These centuries of realist hysteria will hopefully result in a deep destabilization of the physical elements. That the elements themselves can change is proven by how past epochs lived with different elements, and so we can someday have other atmospheres, other waters, and other electricities. Elemental composition is a relational procedure where our interiority is composed from intensive differences like warm-cold, soft-hard,and wet-dry. Aesthetic codes mark the topography of perception, and they allow for the abstraction of perception. In my theory, these codes result from the commodity. This the vicarious commodity, where the value is not in consumption but in collateral effects. This commodity goes unnoticed and disappears in favour of the desire that it brings about. This commodity is almost nothing, like a ripple, a vortex, a break… the effect emerges because of an ordering of mediation that it reflects. This ordering of mediation produces desire because it disrupts unconscious time, and brings the self into the experience of alterity with itself in awakening with the other. The vicarious commodity generates an erotic alienation, which is surprising because the self had assumed it was welded to itself. The commodity melts a bond and restores a partiality that relieves the pressure of joiussance. Everyone knows that it is impossible for the self to gather itself at its origin, and the harder it tries the more it withdraws. The self is always limited to some part of itself, and can only have one side which is conditioned and determined by other sides which it is not. Miserable fate arises due to the negation of this original limitation. The vicarious commodity provides relief by setting up a mediation which facilitates the acceptance of partiality and exposure across the rupture with the other. There is a teleological link between commodities, Kantian categorical ethics, Lacanian mathemes of sexuation, and the manner in which environments are inhabited . The Lacanian mathemes should be treated here as mathemes of races that imply inter-colonial sexualities. Sex here is closely linked to withdrawal and the sharing of partiality, where parts are chosen to leave other parts free. But then it is important to remember the non-sexual which makes the other into the dust and the night of the void. The vicarious commodity would effectuate the impossible synthesis of sexuality with non-sexuality by setting up an aleatory mirror that reflects the distribution of races and civilizations. Civilizations are symbolically unstable because the conceptual elements that compose their relations (generation, sex, and class) are redeployed to code the relations with other civilizations. This is the paradox of how what is indigenous can only relate to the foreign on its own indigenous terms. It’s important to distinguish this ethnographic code-mess from the symbolic proper, which is the financial system. The vicarious commodity is an imaginary supplement that supports the integrity of a minimal symbolic order that runs beneath the radar of finance. It’s important to remember that love and politics are not the same, but it is also important to assume their constant confusion, because they are both at stake in the circulation of vicarious commodities which bifurcate partiality. This commodity makes the self into a plastic moving abstraction, and provides it with access to its own fictional core which it freely dilates. The power of sovereign movement is founded in the aesthetics of the sublime, which is the limits of the same’s difference from itself. What is sovereign includes a part for everyone. Sovereignty is a narcissism of infinite parts that comes from the self’s infinite divisibility, and the infinite variability of its partitioning of the parts it can leave for the others. To purify this infinity, it’s necessary that the self withdraws into the void, a movement that contests the prevailing market semiotics and matrices of exchange. Liberal markets always operate on a presumed natural partitioning and moral sharing which is impure and restrictive, in that it uses the organic and concrete of the image to quilt and capitulate life into finance. The self is purified in the solitude where its concept dissolves into abstraction. The concrete of partiality loosens, and gives way to an aleatory and stochastic partitioning of selfhood. The impurity to be removed is the clarity and reality of the concrete giveness and finite presence of the mirror attachment, which is the anchor for a restricted partitioning, and subordination to the division of labour. Purification is the progressive distortion of the mirror, until it becomes pure distortion or abstraction, and the paradoxical impurity of pure desire. The infinity of the imagination becomes possible through the mirror’s opacity. To leave parts imperceptible is the abandonment that leaves available an infinite partition.
Thinking requires agile movements between contradictory systems of representation, and it is never wise to choose one system over some other systems. We must avoid all rude negations, and let negation keep its own subtlety and secrets. To let negation withdraw into her lair where she quietly distils the spectra of nullity, which separates into such abstract processes as subtraction, avoidance, non-recognition, dissimilitude, effacement, erosion, erasure… all the metonyms of the void. In the labyrinth we become the Minotaur in order to pronounce the secret names of the void. The labyrinth is the withdrawal of things out of themselves and into the differences which relate them, or the withdrawal of things into their medium. The labyrinth is the paradigm for encounter with the void, where the subject is ideated through battlefield transference. A dangerous becoming takes place across the chasm, where the maternal imago is translated through the Minotaur’s blindness, and expelled as a noise erupting deep within his body. To know the void requires crossing the greatest chasms, because the void is where everything must find a place, and so there is no question of favouring certain things and refusing others, but just to find the cadences and distributions between things which are farthest apart. Knowledge of the void is the capacity for neutral judgement, which is the essential rite of passage. This event is the translation of the image (nature, mouth-breast) into death/writing (digital capital). The labyrinth is where our most primary maternal aspects find places among the symbols of the dead. Our affects of maternal death enter some contract or substitution which marks their eternal place among the dead. Primary maternal traits are the disturbing subterranean pressure that first pushes us into the labyrinth, which is the broken utopia where they can surface. The labyrinth is where maternal aspects become paternal, or in Lacanian terms, this is the transition from the hysterical to the master discourse. In the curvature of the void, the maternal undead is the first substance that separates from the neutral background, where her appearance is most terrifying, such as a succubus or Medusa for example. This ugliness rises from the depth towards the surface, where it is eventually pronounced as a name. This is how maternal jouissance is converted over into symbolic codes, and pathology is relieved by the miraculous advent of esoteric institutions. An anthropologist once wrote that “a fetish is a god under process of construction”, and that is the process of the ascension of the maternal vampire towards her copulation with the Minotaur in the hermaphroditic circuit. To proceed with this ascension, we turn a few corners in the maze, and come upon the strange double mirror that separates North America and Asia, with its mysterious cracks running through the history of races and their inter-colonial sexuality, and the ceremonial conjunctures between industry and religion where fate is bound. This phase is a masquerade, where the symbolic value of the dead mother is undecided. This is an encounter within subjectivity assembled by capital with its signature satisfaction, and this erotic encounter is the great epochal conspiracy. North america is resevoire of dead labour, the past labour accumulated in bonds, which vampirizes on the living of Asia. The North american is a hungry ghost who returns workless and insomniac to plant the spell of abstract value as a putrid kiss on the lips of oriental puberty. In this masquerade, we can choose our roles according to our knowledge of optics and acoustics, but our choices are cruelly limited by the singularity of things, and by the secret laws of inheritance and taste. Our most elementary capacity is to undermine capitalist simplicity through disruptive complexity, because that is how zombie spells are broken. We are monsters on our way to meet capital, which is our code name for each other. Our eyes are shut and our mouths are open.