Chaosophy - autonomous learning

dominant redundancies, accelerates the most "innovative," "constructivist,"
"rhizomatic" components.
3. Cf. Louis Hjelmslev, Essais linguistiques. Paris: Minuit (1971), and Prolegomenes a
une thiorie du language. Paris: Minuit (1971).
4. Christian Metz, Language and Cinema. The Hague: Mouton (1974); Film Language,
A Semiotic o/the Cinema. New York: Oxford University Press (1974).
5. The recent development of free radios on miniaturized FM transmitters would
seem to confirm this tendency.
18. The Poor Man's Couch
1. One could speak here of "film viewing-acts" in symmetry with the "speech-acts"
studied by John Searle.
2. "One offers you beautiful images, but in order to entice you: at the same time that
you believe that you are having a treat, you absorb the ideology necessary to the
reproduction of the relations of production. One dissimulates historical reality for
you, one camouflages it under similitude of convention that is not just tolerable, but
fascinating: so much so that you no longer even need to dream, nor have the right
to do so, because your dreams could be nonconformist: one gives you the kind of
packaged dream that disturbs nothing: tailormade fantasies, an agreeable phantasmagoria
that puts you in tune with your unconscious, for it is understood that your
consconcious must be given its due, from the time when you are knowledgeable
enough to draw upon it and beg for it. Cinema today puts at your disposal a house
unconscious perfectly ideologized." Mikel Dufrene in Cinema, Theory and Reading.
Paris: Klincksieck (1973).
3. With his theory of the little object a, Lacan came to treat partial objects as logicomathematic
entities ("There is a matheme of psychoanalysis").
4. One should take up again the analysis of Bettini and Cosseni, who distinguished
the notion of iconicity from that of analogism: the filmic syntagmatic, in some way,
"analogizes" the icons which are transported by the unconscious. See "La semiologie
des moyens de communications audio-visuals," Cinema. Paris: Klincksieck (1973).
5. The psychoanalyst is somewhat in the position of the spectator at the cinema: he
assists in the unfolding of a montage that one fabricates especially for him.
6. With television, the effect of deterritorialization seams attenuated, but perhaps it
is still more underhanded: one bathes in a minimum of light, the machine is before
you, like an amicable interlocutor, it's a family affair; in the Pullman car, one visits
the abyssal profundities of the unconscious, then one switches to advertising and the