Chaosophy - autonomous learning

a deep syntax of latent contents or in the transformational system
that ends up with, on the face of it, the manifest content. Relational,
emotive, sexual significations-I would prefer to say intensities-are
constantly transported there by heterogeneous "traits of the matter of
expression" (to borrow a formula that Christian Metz himself
borrowed from Hjelmslev) . The codes intertwine without one ever
succeeding in dominating the others; one passes, in a continual back
and forth, from perceptive codes to denotative, musical, connotative,
rhetorical, technological, economic, sociological codes, etc ...
Commercial cinema is nothing else but a simple, inexpensive drug.
Its unconscious action is profound. More perhaps than that of
psychoanalysis. First of all at the level of the session. Cinematographic
performance affects subjectivity. It affects the personological
individuation of enunciation and develops a very particular mode of
conscience. Without the support of the other's existence, subjectivation
tends to become hallucinatory; it no longer concentrates on one
subject, but explodes on a multiplicity of poles even when it fixes
itself on one character. Strictly speaking, it doesn't even concern a
subject of enunciation in the usual sense-what is emitted by these
poles is not simply a discourse, but intensities of all kinds, constellations
of features of faciality, crystallizations of affects ... It reaches the
point where one no longer knows who is speaking or who is who.
The roles are much better defined in psychoanalysis, and the
subjective transitivity much better controlled. In fact, one doesn't
stop using the discourse of the analyst: one says what one thinks
someone would like to hear, one alienates oneself by wanting to be
worthy of the listener. In cinema, one no longer speaks; it speaks in
one's place: the cinematographic industry uses the kind of speech it
imagines one wants to hear.5
A machine treats you like a machine, and the essential thing is
not what it says, but the sort of vertigo of abolition that the fact of