Realistic Full Body Silicone Baby in San Angelo at Target

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Warholian Machinehood Ii:
World Text equally External Time Consciousness ^[1]

Michael Angelo Tata

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Voluptuous Nullities

[1] Of all the machines that Andy Warhol emulates and ultimately becomes—for example, a productive automobile generating paintings according to the assembly line methods of the mod manufactory, a self-regulating machine holding its own amidst a sea of junkies and other dissipative types, a bachelor machine whose only marital partner is his record recorder—he is, mechanistically speaking, best classified equally a recording car, an observation I make based upon the activities and functions preferred and performed past the Warhol-machine over an expanse of decades. Wishing to capture Merleau-Ponty's "prose of the world" on tape, on flick, in impress, and in activity, he lives out ane of the most important functions of Deleuze's and Guattari's corps sans organes (le CSO): the registering of everything on his surface. [ii] Consequently, their work is indispensable equally a theoretical framework the contours of which facilitate inflow at a deeper comprehension of Warhol'south desire to find himself totally subsumed past the endless work of echo and mimesis.

[2] Given that one of Anti-Oedipus' critical projects is an excoriating analysis of capitalism's psychological ramifications upon the self caught up in its networks of product and consumption, I can imagine no ameliorate place to aim their quiver of arrows than at Warhol'south emblematic capitalist practice; recording capitalism equally lived experience, Warhol presents himself as an platonic target for my CSO-turned-missile. Of all capitalists, Andy Warhol is the most exemplary CSO, as it is through his highly mediated self-reports that the schizo achieves artful expression. Warhol'southward endless and nauseating oscillation betwixt desire and anhedonia, his separateness from and openness to intersubjective experience, his dual drives to hoard and evacuate: these propulsions mark him as profoundly divided, consummately schizoid (and, hence, good for you, as it is only the schizo who "gets it"). For Deleuze and Guattari, the CSO starts out its life equally a counterflow: it knows but itself, and makes no provision for the beingness of others. This autistic CSO finally achieves the manic illusion of its plenitude primarily through the act of recording—the key feat Warhol uses to ascertain his being every bit human being being, creative person and automaton. In Deleuze and Guattari'south schema, the antiproductive, nuclear, cocky-enclosed CSO finds itself repulsed past desire ("desiring-production"), making itself impermeable to its machinations for the sole purpose of survival ("eyes closed tight, nostrils pinched shut, ears stopped upward," 37-38). Since desire presupposes an openness which would destroy the CSO's insularity, the CSO resists desire with all its might, plugging its orifices against whatsoever intrusion.

Self Portrait No. ix, 1986

[3] Finally giving way to want, the CSO with its "production of product" (defined here as an antiproduction—for case, the creation of an unconscious or an id) morphs into a miraculating motorcar on whose skin the "production of recording" is effected (the autistic CSO now gravitates toward the desiring-machine, which adheres to its surface as an appended trunk of organs likened by Deleuze and Guatarri to a fencer's padded conform). In Deleuze'due south and Guattari's words, "[t]he body without organs, the unproductive, the unconsumable, serves as a surface for the recording of the entire process of production of desire, then that the desiring-machines seem to emanate from information technology in the apparent objective movement that establishes a human relationship betwixt the machines and the torso without organs" (xi). Through the procedure of recording, a recursive subject inadvertently materializes—a bailiwick which will undertake the endless work of consumption without respite:

Befitting to the pregnant of the word "process," recording falls dorsum on (se rebat sur) product, merely the production of recording itself is produced by the production of production. Similarly, recording is followed by consumption, but the production of consumption is produced in and through the product of recording. This is considering something on the lodge of a subject can be discerned on the recording surface. It is a foreign subject field, however, with no fixed identity, wandering nearly over the body without organs, but always remaining peripheral to the desiring-machines, beingness defined past the share of the product it takes for itself, garnering here, there, and everywhere a advantage in the course of a condign or an avatar, being born of the states that it consumes and existence reborn with each new state. (sixteen)

In this morphological programme, a portion of the free energy of recording, or "Numen," is transformed into an free energy of consummation/consumption, or "Voluptas." [3] Replacing cocky-enclosure with solar expansion, the CSO now becomes the whole of the world (its narcissism moves from master to secondary). [4]

[4] Voluptuous, consumption takes place when the paranoid CSO has converted itself into a megalomaniacal CSO. Virtual, the wandering bailiwick produced equally an subsequently-effect of the CSO's curious attraction to desiring-production at present experiences an intense enjoyment. Thunderstruck at the miracle of its beingness, the full CSO revels in its own magic: "Desiring-production forms a binary-linear system. The full trunk is introduced every bit a third term in the series, without destroying, however, the essential binary-linear nature of this series: 2, 1, 2, one" (14). Never closing upwardly into the overjoyed space of the polygon, the CSO and its requisite series turn down the triangulation which defines Oedipalization: "The series is completely refractory to a transcription that would transform and mold it into a specifically ternary and triangular schema such as Oedipus. The full body without organs is produced as antiproduction, that is to say information technology intervenes within the procedure as such for the sole purpose of rejecting whatsoever attempt to impose on it any sort of triangulation, implying that it was produced by parents" (15). The full torso—actually a CSO which has forgotten that it is a CSO—entertains the fantasy that information technology has engendered itself, emerging into history as a "glorious organism" in which the subject area narcissistically loses itself. Deleuze and Guattari conjecture this third machine, the full trunk, as being fundamentally celibate: "A genuine consummation is achieved past the new car, a pleasance that tin rightly be called autoerotic, or rather automatic: the nuptial celebration of a new brotherhood, a new birth, a radiant ecstasy, as though the eroticism of the machine liberated other unlimited forces" (18). Lost in the "solar force" of its sudden density, the total body sensually devours the "intensive qualities" unleashed by the act of energy-transformation (Numen → Voluptas) (18). [5] In this organization, the activity of recording counts as an human activity of prélèvement by which a quantity is extracted from a whole and a partial object—for case, Cornelius Castoriadis' "Bad Breast"—is introduced. [6] Sampling a portion of a material catamenia, or hylè, prélèvement slices into diverse ontological streams: "It functions similar a ham-slicing machine, removing portions from the associative flow: the anus and the flow of shit it cuts off, for instance; the oral cavity that cuts off not just the flow of milk simply also the flow of air and audio; the penis that interrupts non just the period of urine but also the flow of sperm" (36). All in all, three respective detachments ascertain subjectivity: (1) the CSO's libidinal slicing-off of associative flows (prélèvement), (2) the recording device's manipulation of Numen (détachement), and (iii) the full trunk's voluptuous residual break, or coupure-reste, with desire in the production of its virtual existence.

[v] For Deleuze and Guattari, the human activity of recording produces delirium. In their layout for a "materialist psychiatry" (a psychiatry of the schizoid and florid complement to Sartre'southward Existential Psychoanalysis), they ground their new praxis in the fact of sensual excess: "Delirium is in fact characteristic of the recording that is made of the procedure of production of the desiring-machines; and though there are syntheses and disorders (angel) that are peculiar to this recording process, as we run into in paranoia and even in the paranoid forms of schizophrenia, information technology does not plant an democratic sphere, for it depends on the operation and the breakdowns of desiring-machines" (22). Intoxicated past its joyous mimesis, the CSO brings its being into concreteness through the human activity of inscription. Queer species that this writing is, it makes the CSO's undifferentiated surface a screen on which the earth is non passively represented, merely actively reproduced. Oddly enough, the work of recording does not produce memory. Radically "decoded," the capitalist system institutes an axiomatic arroyo to organizing and regulating difference; this decoding causes amnesia to corrode the human being listen. [vii] Through this axiomatic approach, recording culminates in an intoxicating effulgence and so immediate that there is no possibility of a past: "In that location results, finally, a fourth characteristic that places the axiomatic in opposition to codes. The axiomatic does not demand to write in blank mankind, to mark bodies and organs, nor does information technology need to fashion a memory for man. In dissimilarity to codes, the evident finds in its different aspects its own organs of execution, perception, and memorization. Retentivity has become a bad thing" (250).

Edmund Husserl'south ITC

[half-dozen] Along with the disappearance of memory comes the eradication of belief; no longer signifying something apparent, language becomes radically businesslike, indicating only "what is going to be washed" (250) or what has been done. Substituting the Internal Fourth dimension Consciousness, or ITC, of Edmund Husserl for an ETC, or External Time Consciousness, of my own positing, language performs the work of memory through the recording of transpired deportment. [8] Not able to recall anything itself, the CSO as total torso locates memory in the earth text it inscribes on its undifferentiated surface. No longer personal and internal, memory radiates outward, finding itself fetishized in the ETC. The illuminating rays of Husserl's "Diagram of Time"—EE', or the continuity of the present moment with the horizon of the by, PP', or the continuity of the presented immanent Object with its recollective trace, OE', the sinking down (Herabsinken) of a presentified phenomenon into a mnemonic residuum of its physical features —find their brilliance stifled by this bizarre organism who situates memory not in the pulsating fibers of its cerebral thing nor in the associated phantasms of a vibrant mind, but in the impersonal and inexpressive language of the instruction manual, the fiscal report, or the public archive. Obviating the entire mind/trunk problem which has plagued modern philosophy since Descartes starting time made thinking the substrate of existence, the CSO, in possession of neither listen nor body, and living merely in virtuality, makes information technology belated, if non impolite, to draw topographies differentiating corporeal from incorporeal structures.

Everything Is Everything

The WS in Spacetime

[7] Warhol'south complicated compulsiveness to tape the Globe Text on the ancillary surfaces of his jammed pages—a veritable 2d skin which, like his mottled skin in the 1986 inconspicuous self portraits, becomes the site of projection — embodies the schizoid-amnesiac'south invention of a time consciousness located exterior to itself: here, in a diaristic epidermis generated by both Warhol and his amanuenses (primarily Brigid Berlin and Bob Colacello). I define the "World Text" as all that transpires within intercorporeal infinite: the motions of bodies as they navigate social and biological gradients, the miniscule movements, stases and eruptions of the world's inhabitants as they trace out what physicists refer to as a "world-sheet." [9] Through books like a, POPism, Andy Warhol'south Party Book and the Diaries, and through almost all products of his cinema and painting, Warhol pushes the human activity of recording to its ultimate limit (total ennui). De-slicing the proverbial ham, he reverses prélèvement to the effect that an impossible whole is (nearly) returned to. The ambiguity of the CSO, which engages want at the aforementioned time that it flees information technology, pops up continually in Warhol's piece of work—as demonstrated by his alternating paranoia and rapture with regard to matter. [10]

[8] Even beyond the foundational flip-flopping between conquering and evisceration, hoarding and dispersing, in that location is some other key contradiction: the anxieties surrounding the amassing of material things do not surround his accumulation of recorded things. The massiveness of the Diaries, for instance, causes Warhol no discomfort, while the merciless flows of a bother only sidekick Ondine, and exclusively in the rare intrusion of a biological urge: "O—(indistinct) D—Huh? Ding ding ding O—I thought I was being stuck in the can...um spah/hah-uh um rrr Oh, Yeah, knocked out...I hadta go to the bath and then much, dropped out on this side an go??? D—Nooo, don't get O—Merely I have to D—Nooo: you can wait a little while O—Owh, but I accept to P—Bring your tape recorder CRASH (glass breaking)" (425). For Deleuze and Guattari, production is distinct from acquisition, the sometime inspiring creative rapture, the latter causing only privation:

The deliberate creation of lack as a function of marketplace economy is the art of a dominant class. This involves deliberately organizing wants and needs (manque) amid an abundance of production; making all of desire teeter and fall victim to the great fright of not having one's needs satisfied; and making the object dependent upon a real product that is supposedly outside to desire (the demands of rationality), while at the aforementioned time the production of desire is categorized as fantasy and nothing just fantasy. (28)

Falsely substituting acquisition for production, capitalism fabricates as its to the lowest degree usable commodity the schizophrenic: "Our social club produces schizos the same way information technology produces Prell shampoo or Ford cars, the only departure being that the schizos are not salable" (245). Making these schizos salable, and maybe fifty-fifty condign one himself, Warhol records their globe-sheets with precision, accumulating the reports of their trajectories without any qualm any every bit to excessiveness of materiality. Making his ain schizoid experience a hot article, he packages and distributes his weirdness, likewise. Experiencing the anxiety of parataxis in the sphere of economics merely not aesthetics, Warhol shamelessly compiles an exhaustive record of the 1960s, '70s and '80s through the process of taping-and-transcription (fifty-fifty in the example of ghostwritten materials, like Philosophy). Perpetual voyeur, he gazes robotically at all that transpires in the vortices around him.

[9] Fearful of missing out on even the most banal moments of other people's lives, Warhol sets in motion a perpetual motion machine designed to get everything downward on newspaper, canvas or celluloid. Even the return of figuration brought about by his version of Pop can be read in this style: namely, every bit a strategy for recording the existence and behavior of bodies, most, only not all, of them human being (the lives of aluminum cans and cows must as well be recorded). Things fill Warhol's imagination, compelling him to dedicate and so much of his life to representing their oscillations. Although the earth text is not meant to be consumed, Warhol's supreme text tempts his audience with the prospect of doing then. Offering an "All You Can Eat" buffet deal at casino of the soul, they lure the young and brave to undertake obscene and inhuman acts of consumption. Getting people to picket the entirety of an unwieldy picture like **** (1966-1967), Warhol sets a new limit on homo perception:

**** was shown in its twenty-five-hr-long version only once, at the New Movie theater Playhouse on Due west 41^st Street on Dec xv, 1967. The screening started at 8:xxx p.m. and concluded at 9:30 p.yard. the following evening. Some spectators drifted in and out, took naps in the lobby, or fell asleep in their seats. The theaters manager claimed that near ane-third of the patrons who had shown up for the start of the picture were present by midafternoon on the second 24-hour interval. About twenty people stuck it out to the very terminate. (Bourdon 265).

Recording the globe text, Warhol recasts the visual arts, cinema and literature as phenomenological claiming. Who are these 20 people who have such stamina that they can consume a 25-hour moving-picture show? [eleven] As Stephen Koch has pointed out in Stargazer with respect to Empire, mayhap these products are made only for the car's (or automaton'southward) gaze. [12]

[10] The totalities which interest Warhol are entirely fictive, yet offering up an guess whole tailor-fabricated for the difficult-core consuming machine. Basing his ain subjectivity on the act of recording, Warhol makes technical prostheses his own battery of appended organs. Little can escape their machinations. Rare Diary moments when Warhol's devices are turned off by other authority figures produce sporadic holes in his world-textuality, as when, in an interview with Rudolph Nureyev, things go haywire:

In the long taxi ride from the Manufacturing plant to Lincoln Center, Andy didn't say a unmarried word because he was furious that Robert [Mapplethorpe] was conveying a Polaroid Big Shot camera, just equally he was. Robert fought silence with silence, while I chattered on brightly similar a Washington socialite seated betwixt the ambassadors of Iran and Republic of iraq. When Nureyev entered the fray it was more than than I could handle; I merely stood in the wings taking notes for Interview and my diary. The boxing royal started like this:

WARHOL: What color are your eyes?

NUREYEV: The interview is canceled.

To make sure that his edict was obeyed, Nureyev pressed the off switch of Andy'southward Sony (Colacello 108).

Warhol isn't turned off and then ofttimes; his acrimony and hurting at being refused the right to tape marking loaded moments when a different Andy emerges. While attention an International Center of Photography benefit for Jackie Onassis, Warhol suffers the humiliation of not being permitted to photograph his icon: "So hither we were in this room where we didn't even recognize anybody except each other and this girl comes over to me and says, 'I know y'all take a camera, and you tin can take pictures of anybody hither except Mrs. Onassis'...When we walked into this room there were 4,000 photographers taking pictures of Jackie. And that horrible girl had come over to tell me I couldn't!" (Diaries, Wed, November nine, 1977). When separated from his prostheses, Warhol falls back into autism, for without them his very subjectivity dissolves.

[11] The world text is Warhol's most substantial contribution to the history of art. [13] Technically speaking, it should not be. A and the Diaries are obscene entities. Filled to saturation with the residues of lives, they arrest a social flow merely minimally. Promiscuous, they offer a bloated, engorged and unconsumable textual (and social) body. Part documentary, part anthropological travelogue ("This is how people are doing things in New York City, in Monaco, in State of kuwait..." these books whisper), Warhol'due south unmanageable books frustrate both reading and estimation. Their lexicality taunts the human sensorium with the prospect of giving the attention bridge a rough working over. Through their overlap, ane machine multiplies geometrically. For case, information technology takes POPism to inform u.s. that the sleeping machine we come across in Sleep is actually a hibernating poem-machine:

At the outset of the year you could pick upward your telephone and Dial-A-Poem, and by June you'd be able to even Dial-A-Demonstration—yous chosen a number and a recording really told you where the public protests around boondocks were that twenty-four hours. The star of my movie Slumber, John Giorno, the stockbroker-turned-poet, was the Dial-A-Poem organizer, and the Architectural League was the sponsor. John told me that it was the porno poems that got the about calls. ("1968-1969," 255)

Condign automatized ourselves, we feel our eyelids turn to titanium; equally machines, nosotros visually eat John Giorno turned Dial-A-Poem turned Dial-A-Delta-Wave.

The Time Capsules: An Infinity of Junk

Fourth dimension Sheathing #44

[12] Offering himself up as consummate social mirror, Warhol founds his own "frail" trunk upon the robust textual body of his literary and cinematic monoliths. Full across whatever standard of decorum or decency, they are vitally profane, and push sensuality to the limit of utter indifference and banality. Like Hanoi Hannah's crowded room at the Chelsea Hotel in the film Chelsea Girls, they are too populous. Also like Hannah'south boudoir, they are too enervating, and require the birth of cyborg subjectivity in club to be consumed and interpreted/"processed" (even in The Chelsea Girls, Ingrid Superstar tin can simply meet Hannah'due south demands through servo-mechanicity). [fourteen] Externalizing all memory, they recast the world as 1 behemothic time capsule into which all the mean solar day'southward residues are coldly tossed: "I hope Allen Ginsberg doesn't call me nigh it," Warhol remarks equally he jettisons Ginsberg'due south petition against Iran's Princess Ashraf into a monthly fourth dimension capsule "along with the fan mail, the hate mail, the nut mail, and the record-visitor press releases" (Colacello 364). All sewage flows into i stream: like information technology or not, even matter doesn't matter. Unable to remember anything, Warhol situates retentivity in the monstrous corpus of his compiled works, which function as a petrified cerebral cortex. Husserl's ITC, a phenomenon toyed with in Warhol's experiments with junkies, finds itself scandalously involuted: information technology lives on as an inert, and, from the standpoint of a Zeitgeist, representative monument or memorial (full of names, full of history). An ETC which is also an "etc.," or "et cetera," becomes hideously erected equally a testament to nothingness. Eye- and ear-sore, it floods and bursts axon and dendrite alike, breaking up into fractured identities and disarticulated causalities. Perchance Warhol's body isn't so weak after all—mayhap he's not and so swish.

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Notes

[1] This essay serves equally the companion piece to "Warholian Machinehood: Automatic Emptiness and Autonomic Self-Regulation" (Nebula, Spring/Summer 2006). In this slice, I examine Warholian automatism in terms of autopoiesis and homeostasis as a prelude to analyzing the particular "mimetic" nature of his machinehood (i.east., his identity every bit recording device).

[2] For Merleau-Ponty, the world text is written in a neural prosody whose perpetual hum and flux become the proper objects of phenomenology. See Maurice Merleau-Ponty's The Prose of the World (Illinois: Northwestern Academy Press, 1973), as well as his The Visible and the Invisible (Chicago: Northwestern University Printing, 1990) and Phenomenology of Perception (London: Routledge Classics, 2002).

[iii] In terms of my before discussion of entropy, I am tempted to ask Anti-Oedipus what happens to the quanta of energy lost equally the CSO passes from recording to consumption. Equally Numen is converted into Voluptas, some quantity drops out of the equation, dissipated into the environment as an unuseful, wasted, entropic by-product. Where this energy goes remains to be theorized. For Stephen Hawking, even black holes possess entropy, permitting small quanta of energy to escape their gravitational havoc: perhaps he can locate the missing energy lost to voluptuousness. See his "Black holes Ain't So Black" (103) in A Brief History of Time (New York: Runted Books, 1988).

[4] For the distinction between primary and secondary narcissism, run into Freud's On Narcissism: An Introduction (New Haven: Yale University Printing, 1991). For Freud, the type of narcissism emerging later in life stems back to the self'due south primal inversion. Not to be dislocated with autoeroticism, according to which the cocky experiences the pleasure of its contours and orifices without constituting itself equally dearest object, primary narcissism results when an individual averts its gaze from objects in the world and lavishes its tenderness upon itself. My contention is that while the airtight-off, stopped-upwards, originary CSO experiences a master investment in itself every bit pleasurable object, merely the king-sized, expanded final CSO takes its own cocky-pleasure equally a form of dear.

[5] In Deleuze'due south and Guattari's estimation, the autoeroticism of the chaste automobile ties to the self-dearest of the literary machine. Citing Maurice Blanchot, they identify a programme for literacy celibacy: "Maurice Blanchot has plant a manner to pose the problem in the most rigorous terms, as the level of the literary automobile: how to produce, how to think about fragments whose sole relationship is sheer difference—fragments that are related to one another only in that each of them is different—without having recourse either to any sort of original totality (not even one that has been lost), or to a subsequent totality that may not yet accept come up about?" (42).

[6] Castoriadis puts forth his theory of the Good and Bad Breasts as competing fractional objects in his Imaginary Institution of Society (Cambridge: MIT Press, 1998). For Castoriadis, the fact that a breast can role equally source of nourishment and starvation works to destabilize the infant's delivery to a reality which seems at times to exclude it.

[7] While codes are fundamentally "indirect, qualitative, and limited," axioms are direct, quantitative and unlimited. Axiomatic, capitalism makes money "a general equivalent" that is "indifferent to the nature of the flows" (248). Through it, one catamenia subordinates some other. Never exhausted, the evident continually generates an immanent more. Deleuze and Guattari'south model for their axiomatics is the piece of work of mathematics' Bourbaki grouping: "Nicolas Bourbaki is the pseudonym of a group of French mathematicians who are known for their work in the theory of sets and for their advocacy of an 'axiomatic method' which 'allows usa, when nosotros are concerned with complex mathematical objects, to split up their properties and regroup them around a small-scale number of concepts: that is to say, using a word which will receive a precise definition later, to allocate them co-ordinate to the structures to which they belong'...In this fashion they propose to elaborate a language of mathematical formalization capable of integrating the different branches of mathematics" (251). Their reference is to Bourbaki's Elements of Mathematics, Vol. three: Theory of Sets (Reading, MA: Addison-Wesley, 1968).

[8] See Husserl'due south Phenomenology of Internal Time Consciousness (Bloomington: Indiana Academy Press, 1969) for a word of the unifying piece of work performed by the man's interior mechanism for processing phenomenal flux as astounding flux. For Husserl, the ITC functions every bit an ontological gum not merely producing temporal continuity, but through its production of an apparently seamless time reflecting a prior phenomenological seamlessness which comes to be a salient feature of the world.

[9] Brian Greene describes a world-sheet in his Elegant Universe: "...[I]magine that nosotros view the interaction between two strings with a camera whose shutter is kept open up so that the whole history of the process is captured on ane piece of film. We show the result—known every bit a string earth-sheet—in Figure six.7c. Past 'slicing' the world-canvas into parallel pieces—much as one slices a loaf of bread—the moment-by-moment history of the cord interaction tin be recorded" (161). Furthermore, the world-canvass prevents tears from interrupting the continuity of spacetime. In catastrophe theory, the world-sheet insulates the universe from such dangers: using the technique of Feynman sums (calculation up all possible trajectories a cord may undertake), Greene proves that the world-canvass'south movements, actual and possible, produce "a shield that cancels the potentially cataclysmic effects associated with a tear in the textile of space" (279).

[10] Co-ordinate to Deleuze and Guattari, the antiproductive CSO never disappears; rather, the closed and open CSO generate an alternating current. "The genesis of the machine lies precisely here: in the opposition of the process of production of the desiring-machines and the nonproductive stasis of the torso without organs" (9). From this gradient of flows emerges the schizoid: "What we are really trying to say is that capitalism, through its process of production, produces an awesome schizophrenic aggregating of free energy or charge, against which it brings all its vast powers of repression to carry, but which nonetheless continues to act as capitalism'due south limit" (34).

[eleven] The only queer analogue which rivals Warhol'southward films for their challenges to stamina and longevity is the circuit party. Though I cannot mankind out this argument here, my thought is that, similar Warhol'south monster films, the excursion party places strange demands on attention; similar those 20 "kids" who survived ****, the few brave souls who brand it to the stop of the excursion outcome also achieve a sort of glory based purely on their ability to consume the unconsumable. On this count, see Michelangelo Signorile'south Life Outside: The Signorile Report on Gay Men: Sexual practice, Drugs, Muscles, and the Passages of Life (New York: HarperCollins, 1997)—specifically the affiliate "The Evangelical Church of the Circuit" (75-132).

[12] For Koch, a film such as Empire is not made for human consumption, but is best suited to the unimpassioned consumptive voraciousness of the mechanical lens. Only an automaton can endure Warhol'southward excesses. Run into his Stargazer: The Life, World and Films of Andy Warhol (New York: Marion Boyars, 1991).

[13] Another candidate for the producer of a globe text would exist de Sade, for whom even the raunchiest sex act eventually turns into precise narrative. For this reason, Roland Barthes, in Sade/Fourier/Loyola (Baltimore: Johns Hopkins Academy Press, 1997), dubs him a logothete, or founder of a linguistic communication. Through (1) self-isolation, (two) articulation, (iii) ordering, and (4) theatricalization, the Sadean logothete turns the sexual tableau into a scene of excessive pleasuring. Repeating criminal offense in language, de Sade multiplies enjoyment through a narrative doubling; his globe text echoes the earth for the purpose of maximizing sensual and intellectual rapture: "Thus the Sadean theater (and precisely considering information technology is a theater) is not that ordinary place where we prosaically pass from voice communication to fact (in line with the empirical blueprint of application), only the stage of the primal text, that of the Storyteller (herself the product of how many inductive codes), which traverses a transformational infinite and engenders a 2d text, whose chief auditors become its secondary utterers: an unending motility (are we not in plow the readers of both texts?) which is the aspect of writing" ("The Language Space," 148).

[14] In the Hanoi Hannah segments of The Chelsea Girls, Mary Woronov, playing the part of Hannah, torments and terrorizes a captive Ingrid Superstar for an audience of fellow sadists (International Velvet) and masochists ("Pepper"). Chock total of freaks, the room becomes the pervert's inertial frame of reference.

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Bibliography

Barthes, Roland. Sade/Fourier/Loyola. Trans. Richard Miller. Baltimore: Johns Hopkins University Press, 1976.

Bourbaki, Nicolas. Elements of Mathematics, Vol. 3: Theory of Sets. Reading, MA: Addison-Wesley, 1968.

Bourdon, David. Warhol. New York: Abradale Press, 1989.

Castoriadis, Cornelius. The Imaginary Institution of Social club. Ed. Richard Bernstein. Cambridge: MIT Press, 1998.

Colacello, Bob. Holy Terror: Andy Warhol Close Up. New York: Cooper Square Press, 1990.

Deleuze, Gilles, and Guattari, Felix. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Helen R. Lane. Minneapolis: University of Minnesota Press, 1989.

Freud, Sigmund. On Narcissism: An Introduction. Ed. Joseph Sandler, Ethel Spector Person, and Peter Fonagy. New Oasis: Yale Academy Press, 1991.

Greene, Brian. The Elegant Universe: Superstrings, Hidden Dimensions, and The Quest for the Ultimate Theory. New York: Vintage Books, 1999.

Hawking, Steven. A Brief History of Time. New York: Bantam Books, 1988.

Husserl, Edmund. Phenomenology of Internal Time Consciousness. Trans. James S. Churchill. Bloomington: Indiana Academy Press, 1969.

Koch, Stephen. Stargazer: The Life, World and Films of Andy Warhol. New York: Marion Boyars, 1991.

Merleau-Ponty, Maurice. The Prose of the World. Illinois: Northwestern University Press, 1973.

—. The Visible and the Invisible. Trans. Alphonso Lingis. Chicago: Northwestern Academy Printing, 1990.

—. Phenomenology of Perception. Trans. Paul Kegan. London: Routledge Classics, 2002.

Signorile, Michelangelo. Life Outside: The Signorile Study on Gay Men: Sexual activity, Drugs, Muscles, and the Passages of Life. New York: HarperCollins, 1997.

Warhol, Andy. a, a novel. New York: Grove Press, 1998.

—. Andy Warhol's Party Book. New York: Crown Publishing, 1988.

—. The Warhol Diaries. New York: Warner Books, 1989.

Warhol, Andy and Hackett, Pat. POPism: The Warhol Sixties. New York: Harcourt Brace Johanovich, 1980.

Warhol, Andy, dir. **** . Andy Warhol Films, 1967.

—. The Chelsea Girls. Film-makers' Cooperative and Museum of Mod Art Film Library, 1966.

Realistic Full Body Silicone Baby in San Angelo at Target

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