Behind this exacerbated mise-en-scène of communication, the mass media, the pressure of information pursues an irresistible destructuration of the social.
Thus information dissolves meaning and dissolves the social, in a sort of nebulous state dedicated not to a surplus of innovation, but, on the contrary, to total entropy.
Thus the media are producers not of socialization, but of exactly the opposite, of the implosion of the social in the masses. And this is only the macroscopic extension of the implosion of meaning at the microscopic level of the sign.
e’ rest
the confusion of the real and the rational
Yet again, everything seems to escape this catastrophe of value, this neutralization and pacification of life. Fascism is a resistance to this, even if it is a profound, irrational, demented resistance, it would not have tapped into this massive energy if it hadn’t been a resistance to something much worse. Fascism’s cruelty, its terror is on the level of this other terror that is the confusion of the real and the rational, which deepened in the West, and it is a response to that.
the sinister impression of kitsch
All these events succeed each other without logic, in the most contradictory, complete equivalence, in a profound indifference to their consequences (but this is because there are none: they exhaust themselves in their spectacular promotion) – all “newsreel” footage thus gives the sinister impression of kitsch, of retro and porno at the same time – doubtless everyone knows this, and no one really accepts it.
that overdose of a strong referential
Power itself has for a long time produced nothing but the signs of its resemblance. And at the same time, another figure of power comes into play: that of a collective demand for signs of power – a holy union that is reconstructed around its disappearance.
[…]
The melancholz of societies without power: this has already stirred up fascism, that overdose of a strong referential in a society that cannot terminate its mourning.
among principles
The only weapon of power, its only strategy against this defection, is to reinject the real and the referential everywhere, to persuade us of the reality of the social, of the gravity of the economy and the finalities of production. To this end it prefers the discourse of crisis, but also, why not? that of desire. “Take your desires for reality!” can be understood as the ultimate slogan of power since in a nonreferential world, even the confusion of the reality principle and the principle of desire is less dangerous than contagious hyperreality. One reamins among principles, and among those power is always in the right.
a visible myth of origin
We require a visible past, a visible continuum, a visible myth of origin, which reassures us about our end.
i personaggi angelici
Se è vero che i conflitti nella storia sono prove per affrontare la vita e consumiamo storie per trovare gli indizi su come sopravvvivere, allora il deus ex machina non ci aiuta e, come tale, risulta insoddisfacente.
I personaggi angelici possono solo indicare la via mostrando al protagonista un altro modo di essere o pensare.
grande indignazione
Buonasera da Eliza Kazan. Grande indignazione in tutto il paese per un nuovo scandalo che sta scuotendo le istituzioni. Seguitelo oggi, perché domani non se ne parlerà più, e non ne troverete più traccia.
In ogni caso, nessuno dei parlamentari coinvolti si dimetterà, e tutto riprenderà come prima, in attesa del prossimo scandalo.
gli uomini che pensano
SECONDA VEGLIATRICE Tutto lascia scontente, sorella… gli uomini che pensano si stancano di tutto, perché tutto cambia. Gli uomini che passano lo provano, perché cambiano insieme a tutto… Di eterno e di bello c’è solo il sogno… Ma perché stiao ancora parlando?
PRIMA VEGLIATRICE Non lo so… (Guardando la bara, con voce più bassa) Perché si muore?
soltanto vivere
SECONDA VEGLIATRICE Raccontiamoci delle storie a vicenda… Io non ne conosco nessuna, ma questo non è un male, non può far male… Soltanto vivere fa male…