Chaosophy - autonomous learning

perceptual and deictic coordinates.6 The semiotic taste buds of the
unconscious haven't even been titillated before the film, as a manufactured
work, starts conditioning them to the semiologic paste of
the system. The unconscious, as soon as it is exposed, becomes like
an occupied territory. Cinema, in the end, has taken the place of
ancient liturgies. Its function is to renovate, adapt, and assimilate
the ancient gods of bourgeois familialism. The religion it serves
borrows the language of "normal" communication that one finds in
the family, at school, or at work. Even when it seems to give the
"normal" character, a man, woman, or child a chance to speak, it is
always, in reality, a reconstitution, a puppet, a zombie-model, an
"invader" who is ready to be grafted onto the unconscious in order
to dominate it. One doesn't go to the cinema with one's ego, one's
childhood memories, the way one goes to a psychoanalyst. One
accepts in advance that it robs us of our identity, our past and our
future. Its derisive miracle is to turn us, for a few moments, into
orphans: single, amnesiac, unconscious, and eternal. When, upon
leaving, we take up our "daily" reflexes again, when we find the faces
of our loved ones closed in on themselves again, we may be tempted
to prolong the impression produced by the film, if it has touched us.
It is even possible for a film to upset our whole existence. In truth,
a film that could shake itself free of its function of adaptational
drugging could have unimaginable liberating effects, effects on an
entirely different scale from those produced by hooks or literary
trends. This is due to the fact that cinema intervenes directly in our
relations with the external world. And even if this exterior is contaminated
by dominant representations, a minimal aperture could
result from this intervention. Psychoanalysis suffocates us-with
considerable luxury, it is true-it shuts off our relation to the external
world in what is most singular, most unpredictable, by
projecting the cinema of interiority onto it. Whatever its stereotypes,
its conformisms, cinema is overflowing with the richness of its
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