evidence of cowardice The Ulyses or omwerng the siren ination and vanishing, What is thereby reveled 6 2 Batning no loge mediate but die lee, condted in the space of another aviation, "which 4 that of native, the Song 20 longer immediate but re counted” Naratie, a mediate dled construction: Freud doer jot thi in writing up hit “ves” Comelor Sehecber, Dora, Litie Hans, andthe Wolf Mon are so many manstives (cameone has een alluded to “Freud the novel); in wit dng them at such (the stely medical obrenations are not ‘witten in naratve form), read did not act by chance, Bat coring tothe very theory ofthe new stn: has com een til with ages Th diam, the ene of heting is never solid, The dream isa til visual phenomenon, and iis by the sense of sight that whats adresse to thecal be peeved: mates, one ‘might sy, of aco mages, inthe Wolf Ma's dream the we” "ers nee cocked ike thot of dog when they ane alert to something” The “something” toward which the trols eats re cocked i obvouly «sound, a noe, ary. But, beyond this"tunslation” the dream makes between listening and looking, inks of complementarity are formed. Ie Little inst aa of home, i snot ony that be afd oF being ten: “Twas afi” he says, berase the hose was making row with his fet” The “tow” (in Geman: Kral!) isnot nly the disordered movements which the hore, hing om the frond, maker as it Hc, but aio al the noise tho move ‘ents occasion. (The German term Krall teasslated 3s “tumult, sot, row"~all words associating visual and acostic images =258 / Rowan Baxrans 4 nas necnay to make this brie detour at the sean of pachonnasi, etbeite we should fail to undentand how ‘moder istening no loge quite resembles what has here bee Ea lenin to nde and ening ge even if hese ‘to for of stening sbi concent). For pychoanaly Sit last int eset development, which takes Ht as far froma simple bemmencatics as from the loeaton oft orga! team, «facile substitute for Sin—mmadkes whatever notion sre can hve of steing ist fal wheres fr sents tening col be defined as an ntetinal at of ston (to lite sto want toes, Ail conscience), today tir granted the poner (and italy the fonction) of plang aver unknown ypass:Ustning in lies init eld not only the unconscious inthe tpi sense (ofthe term, But lo, 0 to peth ie ly forms: the impli the indict, the supplementary, the delayed listening grants acces tal foams of plea, of overdetermination, of super imposition, theresa disintegration ofthe Lae which pes dle, unique listening; by definition, litening wat opie today we ak listening to tle; we thtey return, But at another lop of the historia spi, to the conception of a panic Istening 28 the Cael, or at les the Dionins, had fenced it Te the second ples, the ok impli bythe act of teing no lnger have these fy a inthe ast; thee a Tongs, fon one side, someone who speas, gives himsel away, ca fess, and, on the other, someone who listens, Kees it, jndge, and sanetons; this dos not span thatthe soa, for Snstanc, speaks as much a his patents became, a has Lisening / cen sid is litning& ate tame the rexponsiity ing its place inthe ity’ of dei of which al lm fase the theater me mi een len pels. Whence S"wement apres he ts of pec ale andl pro ict bythe ition. Pada sii ae to mee sen oth lead th og iting of sper, the sera liteing of 0 ifevor (or of th substi) toda this paradigm contested ll rely, is te, dpe fps adept is ered tht, onder to rate Toten oes (0 Begin speaking oneell—wheress 2 fe itening is esentaly a iting which skelt, wich per nua which dbazregt, by Re nobiy, he ed net Ure es of ech ot pone o nage ee oe, iwc ages stance to psa within feo mode of Tsing: how of the ever the Sip andthe patient Th the thi plac, wba ined to here and there bey inthe Eeld of at, whos fanton soften wp) 3 tthe vent of sid, eject of sccpiin oo decipher ing bt the very dps, he shimmering of gio, cx ey tne ening heh easly pre ne nes from them wihost evr amesig thee meaning th phe onenon of shinncing called iying wifons, as {isnt fom satin: "lstenng” to pee of ela ros th Tate ald pon to ibe” th ice, {ovine (by hit cal, his ppton, ht esi) contraction, ite st ced (pedctemined) 4 that of a palace ata crn esd bat “tenn” to» composton {taking the wed ee pmo sene) by Jon Cas itis sch sound one after the et that I Tten ty no a Syntagmateetason, ut init raw and a Bough verte {Epuhng. by deconsttng Sel, Useing is extend, it Comps the ube fo enoce bt inardnts” Thi ale rua tnd, foray be ore of somerrporr a, om puting” tthe "tex and thi of coe, dy nt pe260 / Roane Banrurs ceed without some lasttion: for no Iw can oblige the sb jestto fae his pleasure where he does nat want ogo (whatever {he reson ight be fr hi resstance), 0 law sina poston to constant listening fedom of iteing ita neesry 2 econ of speth, Thai wy thi apparently modest no tion {lstening doesnot gue inthe encyopeda of the pat, it belongs to no seomledged dcpin) is Boal Uke a Kile theater on whose stage these two mem dees, ene bad ad ‘one god, confront each eet: power and ete, tors Incolboraton with Roland Hot Musica Practica There ate to music (orto Te always thought): one you Tsten to, one you play. Tey are two ently diferent at, cach vith its own history, sociology, aesthetics, erties: the Same composer can be minor when istened to, enormous when ‘layed (even pool) fake Schumann. "Tne msi ou play dependent eo mc on a0 auitve as ‘ona manva (bene mich more sensoaas) activity i isthe Imusic yon or {can pla, alone o among Giends, with no aud cence but it ptcipants (ie, with no ssk ofthese, 10 hy feral mpttion); iis a smselar music init the ative Senses only a degre of anction: af the boy was Ltening fot the ol this me not pape “by eat; confronting the kebonrd or the muse sand, the Body propos, lds Coordinates—the ody icf mst tansrbe what it reads: it fabiates sound and seme: the spor, not the resin, the decoder Totaly linked tothe (artocrate) leisure els, buch music has dinded into a mundane nte with the advent Of bowois democacy (the piano, the jeune file the son, the octane); sbsequently ft has vanished altogether (oho ly the plano today?) To finda muses praca in us Wes6s / Rovaxe Bantues er societies we mt lok for it among another publ a other epee, on another inrement (young peopl, Sones the gitar). Concent, 2 pase, scxptive Most fone Of resonance rather han of pesentation—has become unc prope ofthe concer, the Festal, the reo he radi): Playing no longer ext msi att no longer anual, Inusclr, kneading, but ony ligd, ease, “Tubsicant.” to ono Babe's word. The performer, to, bs change. The sal amateurs role deed by a ssl much more than by 2 techni pefection eo longer to be founds the profes Sonal pe specialists whose formation i entely este for the public [vt sil knows the problems of musal pedo”) no Tonge ofc that spe of the perfect amateur whose value tte could stil reogoize in «Lipa, ina Pana, because it Stved in up not ststtion but dere—the diet make such ‘sin shot, st theres the performer, the ctr of msi, then the interpeter (the get romantic oie) finaly the techni, who rlees the autor of every aetiiy, however ‘eaou, sd ables inthe musa oder he vey notion of pra Te seems to me that Becthoen's ocwee i linked to this histo problem, not atthe simple expression of a moment {the tastion fm amateur to satrpcter), but asthe power fat gente ofa cilzation’s dcotent, of which Becthoven both Conied the elements and sketched the vlton. This a but that of Beethoven's two hoi oes: the sothic role which the enie nineteenth century signed to him, and the modem role which oe entry i begining to got him ere Ta eer to Boucouei' st) Forte nineteenth century, if we excep a ew otic images such as that of Vincent dnd, who more or let tums Bes thoven into a Kind of rectionay and ant:Semite dot, Bee ‘oven wat the it fee man of music. For the fist Hime, an antit ws gloried for having several stccesve manner, he Musics Pace / 263 seas grnted the pilge of metamorphosis, he war entitled fo be diated with binsclé or, more profoundly, with his Tanguagehe was able inthe cote of bis Me, to cange his ‘oder (thir swt e ae tld bythe ave abd enthusiastic image Lenz has given of Beethoven's thee manners) and tne the une becomes the tace nf a movement fa ac {aps thereby appeals to the notion of dating; the att thes his “tt” and thie search Becomes a ode in sl, a totally Begible mesae, despite the variations ofits content — frat et whose legibly fends on a Kind of totality ofthe ttt fis ana, his oes his ides his charity, his ears become features of meaning: 4 Beethovenian biography 5 bora (Gre shouldbe able to apa biomytholgy}s he arts ispo- Ahcot as 2 compete ber, endowed with & discourse (raze Phenomenen for a musician), with a legend (some donen neces), with an sonography, with a ace (that of he Titans Of Art: Michelangelo, Bale) and with «fatal dene (the ‘esis ofthe man who eeated fo he pleasure oF our ea). ‘Certo sperically structural features ave come toe ite gated inte this stem of meaning, the romantic Beethoren fambiguow featur, simsllanousy musical and ppelag ical): the development of parorysna contrat intensity (the sgnigcant cppostion of pnor and forty, whose hit tov importance pethape inadequately aeknowledged, since afterall it marks only am infiesinal portion of rica 4 Sno and cones he invention ofa nse whose tame has is ow sgncance, the pionoerte), She explsion ‘of ncods, recived asthe symbol of creative Feet and funicty, the energetic redundance of stekes and. cule {nate image of fate knaking the experience of Knits (aol tion or iverson ofthe tional parts ofthe dicourse), che Prdocton of tsal chimeras (the woe welling up ot of {he siphon): everthing which cond readily be wansformed metaphorically into peendopiesopical values nonethelessa6 | Rovana Banzars dsb fn msi termg since they wee sil deployed under the athoaty ofthe Wet fundamental eode: tna "Now happens that this romantiimage (of which Ip shor, the meaning 4 certs discord) prodsces an onesies of fesoution: the amatege cannot maser Beethoven's msi, not So much becawe ofthe tec diel a Beats ofthe Nery breakdown of the code ofthe anterior musica practic tecoring to tht cae, the fntamatie (Le, covoresl) image thick goided the perlormer as that of a song (which one “pins ct” within oneself}; with Beethoven te occ pu son (oes not the ma fantasm consi situating oneself {Subject inthe sentoof performance?) becomes orchestral; enc, i scapes the feshism of 2 single element (voce or rhythm): the body seks to be total thereby, the notion of an {ntmito faily pas destone: to want play Beethoven isto projet ones as an orcherta conductor (the dream of how many chilse? the tatolgil dteam of how many eon dicts whose peformances ae 2 pte tothe signs of panic ponesion?), Beethoven's oeuie abandons the amateur and Seems, inital, to sumnan up the new romantic diy, the interpreter, Yet bese there osers x new’ appointment: who (bat sls, what pani?) plays Beethoven well? One ight say tht thie muse merely ofes 4 choice between 3 “ole” and ifs abunce, the ovory demiuige and the doce platitde, snblimatd under the name of simplification, Pethas this beease Where i something inal in Bee thowen'’ mesic {for which audition is ot the exact mode) Here me inet the socond Beethoven. It aot posible that 2 ‘sin be deal by pare contingency o poignant fate (which ithe sme thing) Beethoven’s deafoes designates the lack ‘thee all signiation i lndged: i appeal to 4 masie wot ab Shacto intr, but endowed, one might say, th seas0005 Satelit, with an inteligbity smebow perceptible to the senses This ategoy i peel revolatinay, inconceivable Musics Pcie / 265 Jn terns of theo aeitheticsthecewte which cept iteanoot be reeinedacuing to pure sensuality, which i always ca tora, nor according to ap ineligible oder which would be that of (ihetoreal or thematic) development, without i tether the modem text nor contemporary music ean be 2 Cpted. As we know since Hogeourehlien’s analss his Bee thoven i exemplaly the one ofthe Disell Vertions. The ‘operation which permite ur to grap 8s Beethoven (and the ttegry be inaugurates) can no longer be eter execution or Frain, bot reading This does not mean that we aust sit down witha Beethoven score and from it oblao an intesor hearing (which woul tl emaintibtay tothe ol animist font), i means tit, whether at am abstract or senso forelowure—it matters itl which—we must assume with re fr to ths mosi the sat or beter the acti, of @ er former who can dspace, regroup, combine, dos, ina word {if ts not too wormout) can sractce (which i quite di ferent fon constrctng or esonstrstng fn the dasa sense ‘ofthe woud), Just asthe ending of the modern test (at est fs we can portlet can require) des not consist in wei ing in pongo in fling this et, Bot in wing it anew, in trvering i wing by new nseition, a the sameway, to rend this Beethoven i o perf, to operete his musi, to Thee it (asians elt) to an unknown prac ence ie cin recover, died acordng to the move- nent of itor! dsleties a certain mice praca, What is the we of comping iit snrely confer the prodact in the nelosre of the conget othe ralitade of radio reception? To Compo iy at eat by tendene, to oe for doing not to oer for bering bot for wring: the made site of mse isnot the concert hall bot the stage, where the musicians tans Inigate in an often dazing interplay, from one dive Source to another: eis we who are paying, sil vcron, it isto bot we cam imagine that~eventually?—the concert wl2 | Rouawy Dantas be exclusely 4 studio, a woushop, an atelier from which fothingao dream, no iene seperti, in 2 word no "sul — ‘nile and where all mst doing wl be absorbed into {proc ih ing aft over Tis tis opi which a certain Becthoen, one not payed, teaches us to formolte—whereby itis pole to forse fm hin a musician silt come so70 The Grain of the Voice Language according to Benveniste, isthe ony semiotic ss tem capable of interpreting another semiotic sstem (thoagh there ae doblles certain limitvoks, fo which» system feign scfiterpretton: The At of the Pugu). How Sen oes Language manage, when it mast nteret music? Aas bady—very adh it Seems we examine the carent practice of musi crits (or of conversations “on” msi often the ‘ame thing), esse that the work (ort performance) i ‘ariably tse into the poorest Ung eter: the ad feetive, Mase is by a natural doco, what immediately Feeives am adjective. The adjective i neil: this mosis thi, that exeetion i that, No doubt, once we make act into a subject (of a atl,» convertion), tere is nothing left for ws fo do ut “predate” tn the ease of msi this proicaton ineitbly takes the most fice and tial forthe epithet. OF couse this epithet, to which we tom and rotum oat of wedknest o fssnaton (por game: di ‘us pee of mas without sing a sng adjective), bas an268 / Rouaxo Bantwes economic function: the predicate i always the rampart by ch the subjects imagerepetie protects tet agus fhe Tees that threatens its the man who fares hielo fumishod with an adjective 6 sometines wounded, sometines lsed bot abaysconiated, nse as an imagerepetoite Inhotefetion i to reas, Yo costitate the sabe, who hear it (woud thir be boone made danger old Platonic notion? Leading to extn, to los, 8 many examples, from ethnography and popula caltre would tend to show”), snd the imagotepecite immediately comes to language by the adjective A hittoriel dossier should be compiled here, for adjstnal ten (or predetve interpretation) ha sisumed, down Brough the ag, cra iasttatonal aspects. the musi! adjective becomes somehow legal whenever a0 thos of msi pte, Le, whenever a regular (outa fr magical) imede of sguication i attibted to mone: funong the ancient Greeks, for whom it wat the musical Tanguage (and. et the contingent work), in is denotative strc, which as immeintely adjectival, each mode being Unked to's coled expesion (ban, see, rood, vie sole, taj, wate, educative, prowl, ceremonion, routing, pope, dsolute,vluptuos}s and ameng the Ro- ‘mantic fiom Schumann to Debussy, who subsite o 928 the simple inistion of movements (aller, prea, andante) certain poetic, emotive, incresingly refined predicates en in the racy, 40 to dinth the coded pint and to velop the ie” character ofthe prdiaton (hr Hot, teh pris spite tds, te), ‘re we doomed to the adjective? Are we faced with this Alem: the predcsle or the inefble? To know whether There ae (veal) meas of talking about asic wilt ad iectnc we would have fo considera ite mre closely al of Imusic citchm, which, T believe, never Been. dane and whieh een soy we have nether the Intention nor the means 4) ‘The Grain ofthe Vie / 269 ‘of doing here. What we can sy i thts isnt by seating sgint the adjctne (siting this adjective that come tothe tip of our tongue toward some substantive or vert. pet phras) that we ae key to exotcie mie commentary and to liberate it fom the peeieatve fatality rather than ty ing to change directly the language wed about musi, it would be better t change the misicl objet sl, ay it present se to spech: to modify its eel of pecepion or of intl tion: to shit he fine of eomtact Between mus ad langage Te is this shift that T shoud Hike to sketch hee, not ith regard to all asic, but only with regard to a portion of vor Imusic (a song o mdi), avery pee space (etme) in which « language encounters voice. Taal omeditly {ne = name to this sinier on the lve of which T belive the temptation of ethos ean be lquidatet—and the adjective ‘etefore dismissed: this name wil be the grim: the gun of the vie, when the voice i ina double pine, «double po Auction: of guage and of mos ‘What I shall attempt to say aout the “gn” wil of couse, ‘beonly an appatenty abstract approach, the inpoie acount ing of am individual enjoyment which T constantly expcence when Tsten to singag. Ta order to dengge this “gain” from the alnonledged valet of oct! mune, Tskll employ double cppasiion: the theoreti! one of the pheotext and the genoteet (Kites tema), and the paidimatic me of tvo singers, one of whoo Tk very mach (hough he is 0 longer to be heard) and the other very lite (though he is heard more than anyone else}: Panzén and FacherDiekan (who will of ean, be mo move than phere hee: T aun not tying the ist and Ihave nothing agit the second). Listen toa Rusan bas (a church ba for oper the entice site shits to dramatic expres: a vee in which the gain sigs ltl): something i thee, manifest and. penstentpj Rovax Baxrnee yo heat only tht), which spt (or reios to) the mean ing of the wordy of thei form (the Many), of the melisma, tnd even of the syle of performance: something which i tiv the singe bey, brought by one andthe sme move ‘nent to your eat fom the depths ofthe Body’ cvs, the ius, the membranes, the calage and fom the depths of the Stonielingvage, a1 singe skin ined the perormers Jnr flesh and the manic he sing, This wie isnot personal ‘Fexpenes nothing abot the singer, about is soul ii not tiginal (ll Rusan bases have thi sme voice, oreo ts) finda the sme Hime i idividale it exables us to ear 2 Tony nhich of coun, has no publi identity, no “personaly but which i nonetbces spurte ody ad above all this weds conveys the moma over and above the inte Tt the expressive: hee fang Before wall na heap, ithe Fats his pal stats, That what the “gi” would be: the mately ofthe body speaking its mother tongue: per Tap the ett lost certainly what 1 ave ele ging ‘Tis herein song, then (pending the extension of the dite tion to all msi) that we it cen the two txts of which Tua Keira waits, The phenosong (Tay be perited *9 rake this tanspositon) cover all the phenomena, al the Fests whith deve fom the sretre of the sang Language from the coved form of the elim, the ile, the com ner, the ste of iteration: in shot eveything which, In the pelorminc, is at the sence of commanication, of ‘pretation, of expression: what mally spoken of, what ins the fue of eur als (the substance of acknowl gd tutes, of fashions, of ete dicoute), what is det trialed soaad the ideological ofa pesod (ao artis’: jetty” expe” "amatssm” “penanay”) The geno song is he vome of the speaking and Sing voice, the pce in which the signiestons germinate "rom within the Tamginge ad in its wey sterility" hf a signifying fn The Gan of the Vaiee / 371 on alien to communication, to epeentation (of fsings), to expesion; it hat culmination (or depth) of production where moldy actually work om language—not what 7s but the voluptuous plessare ofits sgifersomds, ofits ete: plore how guage work and denies tf with hat bor. {Geno song na very simple word which st be taken quite secs the diction of lange, Tom the point of view of phenosong, PacherDisskan is certainly an ineposchable att venting in the (semantic and Ii) stata is respected ae et nothing sede, noth sng pesades us to enjoyment; this san excssneyexpesive at (the diction is deumai, the eaesrsy, the cheths and Tees of brent interne a in the uphenal of passion) ad theey i never tamscends cate: ete itis the soul hat accompanies the song ct Hendy forthe body to acompany the musical diction, ot by an impale of emotion but by & ‘esturenotic™—thit i what i difl eel nce all smal pedagogy teaches not the cleo the "rain" ofthe seize But the emotive modes oft emission: thi he mh of Breath. How many singing teachers have we hea prophesy thatthe mote at of songs inthe ster, the proper ma agement of breathing! Now the breath the pevna, the a) swelling or breaking, and ay cacusve at of the bath ely 10 be a seeetly myst rt (a mystic dace tothe mands oF the long plating reor). The lng stpid expan {the lihts of eattod!, smells but doesnot become erect it Jn the that, ste where He plone metal hardens ad saree its contour itis in the facia mask that signing beaks out, prodacng not the soul but enjoyment. In FischerDieshan's Ferfonmane, Isom to hear only the fg never the tongue the plots, the eth, the snes, the nose. Panne entre a ‘on the contay, was inthe ters, not the bls (singleaps / Ronan Baxsues technical featore; we did ot bear him Breaths, ut only shape the pire). An eteme thought contlid the prosody of ‘enunciation sod the phonic economy ofthe French language ‘tain peace (generly renting fom omteeal and ee ‘sical dition) sere rvesod. The consonants, which are too reissue fo coattte the armatre of ou enguage (thong it ota Sent language) 2nd which we are always ‘upped to “article,” to separate, emphaie fn order to full the clarity of mecnnghese consonan’s Panza fe "gently recommended shang over, estorng to them the eo ‘Son of s language which has ved, foetone, and worked for {very Yong ie oak int the simple spnghourd ofthe Mmable voels: here was the “wth of language, not its functionality (slant, expessity,communiation); and the range of the vowels wecened what was sing (which is crenthing that can be voluptuous in meaning) the opps Hon of and (so necessary in conjugation); the italy le fron punity I boul says aa, reed exposed, enaous Was ite sound, ofthe mast French vo! of al the 2, which oot Tangunge dos not inher fom Lai: athe sme way, anata Id iP beyond the singer's norms—thoot rejecting those ‘oom: bir was certainly lle, an any dll at of ong, But sch rolling had nothing peasant like or Caran ia it ‘sa an artical el the paradnistate of Teter sound at ‘once gut abet (by metalic bei of the wibration) and (qite tater (by is obvious inplantaton in the moving Ahroat) Sach phonetics (Am alone in hearing it? Arm Thea ng oie inthe oe? Bo rit ot the tah af he wie to be Taluciated Is oot the entre space of the vice an infinite space? No doubt ths was the mening of Saussue's werk on shag) rich phoned docs not exaust signifying (which irinerhaetble) at les imposes a limit on those ert of fee reduction made by whole culture upon the poem nd ts ely should not be exesvely elt to date, to spect this ‘The Gran of the Voice / 275 oltre historia. Fach Dieskaa reigns today almost ex fluiely over the lng paving song dscgeaphy, he has re forded everything: if you Ihe Schubert and you doy Ihe Fischer Desk, Schubert i nacesible to you nowadays: an ample ofthat ponte cenonhip (by repletion) which char terns mas eure withot ity eer being etd fri pete this becuse Facer’ a, expressing, di Imai, emationly clear, conveyed by a voice without “gain, vithout signifying wight, comesponds. perfectly to the ce ‘qirements of an average clr; this cult, defined by the tenon of lstening and the dsappeaance of practice (a0 sore amateur ptlermen), eager for a fori, povided {hat such art and such musi Be clear, that they “taste” an emotion and represent ¢ signed (the poem's "meaing") an art which vccoates ejoyment (by reducing i toa own, ‘ded emotion) and recones the object ith wht, amie an be aa: with what i said of rodent, bythe Acad femy, by Clem, By Opinion. Fabaéa doe not belong to this cate (he could not have done s, having sung before the advent ofthe longplving record I doubt, oreoer, that isan if he were singing nowadays, would be acknowledged ‘rene simply perceived) his reiga--very widespread betwen the wars—wat that ofan excel bougene at (ie, in 00 ‘vay petit bourgeois), concuding the fllinent ofits intral evelopment, separated fom Histony—by very false di terion; andi perp, prs and let panndssally Ba it would sem, tau tht art wat aed ginal, mandarin, ‘hati could show waces af ging [iguace, could escape the tranny of siguieation, “The “grin of the wie not—ar not ony—its timbre; the signifying it fords cannot be better dened than by the frie tion between musi and something ee, which ste lngoage {and aot the message at all). The song mst speak, or beter sll mot write, for what produced on Whe level of genoszngan4/ Rovaxo Baarnns {x ultimately writing Thi sang writing ofthe language i #2 ry see, what he Franch maleic hat acasonlly attempt fo achive. [ Enow of couse that the German lied, 100 bis teen innately Hnked th the German language by the in termediey of the omantie poem; 1 know that Schumann's ei cute wa aan that his sme Schumann once said [FSchbet that fhe had Hive tobe ol he woud ave stall ‘of German iterate to se; bt al he same Chik tot the historia meaning ofthe ld mart be sought inst mae ( nly by reason ofits folk origins). On the conta, the Bis tere meaning ofthe French mcloie i a ctain ealtue of the French language We know that the romuntic poetry of ‘our cnt is ore oso han text Bak hat oe poetry ts not ben able to doin and ofl the dod has some times accomplise in ellaberaton with it hae weed on the langage though the poe, This work inthe speily Tie grant tt) not apparent inthe gental run of lod ic prodsction,oserindalgent sit of minor poets, of the ode of the petitbougcis ball of salon practic, but i in Eonterible in sever) works: anthology (let os sy ‘stlly 3 som) in etn mde by Fad and Dope, naively in the Int (prosodic) Fare and in Debus’ yesh ‘eure (even if Palani often ngbadly: dramatically), What fe imoled in these works such more than a mia 3, iti practic cfecton (10 fo ape) om the langage; se fa gran assumption of the language tothe pou, of the poem tothe maodi, ad of the madi oie performance "Ths mean thatthe French lode derives very litle from the history of mnie anda ret deal fom the teary of the tert. The signer mist, hee agun, be redaebatd. Tet ws compare two sng deaths bath very faous—that of Borg hat of MGlsade. Whatever Musoyay’s intentions, Briss death is expres, o¢ one might even a, yster is oveoaded th fete, historia content ey perform: The Gran ofthe Voice / 295 ance ofthis death has tobe demi: this f the tienph of the phenotet the smothering of signing under the sigh fed soul. Melsande, on the cote, dies only paso two etemes ae linked, brated the pect intl of the deotation, and the pue prosdie contour ofthe ex tion: between the two 4 benefcent wid, which constituted the repletion of Bort: patho, i, acuning to Ave (why not), pasion as men speak, magne, the accep notin ff deth, endo deth, Melsande ds without wy note et 1s understand thi exprsion ints eset sense: nothing comes to dst the signer, and ise nothing compes redundane; there i production of a musiclinguage nse faneton i to prevent the singer from Bing expressive. As for "he Rosson bas, what i symbol (death) is immediatly est (without mediation) befote us (this i order Yo Foret the cepted notion cording to which what & not expres has to be cold, iotctaaly Mina’ death i “moving” this means that moves something i the chain ofthe signer). ‘The French mie has disappeared (one might even hat IRsank Whe atone) fora good many seasons ot at fst this Adsappearance has awed» good thay apes it doubts sucumbed under the image of salon origin, ich some what the parody of i eas ong: clas tse of mass falta (rao, records) hs lt st hind, prefer ithe the Inore emote orca (Mable tramp) instrments less bougeas than the piano (harpsichord, tmp). Dut ove allthis death accompanies a-much sreterhistrca phenomenon, ope which bas litle conection with the history ‘of muse or with Hat of mus taste the French are abandon ing their langage, not of coute at a socmative set of noble values (ela. eegance, comectnes)—or a lst we setecly femcem ooles muh aboot tat, for thse are institution] ‘alacs—but a 4 space of plese of enjoyment, site where the language works upon stl for wolling, ein perversion yys76 | Rouao Baxtaes (tet us real here the singuaity—the solitede—of Philippe Solr’ recent text Lai which presents the prosodic and cca work of the langage) “The “grin isthe boy in the singing vole, nthe wating und in he paring Hib, IFT perce the “pain” of this sone and i Tate to Us “an” a theoreti wae {fs the assomption of the tat in the werk), Tcanot help making a new scheme of evaluation for myself, individual 00 fab since T ain determined t listen 0 my ration tothe body of someone who singing oF Playing and since that re thon ban erotic oe, but aot a al subjective” (it not the Prvchologial “subject” inte who iste: the enjoyment that Ebi seks isnot ging, to reinforce iot—to exes him— ftom the contary will estoy hn). This elation wil be rmade outside of the aw: it wal ale the nw of cute bot fo the law of antctre; sil desel Yeyond the subject Sit the valve whichis hidden behind" ie” or “dow ie” Singers tcl, wl be ranked two extegois which we ght cll rosie, sine isa matter of my chooing what foes not choose we: hence, Tsball fly exalt some ie enon, second, ogee, even derd sett sod Isl tun tay fom se comeated sa le ws at Taras examples, they would doubtes have ony »biogaphicl vale), and T Shall shift my shoe to exer au of vorl musi inlading ppulat mos, where Fsall veo dilly recognizing the fitinction between phenosoog and genosong (certain atts indi gene have asain” which othes, however celebrite, {do no), Forte, aie frm the vice, in instramental mos the tein” Hs ack penis for if there 0 Tongs la ge hee to afford igang ints eteme for and 07, Shere least the arts body which once again compels me tom evaluation: Iwill not joge 2 perfomance accocting the ues of interpretation, the constrints of tle (which ae ‘The Grane the Voice / 277 spite ilar, moreover, almost al of which belong to the fenosong (1 sal not go into estasy over the “go” the "ylance” the “warmth” the “respect forthe sor” et), but according to the image ofthe body (the Se) whichis gun snes Tear withont a dowbt—the certitude hee of the ody, of the body's exjoyment—that Wanda Landowsha’s Iatpsichord comes fom bee inner Body, and not from the minor dtl biting of so many harpsichord (0 the point where These a dierent sntrment and th teed to pian ‘se, know iment which part ofthe body that plas: Ft 8 dhe ams af all to often it muscular as ance’ clo the talons (gates ofthe wrist Souris), triton the contrary iis the ony eo art os pais dy the pads of the Sings, hove "sia I hears tel (need tema that there seers to be nowadays, nr the presive Gf long paying records and their mas sles, attening oot of technigo, shih is paradox: al playing Matted ot into perfection: there nothing left bat pheno te). ‘AIL of this has Ben sid abont “elie!” mae (in the Toad posse sense); ut it goes without saying tat the mee consideration ofthe musi “ga” could led to another istry of moe than the one we know (which f purely pheno teva) i we were to soeceed in refining a ceria “aes thetic" of mal enjoyment, we should doubles ata Tse Importance tothe werendous breakin tonality which mode ityhad producedMusic, Voice, Language ‘Thee will be something hte prradoriclsbout the ree: tions which follow: they have for tha object augue end speck endeavor: that of sages of French at songs hom I loved a rent del, Chris Pani How can Tine the audios of Callogsum whore theme genta one in what is perhaps only avery personal st, my ens fora singer vent fom the muse eee for est twenty ve yeas and Uhrby, no doobe, anknown to mos of you? 1 order to justify ora leat excse 3 esti an eter, and one no dob anita to the customs of sac Cll, should he to ened you of his any interpretation sms to me, any dicouse of interpretation i bed on posting of valucs—upon an easton, Howstes, xt of the time, We conceal his basis: either by elim ry “sents,” we Alsguise ou evaluation: we proceed “indifermt [= without Aierence) ae fo what is seid in Hela 0 what i valid for ‘renone” (Nietache, Deeue) is om thi indiforence of vals that music wakens ws Musi, Vee, Lnguage / 379 About music no dcoune can be sntuined bot that of der fence—of evaluation, AS san a someone spe about mosiow fo¢ specie musio—as a value tl, or on the coniny thoogh this & the same thing—ss soon as somone ies shout music aa value for eveyone, a soon ay we at tak we mst lve all musiemwe fel» ind of dele coe fal ing over the most precious substance of evalntion, music ‘his “commentary.” Because commentary is onendubl, we sce that music compel ws to evaluation, imposes difercnce upon usar eke ne fll ato fle dicoue, the dcouse of moscinitsl or of mae fr everyone, ene, tis vey dict to speak aout msi: Many ites Ive spoken well aboetpaating ne think bas spoken well bout mi not even Prost, ‘The reson for this hat ‘sy dif to unite ngsage, whi belongs tthe onder of ‘the general wth mos, whic belongs to he de of diference 1 then, on season, ene can rik talking bout rms 1 sm doing toda, mst not bein onder fo “comer” sen tially or ieolgialy, 1, geneayaecordng tothe cate 00 ofthe peer in onder openly and atively to afi 4 value and to produce an ealaaton, Now my eration of Isic involves the vice, and vey specially the voice uf a singer Thave know, ae whose voie has remained i ny Me the object ofa constant lve and of a secuent meditation which has often caied me, beyond musi ova the text and toward lnguage—the French langage ‘The human voice iy at a muller of fct the privileged (cidetic) site of difeene: site which ecapes all scence fot Uhre is no sence (physlogy, history, aesthetic, prychonna: yt) which exhasts the vlc: 9 matter ow mach ou élasiy and comment on muse hitraly, socologily, thetic, technealy, there wil aways be a ermainder, 2 ap plement, lapse, something non spoken which designates tel the voice. This always diferent objet is asigned by psychoHo | Rovaxa Baxzans anata toth eatery of obj of ese: thee 0 human Che ih ot an Objet f deter of epson thee Selscaelvoe-andisonctine ht oct, Gat white vot he vols ocay it en awe ee to dine 1fonen worl bet wich dese ws den. Eve ation ‘eae nce rte and thi ey ss evoke that msc frac apprent=i ont to eal, ‘oat 1 Pmt havea oer’ elation to Pana’ vie: ott is sn ysl we ott hi i et pases ove NES, thes bur Penh langage, Hk deste no yoie i; ee {kes taped io at Tbe Ii yoie-T ae lve Mal my MEA oe. teste, wating to eae tong aad Snowing teacher, [tepid applied tothe est SSSR nergy he pend tee he watt Fan Th nan enrol red with ne at es pt me fom ‘ontnung my apres oon Sie thn 1 bv ot Sfp tng to vie on the tcl impesect ‘Cus he ap aes Pn stra msfrtane hat he ‘Sed ver recht songs etcen the was Dut tinny tos ogee be ety tse ow: Pan stopp Song tie ey advent of fhe longing rect we hve Snir some 38 pny of his work of inpeet sereodng Sontiheths cicamstnc stan sbi i Ti tong the eors ay dao toa, ibaa hee tos rei dpesapeote goal ease ie toy il ht mod ow eo hat ts way of Sing Ie note indice of he ot tn, Dt alo Tare opal, tenet oie parte fn my aime thoy cakaton nd beemse Hi therfore posse tht Tom teeny one flav We lack, I bale, 3 hitorol vcalogy of the French nao hat specie form of muse which developed, by and Mase, Voie, Language / 281 lure, fom Gounod to Poulene but of which the eponymous hemes are Fasré, Dupre, and Debussy. This melodie (cut snd ota god one) snot exaty the French version ofthe German leds through romanticism, the fed, however else ‘ated Is form, partisiates in 2 German for of existence at ‘once popular and ational. The ecology, one might sa, ofthe French modi i dierent: is iw f bit, frmatin, 2nd coarumtion is aot popu, and i atonal (French) only ‘becroe eter cuter are not mich coneemed with thie rile isthe bourgeois salon, Te would been, by reason ofthis org, to jet the French Indo today, ofa east 10 ignore Bot istry is eomple, Aili, specially if me silt to the evel of values: as Mare Ind eery een in detaching the "Greek mice” fom the social archaiem of Gaece, of Bulacan raion from Balsa’ Ueneitie convictions, We mt do the se thing with the French malodi:seck oot bow ican intext ws, despite its tins, Here for my prt ow Tsould define the Frond Indo: i the Bed ohump or chen] of celebration of the faltnated French legage At the period when Panzén sings ‘ese songs wich eleraion i coming 4 tend: the French Iunguage ino longer lug; etering ypon a notation (shoe carci have ot yet been stodied, of eve com ‘sioly perceived) 4 new French langue i being brn today, fot extty by the action ofthe "working clas” but under the ation ofan age das (margin class have today become polical realities), the young there Is, searate from oot ly hag, 2 young palance,whove mica expression x Pop. in Pati’ pesod, ui’ relton fo the old Freeh lan ‘gg in ite ertreme refinement, which iit st eGnement. ‘certain enc Inguage ding out this is what we hein Panata's singing: tthe penshable which ghitene 90 eae ‘breaking in ths slagng: fran etre art of speaking the la ‘gge has taken rege here: diction foe found among362 / Rouanp Bastwes singer, not among actor sabsenient 10 the ptitbougcois Stthlic of the Comédie ange, whieh is an aesthetic of intiulton and vot of promieiation, at was Panaéa's (10 Stich we shall tan) Pancéa’s musi phone inves, trams to me, the fo! Towing features: (+) oe pity, parte apparent i the French vowels ar exclence: the 2 forear, extrior vowel, fone might sy (si mons the Othe to enter my oie), nd the ce which neve, semantic, to oppowe future to conditional, impeset to paé simple (2) the distinct and fragt beauty af thea, the mort if vowe ofall when t most be sng, (3) the grain ofthe nasal, a tle han, 28 though spied, (4) the 1 vlled of couse, bot in no way abe tient tothe somenhat heavy oll of pest speed, fori is 50 Dre, 0 bic hat rely affords the idea ofa role 2 if eiymbole ole is to ine getienes without abandoning 4 (5) lly, the patina of evan consonant, a certain me tent: consonant which have “alighted” zather than fallen, Sounding “inde” rather than marked "This lt fete & 90 oly detiberate but indeed theorized by Panaia himelf it constoted pat of his teaching, tit ces patina of certs consomats, and served him, second fing toa pojort of evluation (once agin), to oppose tio tion and. pronunciation: atation, be sed to say 6 the Simplacrn and the eoeny of pronindsion; one must pro- ounce, never aticolte (contrary to the stupid watchword of {0 many singing manval), fr aetclatin ithe negation of Tepe seks to give each consonant the same phone ints, nee in a mii ex coonant sever the same: each Sulliblefor from being the route of an Olympian coe of hemes, given in if and once and for all~most beset {lke pecs stone) im the gene meaning ofthe pie ‘And it is es, onthe purly teh pant, eat the seope Oe Mus, Voie Language / 255 of Panis aesthetic (and I shuld ad deli) eptions suddenly appears, Artiolaton in eet, functions abusiely 35 1 preteric of meaning: cing to serve meaning, i scaly tmueads its of the two eoutay excess which ll meaning, the vag and the empha, the Inter tthe mast Sviows 2nd the mot consistent to erculate to encumber meaning with pantalla, weles without Being, forall that, spt fous, And ach elt not nocent involves the singe in 1 highly idelogial att of expreity—or, to be een more ‘rece, of dramatization the melodic line broken into fag ‘ents of meaning, into semanti igh, ato eects of hater. On the contary, pronunciation maintains the perfect cca ence ofthe line of meaning (the phate) and ofthe line of tine (the prada we elit French: Te ps; in the arts of atclton, lnguage, poorly understood as a thet, 2 staging of mening tat i sghtly Kitch, explodes into the muse and dernge i inopportunely,unsexsonably: language ‘hut tel orang i i he intr, the usace of mu fn the at of promandation, on the contary (Pan's), itis susie which eaters the ngage and rlicover there what ‘usa, what “amorous For this ae phenomenoa to occur, fo musi to ener lan guage, thre mate, of coame, x certain pique ofthe vice (by sigue T ean the way in wich the vice behaves inthe ‘olyor a which the body behaves inthe voice). What has slays stock me in Pann's vece i hat though 2 pect rmatery of al he nsances imposed by a good reiding of the ‘musa tet~mines which require Knowing how to produce ios and extremely delat “etme” —this vole was tage sored, animated by a gunsaetale stent of dese: ieis'a “ied” voice—asfgeegt (2 Schumannian word) ot ven better an eected woite—a voice which gets an eecton Except inthe most sues pani, anata alway ang264 / Rowaxe Bantwes with is entre dy, ulthoatedy: ike schoolboy who goes fut into the countryside and sings for himself a5 we yin French duet [oll the heat Bl everything bad, de- rene, anguished in his bead, To sens Pale alvays ng ith the naked oi, @ voir mae. And ii hee that we ean Test how Pani, wile honoring the at of the French nce ith ast aster, bets tata fort sing dvr me ithe very ode of the tadional folk song (today often Cluleatel by unwarranted aecompaniments)= Panza, in Secret sings the cltated sng ay thoagh 1 were a folk Song (the singing exercise asigned were always Borowed from old French songs). And hee, too, we reogaie the esthetic of reaing Tove io Pano, For the ok ong fees teaditinaly song 2 ve moe that ir Becuse it was ie portant to wndertand estoy: something being tl, which Tinos vceve without diguie: nothing bat the wice and the telng that i what the folksong want, and that—whatever the tours mnpored by eleare—was what Pnata wanted "Then what is uit Panis at neve: a quality of lan age. But this oat of language in mo way dies fram the Since of langage (poetics etre semiologs), for in be oming a ait, wha ir promoted i language ts what t does tot sy, des not afelate I the ampoken appt plese, tendemess, delay, ulna the valves ofthe most dl Cate image eproize, Mos bot what i expressed and what {Simpl in the text: what pronounced (submited tines tions) ut isnot aticolated what at once outside mesing nd nomsmeaning, fled. in that signing [signifies hich the theory of the tet tay seks to postulate and #0 Sitante Mae, Ie sgiyig, dates fom no metab fmige but only fom a dicouse of vale, of praes fom a Fone’ discourse every “nccesfl” ration —sccessfal in that it manages to say the implicit without atilatng it to pas fre aticoation without fing into te censorship oF dese Mus, Voie Lange / 85 oc the sublimation of the unpeakable—such 2 telation can Sebi be elled musica. Perhaps a thing ald only by its ‘metaphoric power, perhaps thatthe value of music hen: to ‘bea good metaphor Unpaid texto etre: 977The Romantic Song (Once apn, tonight, Tm Esteing tothe opening phase of the andante of Schubert Sint town pesfect pate at once unitary and divided, an amorous phate ever there nat one— tnd once agin I icalize how dial it is to talk aboot what tne loves What ir thereto sy about what one Ives expt: Toe i, and to keep on sying 1? My dialysate ete in tht today the romantic song tno Joger the abet Dbany grt argument: i nolan avantgarde a, there is no reed 0 do battle frit nor i i a smote or alien at, «mis Sdentood or hitlelown art for who resection we mut sna; neither ebionable nor fen ont of fashion we ‘night cil i simply untimely (natu. But paps its fst hee that is subtest provocation ito be fund: ands ot ofthis otimelines that I shoul ike to make anoer ining, All discourse abot mesic mat bein, ft wouk! seem, wih the obvious About the Schubetan phe I mentioned, I in sy only his ngs, sings simpy, teeny at the at of the pasible But sit not suprising that this assumption of song "sessence this mail ation by which ng scems to manifest "tf in al sg, should oxexrpesiely without the collabo tion of the orgs which constitute sng, ie, the vice? Tt The Romantic Song / 387 ould scem that the human voice is here all dhe more present in tat thas delegated tl footer instrament, the sing the sabstitate ecomes more red than the orga, the vin snd the cello “sing” better=or, tobe more exit, sng mare {han the soprano he baritone, because, here fx iain ton of sensuous phenomeng, ii always in displacement, in ‘ubstitution, i, imately, abiene, hat itis mow ballin rmanite "The romantic song doesnot abolish the oie: Schober wrote 650 ler, Schumann ago: bu i abolther voices, 2nd perhaps this ist evolution, Here we ist eal thatthe lietion of human voicer—tike any ciation aborted bya society is ever innocent In he peasant cis of od rua societies, {he me's ocr answered othe womens vices by thi smple vison of the sez, the group aimed the prciminaes of ‘exchange, ofthe matrinonist mae. In ow Westem sot, ‘trough the four voc regis of the ope iis Oedipus who templar: the whole fly ther ther, mother, daughter, and So, symbolically projected, whatever the detours of the Aneclote and the substitutions of roles, into bas, mez, 50 rao, and enor, I preci these four family vice which the romantic He, in 2 sens, forgets: i does wot take into account the seal mari of the wie, forthe same Hed an be Sung by aan oF by a woman; no veal “al” nothing bat {human subjectaniteml, oe might say, precise insofar 35 28 moro: for love pasion, romantic lovee no reper of ees oof social olr Ther is hse phenomenon which 4s perhaps oot isgucants itis precaly when the cata lsappar from musical Europe thatthe romantic ied appes Sn immdatly shes its bgt light: the publicly canted treat scene by 2 complex haman subject whose imag inary extol be intone Pathaps however, the rmantesong did know the temptation of & dison of voices, But this division, which vometimes Taunt i tno longer that of senso of scl oe. Teaater division: it oppose the dick vice of spernatare, or of Aemonic near, he pre vice of the sou, nt isan a it [5 tegios bat sinply human, all too human. The dabolic vocation and the mniden's prayer hee belong to the oder of ‘he sacred, not ofthe religion: what x soggsted, what here swealy pt beloe ay te angus of something that restens to divide, to separate to doce, to dsemte the bol. The ack wie, voice of Ev r of Death, 4 wicewithoot sie, a ‘ice without origin: it reoates exenhere (in the Wolfs Glen of Freschite) or becomes molinle, suspended (in Schubert's Death andthe Maiden) in every case, tno loget refers tothe bod, which is distanced in Hind of sonst. This dace vice i the exception, of coun. For the mos pat, the mantic id xighnates inthe heat of a Bat, eollete, ‘center slimate, fama ite which the singer'apd hence the Usteners~bods. To oper, iti the sexual tne of the sce (bs /tenor,soprena/mezm) whichis important, To the ‘ed onthe entry the totus (the enemble of sornds which bet suit gen woe): Bere aoexceaive note no igh . no overow oF outburst into sharps or ats, no sbres, no phyvologal prone, The testa is the modest space ofthe Sounds each of wr can prodace 2nd within the it of which Ihe can fntsze the renin nity of his Boy. All romantic nse, whether vocal or sstruenta, utes tis song of the natu body: i is amuse which bas a meaning nly fT ean loys sing fn mye with my Body a itl condition wich is denatured by #0 many mer ntesptetationy, to ato 0 ‘etowal, though which, unde cover of rubato, the interpre fers body abuely substitutes Melt for mine and robe it (Cuba) of breathing, ts emotion. For fo ang, the 0 mantic sens, th fantastically to enjoy my aid body ‘What then i this body which sings the led? What sit that, ins bods sings the ed tome Tistening? The Romantic Song / 289 Ie evrything tat rounds nme, fghten me, or makes sme desiree matte itle whee this wound, or this joy comes from: forthe lover sfc the dts abst ae ofthe Tost abandoned subject atthe romantic rong sn. Schubert lens i other at oe, two yar later hs Est seat sng Gretchen a the Spinning Wheel, ts the tuult of absence, the falluination ofthe return, ‘The romantic "hen" an ex presen in which weno longer perceive anything bat ab edu rated metaphor, a powefel orem exteme pont of the Intesior body where, simultaneously and as though conte tori, dese and tenderness, the clan of love and the semons fof plasre, violently mee: something ries my body, swells i, techs Bears eto the verge of epson, and imme ely, mystery, deprene ib weakens it This movement Inust be presi Beneath the mcodie Hine thi eis pte ted, evena the cla of melancholy aay ters he eupboria ‘ofthe und body bot i is eaught sp ina phooic volume Iehich often completes and contradicts ta sid polon, Toatked by respons, tonal or modal modulations, ethic ‘robbing 4 mobile sweling ofthe este musical substance, tenes fom the septate boy ofthe ed, ofthe lover, ofthe Tov subject, Sometimes this sblerncin movement exis in the pure stat: I belie I can hea it quite naked in» ret prelode by Chopin (Ihe Sst one): something swell, doesnot Detsing asst ter ul and then dapat ino ofcourse tht hitercly the romantic ied ocupies the whole nineteenth century and that proceeds fom Bethor tenis An de Fee Celie to Schonberg’ Garber, byway of Shubert, Schunann, Brahms, Wolt Mablr, Wagoet, and Stes (without forgetting some of Bro's Nuits Ft). Bot the agument I am siting hee & pot msiolgial: Tam ‘iscusng the Hed of Schumann and Scher, Dees at forme the incandescent cone ofthe romantic sng 71oo / Rowan Bantune Who ses to this Hed? 1 not the Bourget son, seal site whee the “romance” coded expesion of lve gute di- tint fom the Ke, wl gradbaly eine itself and engender the French melodie. The leas pace i atv, satel soxaied Sometimes, perhaps, afew fiends thowe of the Scubestids, but its tse listening space i 0 t speak the interior f the nad of my head stening tit sng he with mys for nyse. Hares msl, thin yal to an Ine: te nage ofthe Beloved in which Ilse msl and from which my ow image, abandoned, comes back to me. The led supposes ‘igoros intetocuto, but one that i isan, imprisoned in ny decpet intimacy. Opera east externa cocci fanila~iato what we might call separate vices in the He the only reactive fore the itematiabe sense of the be loved stra with a inage, which both the ge of the ese, lost, and my own image, sing and abandoned Every lied is setety an objet of detistion Ident what Tag, what Ite to, ther i icton ofthe romantie ong, 1m attielated ade, a ind of secret declaration which we Tar vty cleanly in certain variations of Schuman’ Kier 1a because here no poem comes to vest fil tI short the les inteacatr the Doable=my Deal hich i Nass: a corupt double eanght inthe dread scene of the eatked minor, a Schubert's unforgetable Dippelgnger putt "The wold of the omic ong i the lovers or the work which the amorous subject has nit he ingle ene bt {hol popultion of gues Thee Sgires ae not pero a Tite scenes, each of which const, in fun of memory, landscape, movement» mood, of osthing ni may Be the sting point of a wound, of = nostalgia, of 4 fey. Take Die Wintercne: Goodnight stats the git the lover makes of bis own deprtre a gifts furtive the beloved wil not even be The Ronen Seng / 251 troubled by i, and I oo, with, my footstep in his, Cod ‘Tear utters the ight to weap; Fro that very patie ol of abandonment the Linden Tre, the slendid romantic te, the tte of fragrance and somnolence, speaks the lt peace; On he [Riser the palin of insebingof writing—the pestect love Lastly the Hurd- Cardy Man reals the lover’ gat sung up ofthe gues of dicoure, Thi faults decision tlabonte an everaew speech out of bef fagments, exch of wih is Doth intense and mobile, cette, i what, fn romantic musi, we call the Fanta, Schbertin or Scho smannian: Fantaseen: at once to imagine and Yo improvise: in shor, hallucinate, ey o produce the netic witout con structing 2 noel Eve the Heder ees do at saat a love story, but only 3 journey each moment ofthis pure) i seo fumed ack on itl, Blind, dosed to any general mea ing, to any notion of te, to any spintull taseendence: ia short, 2 pase wondering a becoming without fli. at one stroke and 10 nt, to Bein everything all ove aga is posible to staat the att ofthe romantic song within the history of musi: to vay how it wat born, how it eed, ‘rough what tonal framework it ped. But to erate it 23 moment of cvlzation is more diel. Why the bed? By wat historical and sora determinants was there constitute, fn the lst centr, a poetic od mil Fon so typi an 90 frit? The diteaty of ansnring may dive fom this pa how: that History has produce, inthe ed, an objet wich is ‘ys anacvone. The ld inher this timc om the lovers emotion, of which it isthe poe expression. Lave Passions historical inefable because it ales fo speak, rl historia appearing at certain pesos, dsppeting at other: someting! ielding tothe deesmintions of Hisy, sometimes resting them, ae i it had lasted forever and were to list etemally. Amorous passion, that itemadiay phenomeon (23 Plat cle it), may dive ts itor! opacity fom the fact that it in fae appens down enough the cents, oly jn marginal subjects orn marginal groups disposed by Hl tory, alien to the strong, gresarius society which surounds, ses and exces them, sented they ae fom all power ‘mong the Ut of he Arab world the Troubadour of oxy Tove the Preset of our sevententh century, andthe pot ‘mutans of romantic Germany, Whenee, too, the socal ube Aquity of the Hove sentiment, hich can be sng by all aes, from peaanty to aristocracy: we recognize the tans sci tharacter in the very sleof the Schubertin Hed, which has been able 16 be at the sme tne orn alteration, Bh ltt and popu. The status ofthe manic song by nate un eran: out of date without beng repressed, marginal witht beng eccentric. This i why, dypite this msi itt ad oat appearane, we can slaty without inolence among the exteme artes the subject who expranes hie nt Singlar, untimely, deviant adnan, one might sy, by zm atinate elegans, he didnot jet made’ glorious mask, Loving Schumann There isa ind of French prejudice, wots Marcel Benuls fn hr stay of Schuman piano mas agaist Schumana: he i realy seen as Kind of "hiker Faure” Ido aot suppose we ned attabute hs kewarm etimaton to some oppostion between “French laity” sod “Geran sentimentality t0 indge by catent dcogrpty apd rio programs, the French thse dae delight in the acting musicians of “hey” omar tick, Mahler and Broce. No, the reason fr this lack of Interest (or this minor terest) titra (and no pyeho Tape Sciinan svery broadly a piano comporer. Nw the plano, asa socal istoment (and every motel sewment rom the Te fo the ssophone, pis an ideology), has undergone for century 4 ittoral colton of which Schomann i the ‘etn. The human subject has elanged: ints, ity, Solita have lest hs val, the individ has Become i treainghy pegasus, he wants colletve, masive, often par tnysmal ssi, the exprenon Of se rather than of re; yet Schumana is truly the main of solitary ntimy, of the {morons se none oul Rat speak of (whence theasp / Rovamo Bantuas sundance of pelando in hi wor, Ie that of the splendid Sth vation of the Kreering), i sore ofthe ehilé who ha on other ink than tothe Mother. “Ltening to the plano bas lo changed i ot merely that we hve ated fromm a private, at the very mote fay itn ing to a publi steningcach core even when Istene to at ome, presenting elt x concer event and he puto bacon inga Eld of achcreents—it sao tat vst ial, which cerunly exited in Schuman’ tn, since he wanted to become 4 vitowo equal to Fagin, has seed 2 mutation #0 Tenge hs to match the wordy ystens of concerts and slows, iene loager Lian now, beets ofthe rend, thas be come 3 somewhat ely prowess, a perfetathiewement (ith cut fw, without aecdent), in which thee is nothing t0 Sd faut with, bot which doer not ex dor not ary aay: far ‘om the by, nase Hence, fo toda’ pianist, enormous ‘steam but no fervor and I shoud sy, refering othe word's ‘tymolgs a sympathy. Now Schumann's plano mas which {sdf doesnot give it the mage of tot (eet, ‘two sa image ta technique); we can ply’ wether cording to theo dein nor according to the new syle (hich T shuld readily compre to the “nouvelle cisie™— ‘nderooke). This plano marc intimate (which doesnot ‘mean gen), ce ain, prvte, even individual, refactry #0 rofesonalappach ine to play Schomann implies a tec ic invoence very fw ate can man, inal, what bar changed, and fandamentaly is the plane's se, Throwghoot the nineteenth cent, laying the piano mas 2 clas acti, of couse, but general enough to coincie, by fd lage, with litening to asc myself Dagan Histening £2 Besthovenssrmphonic nly by papng them fur nd, with 2 lose fiend mentale bout them as Twat, But nowadays Tetening to musi is dvocited from ie practic: many vr ‘5s, sens, en mase: bot as for pactitones, amateus— ‘ery fe, Now (hee gain) Schuman lets his mati be fly Loving Schumann / 295 ear oy by someone who plays even Indy. have alvays teen stuck by ths paadon tha cetain pee of Sdhuana’s Aeighted me when I ple it (approsmately), and ithe di fppointed me when T heard st on records: then it seemed ‘steiusy impoverished, ncmplte, Tit wat not I bee, infatuation om ny pats Benue Schama si oes ‘rock farther hath ent ges na the body into the muscles bythe eal ofits yt, and semcow ito the vce by the ‘oluptuons please of its melae: a if on exch eccason the piece was atten eal for one pron the ene who pas it the te Schumannian panit—ceat me "Then i his an goitic mse? Intimacy is always a tle gous: that isthe price which must be paid He want 19 Fenouoce the atogines of the universal. But Schumsn's sie invohes vimeting ral, which make i into an existential father than a socal oF moral experience. This radical has ome relation to madnes, even #f Schuman’ musi i con tinanuly“wellbehaved ilar at eubmits to the code of tonality and to the fonal reguanty of malsmata. Madness rei incpent in the vision, he eonomy ofthe word with hich the sje, Schumann, extn a elation which grad {ally destroys him, while the musi elf seeks to construct iat, Marel Beals puts all this very wel: he caries and times those points where ie and mie ange pars, the fone bing destoyed, the other construct "Tha the fst point for Schumann the word isnot unre realty isnot nll and voi Hi nse by somes by certain diet fects of description, continuo refers t onerete thing: sess times of hed, landseapes, festival, protessns, Bat this rely i thetenod with dvaulation, sociation, with movements ot violent (nothing bash) but tet and, one might sy, cele “mutant”: othing ts Jong, each movement otesrpts the nets His isthe elm of the ntrmesen, a eather dizzying nation when it extends t all ff msi and hen the maxis expesened only a8 28 ec yy296 | Rousva Banrans ating (f graceful sequence of intestices. Marcel Beals Sight to seta the sours of al Schumann's piano mse the terry theme of the Catal for the Carnival i tly the {heater ofthis deserting of the sbjet (avery modem temp. tation) which Schuman expres in i hon by the cae of his ri forms (Hom thi point of vw, the Album forthe Young, if played in sequence, is not 30 wellbehaved a it oper) Tn ths fagnented wel, distorted by whiting apeatances (the whole word i @ Caml), 9 pure and someon tebly ‘otioless element occasionally breks through pin “Tf 300 asked me the name of my pain, L col not tll ou hk it 5s pain aoe and T could ot designate st Bete.” This pre ain without object, eis ence of pin is cetinly mad ‘man’s pain; we elev tit enly the mad (inar ob we name madness apd demarateouselves fom if) gute sap suffer Schumann experienced this act pain of the adam Premonitoy on the night of October 17,1835 when he Seine by the most dread fer that, proce oflesing his reason. Such pain cannot be exrened musily, mesic cn only expres the patos of pain (is sec image, ots binge bout musi can Aeetigly exes, st pan, at least pity the unprecedented qoalty of pty: to offer the Usenet pe ‘ound is an enti musical action by which mom musi has ‘ten proed (om Wagner to Cage). Schumann, of coune, ad not condocted such experiments and yet; Marcel Bests ‘ery rightly pint ot the enigmatic B natal which opens the song Mondnact and which wats ius 80 “supernatoaly.” Wisin this pespectve, coms to me, that ne mst ten, 0 ‘Schumann's music, 0 the poston of tonality. Schumann tonality is simple robs; # doer not have the marelou soph tiation of Chopin’ (notably in the Mapuhat. Bt precy 4 simploty ian insistence: fo many Schumann pier, {he tonal ange has the value of a tingle sound which keept vibrating unt it madden af he toe oot endowed ith Loving Schuman / 297 “osmie widening” (Ike the Set K fat of Ringold), but ‘ater witha matsneness which ists, smpoxng i slit to the point of eben ‘The thie poine where Schumann’ muse encounter: his madness thm. Manel Beau analyzes this very mel he shows is importance, orginal, stad nal dsolation (for example, though ‘the generaztion of scxpations) Rhythm, in Sehrmann, sa vclence (Beno shows how i does violence to the theme, rendering i "Barbaro which Chopin Aidt ike at a); but (with pain) this lenge spore is ot “acti” Schamanaian rhythm (ten carefull fo the ts) imposes itself ikea texte of Beat this teste in be etiate (eas shows thatthe Josely though tle known Intermezi re difeentiated and extended sade of pure ‘hyhm), yet it as something atypia sbou (ae proved by the fet that we never consider Schumann 4 composer of ‘lythm: he is imprioned ia meady)."To pot it deren ‘thm, in Schumann, singly enough, atin the seer ofa dual, oppositional aranization of the wel Hee ve tovch on Schuman singularity, I Believe: that point of fision at which his fate (madnet) his thought, nd 1s music cove. Tat point Beau atten “His uoense 1s without ‘strogge” he ay. This & at Bist glance,» very Pardesi diagnos fora musician who so often sulle, std 50 cruel fom opposition toi pet (mariage voetion) and whose music alnays shoddew with the laps of dese (dspondencics, hopes, deletions, iatxicatons), And yet Schumann's "madness (tisk not, obviously, 9 pychiate iagnoss, which would howify me ia tumy epets) ass (ot at east can besa toa) from theft that he “lack a on. ictal (I shoud say in my ngage: pradigmati) stractre ‘ofthe word: his mai bated on no simple and, one might say, n0 “natural” (oaturized by anonymous ult) con frontation. No Bethovenan Manichaion or even Schbertian frgity (tender melancholy of a subject i sees death facing298 / Rowans Basruee him). Thi ta muse at once disper andl unary, contnally taking oige i the luminous shaow of the Masher (the ha, ‘copia in Sumana’s wor, {belie the expresion ofthis ‘matemal unity). In short, Schumann lacks confit (neces ‘is sai, to the proper economy of the “normal” sabe!) precy insofar ay—paradencall-he males is “moody Fis “amon” (anotber imprtant notion of the Sehumannin aesthetics humors, mit Humor): in the sme way, be destroy the plsion (let ur pny on word; Iet us alo ay the pbston) of pin By experiencing fim pore mode, pst 28 be ext ym by geeraliing syaeopation, For bi oaly the extern! word is diferentated, But acceding to the Cat. nals spel ts nd stats Sehumane cesses “attacks Dut he alas doer ain the void Ts this why one pesiod pants him what is doubles 2n “how fable” pace (ofcourse hei “eat compest”), but ot a favored one (there ae many Wagnenites, many Mable, but ‘he oly Sehumanniane I now ae Giles Dene, Marcel Bes 4b, 4nd myself)? Ove period, epeily since the advent, y recordings, of mass mus, want pend images of great con fits (Beethoven, Mahler, Tealkovsly). Loving Senn, 2 Beau and his publker give evidence that they do, isin way to asume = philowphy of Neva, on to adopt = Nictschan word, of Untinelines, or again, took thi tie the most Schumann word thee i: of Night. Loving Sehu- ‘mane, dong so in a certin fasion aaa the age (have ‘etched the mots ofthis soltde}, can only be a responsible way of fvings i inal lens the subject who doce so and ‘ay 20 to posit ims inhi time acoring to the injunctions of his dst and ot scoring to thor of hissy. Bat that is another stor, whowe maratve would exceed the limits of Rasch hore nothing ler date fling nage ead yomewhr Misses emir cea, the mary of sod. In Sdmana's Keierina (Opus 16,2658), 1 atuly hear no pote, no theme, no nto, nd amma, no meaning ot ing which would perit me to veconstrct an intel struc tare ofthe work No, what {hea are lows: Ihe what Bests Jn the body, what beats he Body, or beter: hea this body that eats “Heri how 1 hear Schumann's body indeed, he ad badly, and what «body is dy was wht he ad mt of al) ‘in the St aiton i cue up ito tll hen I weave, in he secon,itstreiches out and then it wakes up t pcs, seals, tows, In the hit it fies, it extends: auger, in the fourth, peaks, declares someone dels hmsoo / Rowan Baxrwes in the ith shower it comes undone, it shudders it ie: runing singing bestng in the sh peak pls ont, what i spoken intnsfes uni ities, in the seventh i strike, bets, in the eighth it dance, but abl 3 begins sarling al over seal, beating T heart id: Schumann yrte so many sot pecs brews Ihe dt know ow to develop. A teres ets: what you reas to do is what yu ent do. "The tah sore kl thi the Schumannian body doesnot stay i place (a major sete tangression. Tis ot tetittive body tsometines makes 2 meditative gesture, Bat thoes not assme meitatin’s bearing. fit persistence, and faint poste of subsidence, Thi 3 pulsional body, ane which pusher il back and for, tus to something ee—thinks of Something ce. this is stuaned body (itoiatd,dsacted, fd atthe same time ardent), Whence the enry (et ws tai this words plage! meaning: ftom ind, looking ak nee) of he iter "The itermezo, conta withthe enti Sebomannian eae een when the epode docs not Bear name, has a its faction not fo dtact bat o pace: Lik vigilant sce thc, it kop the dsconne fom “ictng” from thickening, from Speding, fom returning obedbenty into the colt of Akvelopinent: this rencwed act (a every speecact is re wed) by which the Body sis and dstrbs the hum of aise Spovsh At the init, there ze oly intermezels what interpts ‘bin ts tr intropted, and this egins all ver again ‘ne night sy thatthe nterezn sei (ith the meaning Brecht gave ths word): by it ntenuption, its head. move tent, fe body begins to ete (to pot im eis) the dis Cue whith undercover fat others have red to pot over fon, without it Rasch / 308 The second vation begins bya seme of tetcing(e); and the meting (itermers 2) suddenly comes down the sai ase of notes (bts ater of contrast? Te would be on- Nenient to say #0: we coud then remove the sutace of the Dadigmaticstractre and recognize musa semiolgy which fnakes the mening of tnitappositins appear. But does the tly now coutais? Contat is simple storia sate ‘loa Tost, panicled, the Schomannian ody knows (atleast Here) only bifurcations it does aot construct itself it Keeps vetging scoring to an accumulition of ities it has tony that negue es (the vague can be 2 phenomenon of Strctre) of mening which we call signing [sires The sjunce of itermens has a its function not to make contrast speak but rather Fl odiant writing, which then recognizable ech ser to paint space than to the Spoken shun. Masi in short, at this eve, isan image, not a »goa / Rovano Baxzaes Tanguage, in that every image i eadiat, fom the shyt ines of rein tothe ames of comic strips The sia text doesnot fll (by contarts or ampiestion), it explodes: itis a continuous big Bon, Teis nota mate of beating st aginst the dor, inthe re somed manner of fat, What rege i that Bet inside the body, against the temple, the se, ia the Belly against the shin fom ine tthe lol ofthat whole sessbus eno tity which we al both By mtonymy and by antiphase hert""To bet” the very action of he eat (thee is 0 ‘esting” exept the her), wich acu at this paradoxical site ofthe boy central and dosentee, ligand contac, Dbonal and moral but its ao the emblematic word of two Tengung linguistics (i the grammatical example "Peter beats Paul) and pychoanalye ("A cd ising Bete"). ‘Schumann besting pani, butt ial code (by tym and tonality); and it bees the pani ofthe Bows appar Cathy Heep within the Imi ofa done language that iis finaly not perccived judging by most interpretations of ‘Shuman. OF rather: nothing ean determine i these Beats ae censored by most people, who donot want t hear then, ot Se hlcinate by one man lon, who Beas nothing but ther ‘We recone hee the very truce ofthe pragm: 2 second teat ead bot at the linittke Sabor Hiteing fe his fnagtnmatic were alone ear tere. Te seems, thea, that fniy Ywes Nat and 1 (fT may say 50) Bear the formidable oe? Ea * Rasch / 505 eating of he seventh vaition (e). Thit uncertainty (af ean of Utening the very tats ofthe Schamannian txt, collected contradictory in an excess (that of llucinatd ek. ‘denes) and an evasion (the sme tet canbe pled inspily) In methodological ters on can sy (ot eet) no model the tet: not brase i eg,” but Beau its “diferent The best-corporl and muscal-mt never be the sign of sig: the accent ot expressive Intepettion i then mel the power to ea the anagrams of the Schumannian test, to fetes the network of scents be neath the tna, shythmic, melodie retone The accents the Imusic’ ta, in elation to which all interpretation dedaes Hale. Ia Schumann (Lo amy taste), the bets are played too timid the body which takes porseon of thom ie almost always mesiose body, tind, streamlined by yeas of Con fenstoy or eaves, er more simply by the iter’ ing ‘ance, hi indiference: he pay the accent (the bet) Hike « Simple rhetorical mat; wht the visto then dpa isthe plittde of his own boy incapable of “eating” (24 i the ‘ie with Rebintein). Tee not + quit of stent, but of rage: the body must pound~aot the plans (this has Been impied here ad there by Nat and Horot) (nthe level of the bets (ofthe anagrmmatic network), ich listener exeuter what be hea. Hence, there i a ste of the mesial tet whete every dstnction between compor, interpreter, and sudo i abolish The ett estate rcarenee—thnt would be the agin of the eran, “The beat can atume thio tat Sgue, which snot neces saily that of wolen,frious scent, However, whatever, since it ofthe ode fenaymen, no Sgr can be predatedjoy / Rovaxe Banrwes romantically (evn and above al fi proposed bya romantic Comper; we cannot sty that cetsin Bre is ay or mal ‘holy, somber or joyous, ec the fg’ precion ts dstine tom is inked not to states ofthe soul but fo subtle movements ofthe body, tall hat diferent coenestes, tha histologial fabric out of which the seexpeniencing body i made. The ‘hid verti, for eample i not “animate” (melo animat}: itis rased (aafgoe!, hited up stetehed out, exeted, one night alo sy—bot this wll be the sae thing—that i po fees though a series of tnyrevlsons a if a eich inion, Something were coming undone, were tring ack, were Being fevered if all the music were entering the sudden wave of the slowing throat (3). Hence mat ell ed whatve ene any site ofthe bo fine, however bri, ven if his Sinching ser to take the romantic forms of a pcication, Pacshon, at les in the Krcieriana, iy always a stretching outs the dy setches, tend extends tomar texte form (10 setch out i to tun the lait of dimension, the very gesture ofthe unde risble body which bere wine sel back. Is there 2 beter ‘reamed srcching (ae we have een) than Bat ofthe seed ‘anton (¢)? Here eveything converges the tmlode form, the soipene Iaemony (f). Sometnes the body even cars itself pint Bll in nde to stretch itl oat all the beter Iter on: inthe second variton (g) ot inthe disguise inte Rasch / 305 mezzo ofthe thi, whose lng tretching will ry —by broad ting or rarng?—the priced swallowed ele body F the Tegnning (4) ‘What does the body do, when itenuncstes (msl)? And Schumann answers: my body kes, ny body collet fel it explodes, it divide, it pcs, or on the contrary apd ‘vithout warning (Chi the reaing ofthe intemean, which © ©306 / Rovaxo Bantues alwys comes tke a thie), it sutehes ot it wens (like the Aachnean interide oft fist variation) (2), And sometines ny not even sea, delay it double te wc it ‘peaks but say nothing: fra 00m ats mia pees oF As nsrumentalsbstiute—i 0 longer Hague bat corporeal wat it sy is aeays and only this my Body pus if tn Ste of spec: qua prlando (jad ‘Ques perendo (1 taketh indication fom one of Beethoven's agate): thie the movement ofthe body which i aout to speak. This qua partando gover an eno sae of he Schurmansian cewe,i overows the est for voice (which Rach / 07 paradoxily may aot patcpte ina ll: the istrument {the piano} speak without sying anything, in the fasion of 4 mute who reveals on bi faethe naiulate power of pceh, All tev quar poland which mark so many punts cees cone rom poe elle, hence, what his posts have ive Shuman, een mote peaps than their poets, the estate fof voce thie voice peas in onder to my nothing ot the tease (the meter) which permits i to exstto emer—as gir Soch are the igre of the Boy (the “omathemes"), hone entre forme maial signifying (hees, no more yma, 80 smote sousal semiology isting from profesional nasi ‘Wentifeavon and anangemeat of “these,” “ells” “phrases ‘it ks bypassing the Dod compostion manalr ar 0 many ‘Beoloial bjs whowe meaning to anal he ody “These figs ofthe body, which ae musa gues, 1 do not wage manage to name, For this operation reies 3 met ‘Phontal power (how woul [ter my body except in image), fd this power can occasonaly fine” ai in me, but T o not fd the vght metaphor. AS with the ffth variation, fof which a cain episode vent, rther) obsess me, bat Soho corporeal secret anno tri" nerd within se, bat I don't know where: im what pat in what region of the body and of guage (1)? As body (as my bed), the308 / Rouaxn Baatnes musical tet riddled with lot strato on anguage, ‘nomination: my kingdom for «word aT could only ite Masi, hn, sha trols with wating ‘When writing tiumph, it takes up where since, impotent to ratore the body, eaves of ony the metaphor i exact and At world safce that we be wiles Yoru to be able to account foc these musal bios, thee cope chimera, n perfectly sient fon, Soul” cling” “heat” ae romantic names forthe body erything ib cleter, inthe omanti tet, we tama the cffsve mora em by pusional corporeal one—whetey there iso harm done: romantie moe sve once he boy retar to teas soon ay Brough sma, in fact, the body rte 10 mus By storing the body othe oman text, we coc he ‘eolgeal reading ofthis text, for ths teading, that of our nent opinion, never docs anything but imert (ths i the iste of any ideology) the dys motions into movements ofthe sou, CCascalsemiology has not been interested inthe referent ths was posse (spd doubles neces) bose in the atc ntl text there always the sceen ofthe signed. But in tui ld of signing and not ystems, he reerent i unforgetable, for bere the referent i the Boy, The body ses into music wilhout any say but the sige, Ths ps Sage—this transgresion—mahes musie 4 madness: not only Schumann's ma but al mi. In relation to the wie, he compe alway mad (2nd the writer can never be, fr he ir condemned to meaning). ‘And the tonal stem—hat dos it become in thi sensation of tue mas body, inthis art of beats” which what matic ‘would ultinately be? Let us inane for tonality two conte ictry (and yet concomitant) status. On the one nd, the oo Rack / 309 hole ton apparatus is a demure sec, an sion, vel of Maya in shorts lagaage, intended to aticlte the body not sccording tos own bets is own atitlation) bt according to known onpnization which deprives the subject of any pesilty of delim, On the other hand, contaditnty oF Ailey, tonality Besmer the ready servant ofthe beats ‘which on another level tains to domestate Here are several ofthe “series” tonality perfor for the Indy: by disonace, st pets the best, here and ther to tol to “tit: by modulation (and tonal eur), scan come lee the figure ofthe Beat, give i ite specie Tomy crs up into abl, asthe it variation, bt ers up int bal alt the better if we seta tothe source ater hein leit (ms finally (to remain with the Scbumannian tex), tonality po ‘ides the By he stooges, he mot constant of on goes, fe acent (or he descent) ofthe sta: there is, we kno sexe of tones, and by traversing this sale (acon to ery divene moods) the body lines in brates, ate, dese, anguish, the appech of erase (n}po / Rovano Banrnes Tn shor, tonaty can have an accent function (it pati puts ia the pargrammatcl structure of the musical fet). ‘When te toal sistem disses (oda), tis function pases to anotee system, Sat of tbe. “Tinbraity” (the network of timbre calor) ates the Body the ene sicines of ts beat” (chime, ales, tong, pounding, steaming, echo ings, seaterings, ete). It then the “bents’—sole structural elements of the mua textwhich console mos’ trans Taso continty, whiter the sytem (ial perety stoi) the Heating body ne to progoce uence. Indications of movements of atmosphere arin genera at teoed at by the Rati coe (presto, animate, et), which i hee a purely technical code, Rettored to atother language (original or unknowa), ms’ wards open the tester ofthe ‘ody 1 donot know wether Schuman was the fst musiin to connote his texts in the vacua (such information's ually misiog from ou hilo of movie); ut T Believe that ‘he explosion of the mother tongue into the mos text am Inmpotant phenomenon, To renin wih Schumann (the man with two witestwo mothen?—the ist of whom sng and he second, Ca, wisbly gave him abundant speech hundred lide in 28, the yt of his mariage), the exploion of the Mutterirache ia musical witing i aly the declared restore tion ofthe bady~ae if the Heol of ratd, the boy Aiscoveed tsa named tel in the double depth the Beat 2nd of language; sf eth ear to mii, the mothe toague ‘eeupitd the plice ofthe eo (a won adapted om Pato by Jl Kestea): the inating word isthe receptable of oaniring Read, listen to some ofthe Schomannian words, and ee ll Sat they tll about the boy (ating todo vith any Kad ‘of metronome movement): ewes: something begs moving (not too ft), something ed ‘itt destin Re siting bane, he rating Sette he ody Aur: something wakes seis isl (ike ams 20 aya hed), something pve ints (al tes someting gts arden) tang ou take soul deep ini, yo colt youl at thet ‘of this dept, yoor byl, esl inside, ova om cw ig: ou neces in int ste; by dint of snares nde tans rod there nee ete Fee fie, ough th wre ots the xr Amer bev eit hab so poe that might even eeh—but dot cack Rach: dicted sper, eactiid,pecis yt (contry to hate) aid sd, suri, the movenent of «eet through leaves = 7 Rach: this, say the publisher, sigies only quick, fat (pret). But I who am not Geiman snd who, confonted by this foreign tongue, posses only a supeed Tstening, add fo it te teth ofthe sige 3 Thad li swept ay tort of by the wind, whipped towatd sit of dpe which rei But unknown Tra famous tex,* Beaveniste sts in opposition two seals of sigifcaton: the emia, an ode of article sign each of which bas 2 mezning (sh asthe natural language}, and the semantic an oeder of discourse no unit of whic gis Sse although the ensemble given a capocty for sing, Masi, Benveniste ms, belongs fo stmt (and not to sem ‘fs, singe sounds are not signs (no sound, in tele hat ‘meaning; hence, Benveniste contin, musie 4 a lnguage ‘which has 2st ut no eos, "Dawe, Pine nmin gnJ Rouane Banaras What Beaveiste does sot sy, but what pebape he would ot contradic, that meal igming, ina moch ceser fashion thas Lge ign is steeped in deve Hence, tne changelog. In Schumann's cae for insane, the ordet of beats tapedic (there i weaving, patchwork of iter: meni) the srt ofthe Krfenana is that of «quit: th body, one might wy, scomabis it enpenditare—sipaying takes on the eny but ao the sovereignty of am economy which destoys Hef ae it develop, i therefore rites to emanaljsiy or one might say to nxond semilgy, that of ‘he bay inmate of rss letthe St semislogy manage, if it can, with the system of noe, sealey, tones, chord ahd ‘yt; what we want to peeve and to follow is the ele festence ofthe bts, By move, we better undentind the Text as signing figs.