Diet Soap Update: conspirators of pleasure erotica fetish Hegel pleasure self-consciousness sex surrealism svankmajer
This week I discuss Hegel’s Phenomenology of Spirit with my lovely wife Miriam. We take on the section entitled Pleasure and Necessity and discuss how Jan Svankmajer’s film Conspirators of Pleasure seems to enact Hegel’s critique.
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Here’s a quick explanation of Hegel and Self-Conscious desire:
Our self-consciousness, this way of seeing or perceiving, seeks an object as something alien from itself, it seeks to enjoy this object and in enjoying it to understand the distinction between the self-consciousness and its object as something that belongs to self-consciousness. We cease to live for ourselves, but in seeking to enjoy our separation from the world, we lose ourselves to this universal category of separation.
Essay: althusser fetish ideology landru shatner spock Star Trek
I want you to imagine Captain Kirk beaming into your living room and attacking your flat screen digital TV, to imagine he’s doing it in an effort to set you free from the constraints of early 21st century barbarism. He’s killing your television by asking it to solve some unsolvable logic problem. Kirk is whispering the liar paradox to the DVR.
It’s always the same with Kirk. He beams down and outfoxes a computer God, or kills a robot girl with a kiss, and this time it’s your television he’s after.
Imagine your set is sputtering, about to explode, and then it switches on. For a brief instant, just the time needed for a flicker of light to appear before the set goes dark forever, a television program appears onscreen. What’s on the TV? What would does your television turn to in its last effort to figure out a solution for Kirk’s riddle? The answer is Star Trek, obviously, because Star Trek itself is a kind of Technicolor logic bomb. Your TV set is probably showing the episode with Captain Pike and the Orion Slave girl because that’s the one I’d choose.
Kirk understood the show and used his understanding to kill computers. In the second season of the original series, in an episode entitled I Mudd. Kirk explains his own show in order to kill an android named Norman.
KIRK: What is a man but that lofty spirit, that sense of enterprise, that devotion to something that cannot be sensed, cannot be realized but only dreamed! The highest reality.
NORMAN THE ANDROID: That is irrational. Illogical. Dreams are not real. […]
(Smoke comes out of Norman’s head.)
Back in 1986 William Shatner appeared in a comedy sketch on Saturday Night Live and told Trekkies everywhere to get a life. In the sketch he asked Jon Lovitz if he’d ever kissed a girl and told the crowd of SNL cast members playing the part of Trekkies at a Star Trek convention to leave their parents’ basements and experience the real world.
“I mean, for crying out loud, it’s just a TV show! I mean, look at you, look at the way you’re dressed! You’ve turned an enjoyable little job that I did as a lark for a few years into a COLOSSAL WASTE OF TIME!” Shatner shouted.
Shatner could never kill a computer. He doesn’t understand how people use BLAs like Star Trek to live their lives, how some of us even use Star Trek to kiss girls. It sounds impossible, but you really can take your enjoyment of Star Trek quite a long way. In fact, the first time I realized just how far was, coincidentally, my first time.
I was in my girlfriend’s parent’s old house, a house that they couldn’t sell after they’d moved out, but she still had keys and we were in the empty space that had been an upstairs rec room. There wasn’t any music playing, nor electricity, and we didn’t have anything to drink that might lubricate our coupling. What we had was the Star Trek Edition of a Golden Trivia game. I was in my girlfriend’s parent’s old house, a house that they couldn’t sell after they’d moved out, but she still had keys and we were in the empty space that had been an upstairs rec room. There wasn’t any music playing, nor electricity, and we didn’t have anything to drink that might lubricate our coupling. What we had was the Star Trek Edition of a Golden Trivia game.
Before we got around to intercourse on the wall to wall orange carpet, doing it on the spot where the entertainment center had left a indentation, we asked each other questions about M class planets and the Federation. Rather than grope and undress, rather than struggle with the clasp of a lace bra or the buttons on the fly of a pair of blue jeans, we played strip Star Trek Trivia. We were geeks and this seemed natural to us. We found a way to use our mutual affliction in order to get off.
“Why did Kirk display such inordinate love and affection for Dr. Helen Noel?” she asked me.
“Who? Which episode was that?”
“Do you know the answer?” she asked. I didn’t, or pretended that I didn’t. I ended up giving her my left sock, but, for the record, the answer, per the back of the card, is this: “Kirk was under the influence of a powerful suggestion implanted by use of a devilish machine.” The episode was the Dagger of the Mind and the machine was called a neural neutralizer.
Okay, he didn’t really. He died before Star Trek was ever on the air. But if you google the words fetish and repetition you’ll find a link to a book called Fans, Bloggers, and Gamers: Exploring Participatory Culture. More specifically you’ll find a link to this passage:
“Neither the popular stereotype of the crazed Trekkie nor academic notions of commodity fetishism or repetition compulsion are adequate to explain the complexity of fan culture.”
But this assertion simply underestimates the complexities involved in both fetishism and repetition compulsion. Fetishism and repetition compulsion can produce Baroque results, and can certainly explain most of the more faithful fan tributes to the series.
For example, last summer I took the family to Cathedral Park for something called Star Trek in the Park, and watching the reenactment of “Journey to Babel,” seeing Portland actors, hipsters dressed in perfectly authentic uniforms complete with wavy stripes on their shirt cuffs and with perfectly reasonable facsimiles of a Tellarite pig nose or Andorian antenna when necessary, was a queasily religious or fetishistic experience.
The Atomic Arts Ensemble delivered the lines from the original episode and typed into invisible computer panels, their fingers wiggling methodically in thin air. They stared at a view screen that wasn’t there, stared through empty air out at me, and I experienced something like Déjà vu. The repetition of “The Journey to Babel”, the uncanniness of the Atomic Arts reproduction, unsettled me.
Adam Rosko played Kirk for Trek in the Park, and he was perfect. He did an especially good job when he fought the Andorian. He perfectly replicated Shatner’s fighting techniques, and watching him I stopped thinking or comparing. I didn’t have to think.
Rosko grabbed his blue opponent by the shoulders, fell back, and used his right leg to flip the alien onto his back. Then Rosko rolled onto his stomach and dove for the alien’s right arm, for his right hand which held an Andorian dagger, but the alien rolled over onto his belly and stood up. The Andorian tried to wrench his arm out of Rosko’s grip and then used his left hand to deliver a Karate chop which sent Rosko reeling. The Andorian turned on him and lunged with the knife. Rosko as Kirk dodged to the right and, when the alien swiped at his head, Rosko both ducked and brought up his knee, delivering a blow to the Andorian’s belly. The alien bent over in pain and Rosko delivered Kirk’s signature double fisted blow to the alien’s right side. He then jumped at the alien, using both feet and delivering a double kick, but ending up on his back. Rosko rolled over and started to slowly crawl away on all fours (too slowly, what is Kirk waiting for?) and the Andorian grabbed him by the neck and stabbed him in the right side. Was this the end?
Of course not. Rosko reached back and flipped the Andorian over his left shoulder. And when the Andorian got back to his feet and reached for the knife that had flown out of his hand, Rosko was on him fast. Rosko kicked the Andorian in his face and knocked him out cold. Then Rosko flopped against a pole and used the Intercom prop to call the bridge.
Freud says that the sensation of the uncanny arises when what is familiar is made to appear unfamiliar, and what I experienced when Rosko fought like Kirk was precisely that unfamiliarity of the familiar. It was the perfection of the repetition that unsettled me and made Star Trek seem strange again.
Here’s an experiment: Try repeating the same word over and over again like a mantra. Take any word. Better yet, try the word Spock.
Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock. Spock…
After awhile the word, the sound of it (or the look of it on the page or screen), will separate from it’s meaning, and all that you’ll be left with is an empty shell. If you say the word Spock often enough all you’ll be left with is the detritus of the name. Spock himself will disappear. Through repetition Spock can cease to be Spock. Through repetition Spock can become something mysterious and unknown. Spock can become uncanny.
To really understand what a fetish is and how the fetish relies on a repetition watch episode seven of the original Star Trek series. It was entitled What Are Little Girls Made Of and on the show the Enterprise sets off to rescue a man named Doctor Korby. Korby was lost during an off world expedition to the ruins on the planet Exo 3, and when the Enterprise arrives Kirk discovers that Korby is living underground with a bunch of life like replicants. Korby learned the secret of the underground ruins and used the ancient technology there to fashion himself friends and servants. After Kirk arrives Korby tries to convince him that these android doubles represent a step toward immortality. These doubles are a triumph, another victory for human reason, another step forward toward enlightenment and away from bodily corruption, but as events unfold Korby reveals himself to be a villain. He has one of his androids, a giant named Ruk left over from the days of the Old Ones, murder several red shirts. Worse he duplicates Kirk and attempts to take over the Enterprise.
Typical, isn’t it?
Eventually we come to know that Korby himself is an android. The real Korby duplicated himself right before he died, and when the duplicate Korby is revealed as an android the effect is uncanny. Korby is a machine, and when this is revealed he becomes pathetic. Nurse Chapel, Korby’s former lover, recoils.
KIRK: You were a man with respect for all things alive. How can I explain the change in you? If I was to tell Earth I was in your hands, to tell them what has become of you (Kirk jumps Korby and traps his arm in a door. The skin tears to reveal electronics.)
KORBY: It’s still me, Christine. Roger. I’m in here. You can’t imagine how it was. I was frozen, dying. My legs were gone. I was, I had only my brain between life and death. This can be repaired easier than another man can set a broken finger. I’m still the same as I was before, Christine, perhaps even better.
CHAPEL: Are you, Roger?
It’s a creepy scene. It’s not just that we come to see this new Korby as a robot, but that we can’t stop ourselves from seeing him as also human. The revelation of Korby’s double fundamentally undermines the integrity of the original.
If a fetish is going to keep working it’s creepiness and inauthenticity has to be denied, if not unknown.
We have to pretend to be authentic in order to keep pretending, and to do that we have to find someone who is innocent, somebody who is authentic, who will believe in our fetish for us. That’s what Barthes was looking for in his essay on the Death of the Author, while in the Star Trek episode the dirty job fell to Kirk:
KIRK: In here, Spock.
SPOCK: Captain, are you all right? Nurse? Where’s Doctor Korby?
KIRK: Doctor Korby was never here.
But, Korby was there. It’s just that he’d turned himself into a robot. That’s a pretty messed up thing to do, of course, but it is also perfectly normal. It turns out that beaming a robot is the only way to become human.
Another French Marxist, a nut job named Louis Althusser, explained how this works in his essay Ideology and Ideological State Apparatuses. He wrote:
Notice that he’s doubling up on fantasy in that line. Althusser wrote that an ideology is not just some imaginary myth a person believes, but rather it’s the myth people believe explains why they believe in myths. An ideology is not some false picture of the world but our false picture about our false picture.
Take the notion of God. An ideology isn’t the belief in God but the explanation of this belief. The obvious one about God is that we believe in him because he’s up there in heaven, and while he’s pretty much inscrutable he’s giving us some basic ideas and helping us to believe in him. However, another ideology about God wouldn’t take God to be really up there at all. An atheist ideology would explain God to us by suggesting that we’ve been manipulated by a caste of ancient priests, kings, or authors. It’s these rulers who foisted a believe in God on us, and they did it in order to control us. Why? Because they’re bastards.
Or, taking a different point of view, an ideology might explain our belief in God by blaming the world itself. Life on Earth is filled to the brim with toothaches, irritable bowels, plagues, killer bees, and people like Justin Bieber. Living in world like this one requires people imagine a God in heaven. Who wouldn’t fantasize about God when faced with the plague? There are no atheists in foxholes. And no one remains Godless after they’ve been made to watch reality television programs like The Biggest Loser or Jersey Shore. The reality of living in and off this kind of filth and debris pushes us into a God delusion.
But Althusser wanted to get past all of these explanations. He wrote that ideologies are simply necessary. Ideologies are fantasies that support our relationships with each other and these false pictures give us our very identities.
Think of it like this:
An ideology is a picture we take of the world and then pretend is real. We do this by ignoring the camera we took the picture with and all of the other mechanisms and relationships that had to exist in order for that camera to land in our hands.
A 1972 a documentary advertisement or promotional film for Eastman Kodak and polaroid spelled it out.
“Since 1947 Edward Lamb and Polaroid have pursued a central concept, one single thread, the removal of the barrier between the photographer and his subject.”
This idea that a photograph could be taken without “any barriers between the photographer and his subject” is the idea behind every BLA, every robot, there is. It is also the goal of James Kirk in episode after episode. He lands on a planet, discovers that there is a barrier between the people on the surface and the society they’re living in, and sets off to kill or remove the barrier.
SPOCK: This is a soulless society, Captain. It has no spirit, no spark. All is indeed peace and tranquillity. The peace of the factory, the tranquillity of the machine. All parts working in unison.
KIRK: And when something unexplained happens, their routine is disrupted.
SPOCK: Until new orders are received. The question is, who gives those orders?
SPOCK: There is no Landru, Captain, not in the human sense.
KIRK: You’re thinking the same thing I am. Mister Spock, the plug must be pulled.
KIRK: Landru must die.
SPOCK: Captain, our Prime Directive of non-interference.
KIRK: That refers to a living, growing culture. Do you think this one is?
In the episode Return of the Archons Kirk and his crew discover that the citizens of planet Beta are mindless automatons. They are perfectly pleasant, if a bit placid, most of the time, but occasionally, on the instruction of an invisible voice, they erupt into a riot. Kirk arrives a few minutes before one of these cathartic festivals and witnesses the smiling denizens of Beta transform into shrieking hysterics who beat and fuck each other in the streets.
The trouble is that the people of planet Beta are under the control of a figure named Landru, and Landru is a computer. Kirk is nearly assimilated into this “body” but manages to kill the computer instead. Kirk demonstrates to Landru that the computer itelf is a contradiction. The computer is working against its own programming simply by following the program. Landru’s effort to create a sustainable and harmoniously balanced society has created a stagnant society instead, and Kirk puts it to Landru that Landru should destroy itself because the computer’s efforts toward harmony creates disharmony. Landru follows the logic and self-destructs.
However, once Landru is destroyed a new order, a new mechanism, has to be established if life on Beta can continue. Kirk calls in the Federation to establish a new world order for the colonists. He destroys one barrier and then quickly erects a new one, and all the while he assures the colonists that they will love this new barrier because they’ll find it isn’t a barrier at all.
Paradoxically, Kirk both understands the paradox and doesn’t. There is no real and natural life. The people of Beta will always need a Polaroid Camera, a computer like Landru, or a show like Star Trek, if they want to be able to leave their parents basement and manage to kiss a girl.