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+ (copii abandonafli. pærinfli în abandon)cu o treaptæ mai sus. În filmul de desene animate Furnicutze (The Antz, 1998),personajul ræu e un general cu convingeri fasciste. Teoria sa: trebuie sæ aparæun moment în istoria unei colonii de furnici cînd furnicile superioare (luptætoriiînaripafli) vor elimina furnicile inferioare (muncitorii simpli). Împotrivacomplotului militarist al înæcritului general se ridicæ tînærul muncitor Z,care, alæturi de prinflesæ, reuøeøte sæ îi dejoace planurile diabolice øi sæ aducæo victorie copleøitoare binelui. Scenariul e clasic, însæ imaginea ne spuneo cu totul altæ poveste: personajul generalului are træsæturi negroide, iar Z,prinflesa øi Regina sînt caucazieni øi doar în legæturæ cu ei se repetæ pe parcursulfilmului cuvîntul „frumos“. Animalitatea, animalul joacæ aici rolul neutralitæflii,a ceea ce mediazæ, în aparenflæ nevinovat, inocent, ferit de prejudecæflile rasialeale cotidianului. Generalul îøi introduce planul mefistofelic, de mobilizare acohortelor sale împotriva muncitorilor oneøti, cu cuvintele „I had a dream“– micæ diferenflæ, curioasæ asemænare cu riturnela faimosului discurs din 1963al lui Martin Luther King Jr. La finalul filmului, dupæ ce eroul, prototip al tipuluiobiønuit, the average guy, îl învinge pe masivul general øi obfline toateonorurile øi prinflesa, iar forflele binelui triumfæ definitiv, o imagine din lumearealæ vine sæ îøi asigure asocierea cu toatæ încærcætura de afecte pozitive masatecu aceastæ ocazie: profilul uøor de recunoscut al Manhattanului. La acel nivelmental la care este asimilatæ o asemenea finalitate supremæ, printr-o imaginea cærei receptare solicitæ un mod instantaneu al înflelegerii, se terminæregimul neutralitæflii, pretins de animalul-mediu: inocenfla a priori a animaluluiface posibilæ o legæturæ socialæ fondatæ pe complicitate inconøtientæ.Iatæ limitele relafliilor din acest bestiar: „copii“ gata sæ ræspundæ docil øi amuzantinterpelærilor continue ori proiectafli într-o sumedenie de lagære, oriøantajafli cu tirania tæcutæ øi færæ de sens a inocenflei, øi „adulfli“ folosindu-seîn mod inconøtient de infantilism pentru a legitima interpelærile aparatelorputerii, pentru a cere lagære øi a legitima violenfla în numele inocenflei. Abiaobservînd aceste limite, ipostaze virtuale ale unei economii reale a dorinfleiîntre Suprem øi Aspiranturæ, putem ridica întrebarea referitoare la posibilalor comunitate: dar familia, dupæ deschiderea spre libertate øi eliberareade sub totalitarismul comunist, a devenit ea un punct de deschidere cætresocietate?Notæ:1. Margaret Morse, „Cotitura“, in IDEA artæ + societate, #22/2006, pp. 152–158.are insinuated into the very intimacy of the come-and-go process of desiresbetween the child and the adult.And if the social bond, the socialization of the infantile imaginary, is shapedthrough the mediations of object-commodities and the interruptions of interpellation-acts,what else remains to give the very law of the social bond, ofsocialization, but the animal?The most loved “Father” in the world, Stalin, had called the writers “soul engineers“,but the creators of animal characters of the culture industry went,no doubt, a step further. In a cartoon called The Antz (1998), the villain isa general with fascist convictions. His theory: there has to come a moment inthe history of an ant colony when the superior ants (the winged warriors) willeliminate the inferior ants (the simple workers). Against the militarist plotof the sour general stands the young worker Z, who, along with the princess,manages to ruin his diabolical plans and help the forces of Good prevail.The script is a classical one, but the image tells us quite a different story:the general’s character has Negro features, and Z, the Princess and the Queenare Caucasians, and they are the only ones in the course of the movie repeatedlyreferred to as “beautiful”. Here, animality, the animal, plays a neutralpart, of that which mediates, apparently innocent, safe from the racial prejudicesof everyday life. The general introduces his Mephistophelian planof mobilizing his troops against the honest workers using the words:“I had a dream” – a little difference, a curious resemblance to the ritornelloof the famous 1963 discourse of Martin Luther King Jr. At the end of themovie, after the hero, prototype of the average guy, beats the massive generaland gets all the honours and the princess, and the forces of the Goodtriumph, an image from the real world takes shape and comes to be associatedwith the whole load of positive affects amassed with this occasion:the easily recognizable profile of Manhattan. At that mental level where suchan absolute finality is assimilated, through an image claiming a split-secondunderstanding, the neutral regime claimed by the medium-animal ends:the a priori innocence of the animal makes possible a social bond based onunconscious complicity.These are the limits of the relations in this bestiary: “children” ready toanswer, docilely and funny, to the ongoing interpellations, or projected in aninfinity of soft camps, or blackmailed with the silent and meaningless tyrannyof innocence, and “adults” unconsciously using infantilism in order to justifythe interpellations of the power apparatuses, to ask for camps and to justifyviolence in the name of innocence. Only by perceiving these limit-cases, virtualsituations of a real economy of desire between the Supreme and the Aspiring,we can raise the question concerning their hypothetical community: afterthe opening to freedom and the liberation from communist totalitarianism,has the family become the base point of an “open society“?Note:1. See Margaret Morse, Virtualities: television, media, art, and cyberculture,Bloomington and Indianapolis, Indiana University Press, 1998, pp. 48–60.123