The Quantum Leap of the Critic into the Third

Was it merely an accident that the trademark for this historic event has Marilyn above a diptych of Adam & Eve? Marilyn’s split identity — of the celebratory champagne blonde Marilyn Monroe & the brooding brunette Norma Jean — was that of the American Love Goddess resurrecting the pre-patriarchal Venus, with her two faces of the Morning & Evening Star.

The self-reflective event examining the role of the critic taking place in Museo Nacional de Arte Reina Sofia in Madrid was meant to happen in Spain.

I am sharing my optimistic perspective of a quantum shift in the art world based on five events getting considerable media dipoverage in the last 12 months.

The glorious structure of the museum itself was a proclamation of Spain’s official passage into a modernism when it opened in 1992.

The view from the external glass elevator of Reina Sofia.
Yet, strangely the modernism set against the tradition of Spanish art in the Prado where I was immersed in art history while standing before Dutch and Spanish masterworks during my junior year abroad.Spanish gatekeepers — such as Juan Manuel Boner Director Instituto Cervantes Juan Manuel Boner, collector Javier B. Martin and Pablo Jimenez Burillo, Director de la area de Cultura de la Fundacion Cultural Mapfire — holding the institutional keys of the post Franco epoch, appeared in full force to ask self-reflective questions about their own hegemonic rule…

Spanish heavyweight Jose Maria Juarranz de la Fuente (art historian, editor and gallerist) attempts to answer “What are the critical limits? Who criticises the critic?” While sitting beside Tomas Parades, President of AECA Spain.

…But where were the movers and shakers of “la movida” which made Spain politically and culturally one of the most liberated and exciting places in Europe? I learned this in Argentina in 1984, which was attempting to emulate the Spanish freedom in breaking out of their military dictatorship with a transgender aesthetic I struggled to capture as literature in my first novel, Champagne Tango.

I decided to begin my Spanish paper from a subjective view, of my teenage experience with the late night transgender scene revealed in Madrid’s hot spot — le Drugstore in 1978. A decade later, this 360 perspective progressed to my meeting the Spanish auteur Pedro Almavador on the occasion of presenting his first film, the black comedy, Women on the Verge of a Nervous Breakdown (Mujeres al borde de in ataque nervios) at UCLA that would propel him to the global stage upon winning the 1988 Oscar for Best Foreign Film. I remember Pedro telling the audience that he was so involved in his creative process that he never thought about the reaction.

Pedro Almavador was the first artist I heard referencing the Third. It was a flippant response to a didactic question from the audience that provided three speculative ideas regarding Almadovar’s aesthetic strategy. While I can’t remember what the question was, his response still resonates: “All three!”

He got that right! Transgender is the Third which is why I recreate the word as construction/deconstruction: Trans/Gender sourced in a crucial and hidden icon unearthed in a formerly Turkish village, the oldest in Cyprus…

The LADY Of LEMBA is an ancient artifact expressing a bisexual deity that evolved into the Cypriot Love Goddess, KYPRIS, that continues to be repressed by the pro-Hellenism of Cyprus’ archeology, dominated by the Greeks. This is the subject of the new text by Dr Streitfeld, “The Aphrodite Coverup” by Dr. Streitfeld (pictured with responder Jesus Pedro Lorente of AECA Spain).My paper reflects the two decade journey of delivering the Aquarian cosmology of January 23, 1997 into the cultural institutions…ultimately “Reina Sofia” reflecting my new identity as “female philosopher” ruled by the love of wisdom, the meaning of the Greek term.
The certificate for the successful delivery of my paper, “The Hermeneutics of New Modernism: Hermes’ Trans/Gender Third”.

Surely this was an impulse of a new modernism sourced in the Aquarian transgender icon that we see in the Almavador film, yet where was such an aesthetic to be found in a Spanish art dominated by past masters: Picasso, Dali, Goya and El Greco?

Could the problem be — not in the art — but the critical reception by the gatekeepers torn between upholding the Spanish legacy of art and the art intent on smashing that tradition?

Carpe deim!

I seized the moment through the gap of the Third state of critical self-reflection to declare two progenitors of the hermeneutics of a New Modernism, the timing at 11:11

With the coding in the clock (the 11:11 timing reflecting the galactic center as the state of death/rebirth & therefore the final death of postmodernism & the cynical performative impulse to diminish the authentic rebirth of value), Mark Kostabi’s painting — experienced by this author in the “flesh” for the first time in a studio visit during a recent trip to New York City — can now be appreciated as the progenitor of the universal expression of the hieros gamos by way of intertwined faceless, genitalia free yet gendered forms.

Ümit İnatçı has created a visual language inspired by the ancient transgender non-binary icons unearthed on his native island of Cyprus.

Among the great deal of self-reflection on the two and a half days of panels with collectors, institutional directors and even critics, along with papers addressing the topic of criticism in crisis and renewal, there was a representative from the U.K. AICA who neatly summed up the problem of criticism in the last fifty years as that of Conceptualism!

J.J. Charlesworth of Art Review Magazine delivering “La burocratizacion del jucio: cincuenta anos de la crisis de la critica” (pictured with responder Jesus Pedro Lorente of AECA SPAIN) tracing the demise of criticism to Conceptual Art. The conceptualist practice of artists becoming their own curator/critic by way of creating self- contextualising art born not out of process but rather a mental concept. This, he said, was epitomised by the Text/image artists insistent in having the first and last word in the art itself.

A lone contribution that actually depicted art renovation in bricks and mortar was by the architect representing the Spanish innovations in the field.

Maria F. Carrascal Perez (Universidad de Sevilla) revealed the reality behind the myths of artists transforming the devastated urban landscape in New York City and highlights such efforts in her town of Sevilla, forestalled by the crisis of 2008.
Nathalia Lavigne (Universidad de São Paulo) exposed a new form of art delivery without narrative via “Cindy Sherman en el instagram: una reception critica en la era de instagramismo”.

Criticism and poetry frequently blend in the Spanish language.

The integration of poet and critic erupting at the Congress Internacional was captured by “Crisis de expresion”. This short video of Alfonso Gonzalez-Calero Gonzalez (Investigacion y Arte) depicts inner/ outer reflections of the critic flaneur expressed in a feminine voice.

The ghosts of the critical giants of the 20th century were summoned…

Ignacio Asenjo Fernandez’s “Complejidad de las practicals artisticas contemplementarios” analyzed the historical role of the critic as that of interpretation, participation, mediation, diffusion and incarnation.
Dissemination through the culture is a matter of the quantum physics of potential futures.

Then there was the demonstration of the bounty of living a life in arts: the sheer pleasure of being a critic who collects poets and artists as amistades along with works of art.

Maria Jaio Fernando (pictured wit AECA Presidente Tomas Paredes) shared her memories and interpretations of artistic expression blending with poetry in her native Portugal.

The two and a half days of reflection and discussion coming to a close, a 12:30 Roundtable on Saturday was devoted to critics: “Necessita la critica renovacion?”

Blanca Garcia Vega (Catedratica Ha de Arte, Universidad de Valladolid) is moderator for the final panel with AECA Spain critics Jose Luis Martinez Meseguer, Alfonzo de la Torre, Carmen Pollares and Maria Victoria Otero, speaking.
Blanca Garcia Vega in red follows AECA SPAIN President Tomas Paredes reading (above) the letter sent by Lisbeth Rebollo, President of the International Association of Art Critics (AICA) on the importance of the event with a closing proclamation of how remarkably little Spanish artists acceded to the world stage in the 21st century, thereby leaving bare the task of the Spanish critic.

This set the stage for an authentic renewal of art criticism, in Spain and across the globe.

Now, finally we may be able to appreciate such erotically charged art as this:

Rodin’s interpretation of the hieros gamos through his highly erotic rendition of the pieta at the Museo Nacional Thyssen-Bornemisza Museum.

Or this…

Victor Vasarely “The Birth of Art” at the Museo Nacional Thyssen-Bornemisza transforms the cube into the hexagon, thereby resolving the dispute between Wolfgang Pauli and Carl Jung regarding the structure of the hieros gamos.

Lisa Paul Streitfeld, a member of AICA since 2000, is a roving critic and media philosopher.

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Neo-Modernism as Social Realism: Nedret Sekban’s “Between Life and Death”

The monumental Nedret Sekban image first grasps the viewer from the huge poster announcing the exhibition down the street from its magnificent location — the Tophane- Amire Center of Arts and Culture in Istanbul.
An intimately engaged view (below) of a gypsy wedding from the Third space  “Between Life & Death” draws in the viewer as participant.  The bride and groom are dancing in a spiral in which the opposites — human/animal, old/young, joy/fear — are wedded into otherworldly ecstasis in which eros and magic are personified.
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 Roman Dugunu (Gypsy Wedding) by  Nedret Sekban (2016)

The retrospective of Nedret Sekban, the longtime professor of painting at Mimar Sinan Fine Arts University, at the majestic domed exhibition space engenders the sacred. Indeed, to look at Nedret’s self-portraits in which he miraculously captures life and death in his face, prompts the question: “Are you a Sikh?”
I had the opportunity to ask Nedret this question when he appeared in the gallery during my second visit, in the last days of 2017. He had one of the most centered and grounded spiritual presences I have ever encountered, and he replied that he is not a Sikh and neither is he an alchemist, though his works infuse the human being with the alchemical elements — fire, water, air, earth — capturing the quintessential element with his invented technique mastered in his recent masterpiece, Where are they going?, which brings the global refugee crisis that affects Turkey like few other countries, into sharp relief.
Crows are a favorite motif as nature’s messengers of death, and therefore imminent change. So are cut flowers, the bouquets which are held by so many of Nedret’s female figures. The sea is another. The power in Sekban’s sea paintings is the overwhelming pressure of waves captured through the emotional force of a controlled brush.
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Estirdi Aiolos by  Nedret Sekban (2004)

The monumental wave, crows, cut flowers, fallen bodies and the sea are all metaphors for the state “between life and death” which is the Third state in which the tensions of opposites are held.
This state of the in-between is captured with the juxtaposition between bodies.
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Birak Beni Uzanayim III by  Nedret Sekban (2008)

What transforms Sekban’s social realism into neo-modernism is in both his subject matter, the feminine as embodiment of cyclical time of life/death/rebirth, and his formal approaches to painting groups of human beings. In Arinma, he captures a gypsy ritual as a triangle of richly embroidered human bodies, with the shaman/priestess at the point. This human ordering, which he slyly puts into his titles ( ), convergences with geometry to transform the human into the sacred.
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Arinma by  Nedret Sekban (2013)

It is a rare painter who captures the primordial feminine in a manner that grabs the viewer, forcing them into participant with the organic surrender to nature. This is evident in his works in the furthest gallery which are titled as the elements.
For example, in organizing the three women into the classical triangle shape of resurrection in the Rite of Spring, the difference is evident between the classical body conceived in the mind and contained within its perfected form and the Sekban primordial body, which extends from the Earth out into space to encompass the quintessential.
The attention to emotion in his figures recalls on a visceral level Kaethe Kollwitz, or Van Gogh.
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Baslar Gece Vardiyasi by  Nedret Sekban ( 1990)

The origins are expressionist, bordering on the surreal.
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Hashatun by  Nedret Sekban (1973)

 

Yet, the development of style — from expressionist to social realism to a neo-modernist embodiment of the opposites, the hieros gamos, reveals to a new generation how the quantum leap is made into a holistic style emanating from the painter himself: through formal arrangements of bodies on the surface, the containment of the cyclical process of life/death/rebirth through the formal elements, including an apt symbol bridging the opposites.
These are what make this Turkish treasure into a Neo-modernist revival of painting in the 21st century. Embedded in his narratives of the human condition is a plea for honoring the feminine body that is united to the earth that sustains it. Here we have a (R)evolution in art that delivers the diligent viewer into the quantum leap into participant in the profound mystery of life, a secret that is so mysterious because it contains its opposite, death.
The one who masters this space between the opposites understands truly what life is — a state of being that demands full conscious participation. Sekban told me that he has no computer or electronic gadget.
Lisa Streitfeld is a critic based in New York and Berlin.

TIME’S UP JAMES FRANCO!

Postmodernism is a movement that refused to die. The aged postmodern icons go on and on…and as prominent critic Eleanor Heartney declared way back in 2004: “There is nothing to replace (them).”

And then, along came James Franco…

By 2008. the movie star had become bored and frustrated with the limitations of his expression confined to acting and the time-consuming grind of the publicity machine…

JAMES&AMANDA

James Franco extremely bored while appearing with Amanda Seyfried at the Lovelace press conference at Berlinale 2013. The film was about how the porn star Linda Lovelace was used and abused by the porn industry and was surely a Promethean advance warning to the exposure of abuse in the mainstream industry if Franco was open to the message…(Photo by LPS)

 In 2009, James Franco shattered the boundaries of the insular enclosed art world system when he traveled to museums across the U.S.A. to present and discuss Erased James Franco with the multimedia artist, Carter.

 

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The intersection of art & film: the Aquariann Carter directing the Leo shadow evoked in painting behind James Franco. Photo courtesy of Carter.

 

The short art film Erased James Franco was filmed inside Carter’s installation at Yvon Lambert Paris in the fall of 2008.  The key signifier in the installation had its inspiration in the postmodernist artist Robert Gober, namely a casting of James Franco’s actual leg strategically placed against an open door.

 

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Dr. Francostein & his Monster as the Leo/Aquarius doppelgänger: The multimedia artist Carter directing James Franco on the art installation/set for the filming of Erased James Franco at Yvon Lambert Paris.  (Astro-Portrait of FRANCOSTEIN is the composite natal chart of Franco and Carter, rectified by LPS.)

The exhibition was aptly titled Leg Opens Door/1963, an ontological reference to the Aquarian wave breaking in the sixties cultural revolution.  Carter’s direction for James Franco to perform his ouevre at 50 percent was a real time symbolization of the collective emptying of the Leo personal self to absorb the light of the quantum wave as the Aquarian impersonal Self.

LEGONTOLOGY

LEGONTOLOGY signed into zeitgeist by Carter.  Photo courtesy of Carter.

Carter told me that James Franco had AHA Moment while making the film Erased James Franco.  I pursued the actor for over five years to uncover what prompted the quantum leap that made Dr Francostein’s Monster the ubiquitous after-postmodern icon that I personally summed up as: “shattering every possible boundary between creative disciplines”.

My “Missing James Franco” journey across three continents began in April 2013 with the Copenhagen Collapse

CARTERCFF

Carter (right) at the 2013 Copenhagen Film Festival to present “Erased James Franco”.  James Franco gamed his former director by appearing via SKYPE to introduce “My Own Private River”, a recut of Gus Van Sant’s “My Own Private Idaho”.  (Photo by LPS.)

By 2010, James Franco was on the red carpet of the Met Gala as doppelgänger to Marina Abramović wearing an identical tuxedo. Other appearances with art stars which revealed an unleashed shadow of celebrity famewhore lurking in the art world into the tabloid media that doesn’t normally focus on art stars.

The signature of the FRANCOSTEIN expression following Carter’s 2008 Aquarian experiment is a dual methodology of intervention and allegiance to meta.

Meta (from the Greek preposition and prefix meta- (μετά-) meaning “after”, or “beyond”) is a prefix used in English to indicate a concept which is an abstraction behind another concept, used to complete or add to the latter.

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James Franco mocking the Mother of Postmodernism in his interventionist James Franco’s Film Stills exhibited at PACE Gallery in Chelsea in April 2013. This astro-portrait of james reveals the asteroid Eris conjunct his Sun and its ruler, Mars, in his 2013 Solar Return.  (Gallery photo by LPS.)

This sums up the after-postmodern which was a media game that to be played successfully determined that the would be media star had to hold the tension of opposites, with his mastery of Web 2.0  multitasking…

JAMES FRANCO AT PC

James Franco triple-tasking his way out of the I Am Michael press conference at the 2015 Berlinale: posing for a fan’s Selfie, chatting with Mahari and avoiding his critic who took this photo.  (Photo by LPS)

James Franco, with years of thespian training, could do this better than any art star.  Therefore, his intention to outdo the avant-garde with his Web 2.0 mastery of smashing boundaries between the disciplines had a purpose…

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Gadget Love Gesturing the Opposites:  Smart phone in hand, James Franco blocks his shadow, Tommy Wiseau from the microphone (Screenshot from YouTube).

…beyond raising his celebrity into a virtual epic of platform-hopping never experienced before in the pop culture.

Meta means about the thing itself. It’s seeing the thing from a higher perspective instead of from within the thing, like being self-aware.

Making a movie about the film industry isn’t meta. Making a movie about making movies is.  —Urban Dictionary

The January 8 telecast of the 2018 Golden Globes presented James Franco with his ultimate meta moment — to appear on stage with his shadow, Tommy Wiseau, whose “worst movie ever”, The Room, was meta-made into The Disaster Artist to win critical praise.

This way James Franco, currently starring in The Deuce, becomes the meta-figure personifying the tension between the opposites — good art vs. bad art — for the critics!

But the meta moment hat followed this triumph, a full decade after that momentous AHA Moment was signified by the pin that he was wearing —

TIME’S UP

 

James Franco, the master of the Web 2.0 meta moment, got a new meaning for both signifiers, The Disaster Artist and Times Up, in the wake of Twitter accusations in “real-time” with his acceptance of the Best Actor in a Drama Award at the Golden Globes.  The flood of accusations to follow were indeed about the FRANCOSTEIN breaking through boundaries, including removing the guards while simulating oral sex for a film scene.  Whether the accusations are accurate or not, the symbolism is apt for Mr. Franco’s meta project:

This is not what I meant when I commended you for transgressing boundaries, Mr. Franco!

In bringing together his own quantum leap into a critically hailed American auteur by way of a postmodern “meta copy” of “the worst movie of all time,” James Franco was doing a real-time performance of the tension of the opposites in which he personally defined the after-postmodern.

But the fallout which has put him on the defensive during his victory run reveals what happens when the human ego believes it can make the myths…

The nine-year reign of James Franco, as the ubiquitous figure of the after-postmodern superseding all other creative expression in this epoch by his sheer omnipresence has come to an end. Astrology confirms this as Uranus leaves Franco’s sign of Aries to move into Taurus this spring.

A new modernist movement has arrived and James Franco’s unexpected meta Moment summed up by signage on Sunset Strip revealing “James Franco’s life and art are getting uncomfortably close” provides a lesson right out of a neo-modernist playbook:

“WE DON’T CONTROL THE STARS, THE STARS CONTROL US.”

 

James Franco would be wise to withdrawal from the limelight and go inward to gaze at his fated star configurations as a means of shedding skins in 2018 and entering the realm beyond the meta: the Möbius strip where outer and inner are wedded in the sacred marriage of opposites.

 

But then, the very speed of the FRANCOSTEIN monster meant stomping on his critics!

Dr. Lisa Streitfeld is a Kultureindustrie theorist utilizing astrology as hermeneutics in the interpretation of contemporary art and pop culture.  She is currently placing two book length texts on the market, “Missing James Franco 3.0: Nine Days at the Berlinale” and “Art & the Stars”, disclosing the ontology of the Age of Aquarius.  

 

You can find her Huffington Post archives at:

https://www.huffingtonpost.com/author/lisa-paul-streitfeld

She can be reached at shivalisapaul@gmail.com

 

In Memoriam 2017: Dianne Bowen, Anne Dufourmantelle and Kate Millett

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Three amazing women summing up the re-emergence of the feminine archetype passed away in 2017, leaving a crucial legacy of the 21st century journey — to internally embody the hieros gamos. Their collective contribution is lauded here as the essential crossing of boundaries between word/image for the collective goal of the physical embodiment of the Aquarian icon of gender equality.
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Dianne Bowen’s poem “REVOLUTION” with her spiral painting in a transitory New York studio space.  Photo by Dianne Bowen.

DIANNE BOWEN

Read Kofi Forson’s “Dianne Bowen: Remembering a New York Artist”

Dianne Bowen started a (R)evolution right in her tiny East Village apartment building, distinguished on Second Avenue with a plaque proclaiming a former poet resident: Alan Ginsburg.

The irrepressible spirit of Dianne Bowen was dedicated to the resurgence of the empowering feminine icon which she heralded in the creation of her spirals as a living art of embodiment of past/present/future in whatever venue was open to it…

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Dianne drawing her signature spiral, symbol of the continuity of the cycle of life/death/rebirth.  Photo by Nikki Johnson.

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Dianne Bowen concluding “(R)EVOLTUION: EROSion Flow at the Gershwin Hotel” on February 2, 2011 with the tearing of the spirals she made at the entrance ritual.  Photo by Nikki Johnson.

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Dianne Bowen “annoiting” Lisa Paul Streitfeld in the hieros gamos (heaven & earth) by drawing her footprint at the opening to “(R)EVOLUTION: EROSion Flow at the Gershwin Hotel” on February 2, 2011.  Photo by Nikki Johnson.

My dialogue with Dianne Bowen began the night we met at a Williamsburg performance party hosted by Heide Hatry and John Wronoski, who would introduce me to Kate Millett. Indeed, my conversation that began in Brooklyn with Dianne was about a new movement in feminism that I was to discover she was hard at work in the embodiment in her character, her art and her “sacred marriage” partner I captured in image.
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Dianne Bowen and her Sacred Marriage partner/husband Rein beside her “Cherry Blossom” at the opening of “Woman in the 21st Century: Margaret Fuller & the Sacred Marriage” at HP Garcia Gallery in Manhattan, 2010.  Photo by LPS.

KATE MILLETT

I was thrilled to discover Kate Millett’s erotic paintings and showed them in my “Woman of the 21st Century: Margaret Fuller and the Sacred Marriage”, developed at Wronoski’s Pierre Menard Gallery in connection with the Margaret Fuller Bicentennial in 20
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Presenting Kate Millett at Pierre Menard Gallery for a gallery talk about her word/image capturing the ancient Sky Goddess, the underlying theme of “Woman in the 21st Century: Margaret Fuller and the Sacred Marriage”.  Photo by LPS.

During our discussion, in which she aptly wore her “Flying” T-shirt, the title of her 1974 autobiography in which she attempted to throw off the projections resulting from her overnight fame, I asked her how she had conscious knowledge of Inanna, the Sky Goddess, which was barely known in the sixties, and a surprising discovery of an ancient bisexual icon for women today.
“We had libraries in Minnesota,” she replied her characteristic sardonic tone. And as I queried her about the influence of this archetype on “Flying” and in her life, she repeatedly said: “Read the texts.” So I did. I purchased every one of the texts she brought to sell in the gallery and read them in sequence. It was an astounding discovery: Kate Millett, in her early propulsion to global fame after being distinguished as the only woman to be awarded with a degree with first class honors at Oxford, was to live the descent by way of her commitment to putting out revolutionary images in her art that undermined her academic influence.
In all of her mediums of expression — writing, sculpture, painting — Kate Millett was committed to the life of the unconscious, and her devotion to the internal journey got her committed to a lunatic asylum in Ireland at one point and a descent during the academisation of feminism in the eighties.
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Kate Millett with the artist Aldo Tambellini at the “Woman in the 21st Century: Margaret Fuller and the Sacred Marriage” celebrating the passage of their “underground” art into the mainstream with the Cambridge celebration of the Margaret Full Bicentennial art. Margaret Fuller, the mother of American literature is Millett’s authentic predecessor as an American female intellectual grounded in the ever-present icon.  Photo by LPS.

My experience of spending a few intense days with Kate Millett stream of non sequitur from made sense as her manifestoMy , like a jigsaw puzzle for the simultaneity of the left/right brain marriage. I found her to be the living prototype of the artist as a Third space between opposites. Her resentment at being cast by the media as the lesbian feminist icon resulted in her refusal to sit for a portrait for the cover of TIME magazine, which resulted in an Alice Neel painted portrait instead. She was married to the Japanese sculptor Fumio Yoshimura at the time of the 1970 publication of Sexual Politics, that made her an icon in the Woman’s Movement.

ANNE DUFOURMANTELLE

In order to change, recognize your desire, and then something will happen. If you consent to where you are, then you begin to change. 

— Anne Dufourmantelle, 2012 EGS Seminar lecture

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Anne Dufourmantelle (left) with Avital Ronell and Kleist in a single utterance.  Photo by LPS

A new breed of philosopher could only emerge in France, where even the male philosophers attuned to the feminine, even if they don’t consciously acknowledge the polarity in their theories except to denigrate the overflow as “excess” (Lacan) . Dr. Anne Dufourmantelle immediately struck me as a new reality — a French woman thinker not bound by “think feel” and therefore in complete command of both her mind and emotions.
This could only take place through the inner marriage, a (R)evolution that I was devoted to instigating in France through my work with a French shaman trained by the son of Black Elk in the “underground” conversion through the native American church, the inipi, or sweat lodge. Steeped in Latin American literature, Ann Dufourmantelle had her emotions, chiefly her compassion, right on the surface.
A practicing psychoanalyst, as well as professor, novelist and theorist, Professor Dufourmantelle conceived of the name of a new Saas Fee collaborative philosophy arising out of the Schirmacher media in philosophy laboratory: the Conversion. She placed this new philosophy within a new continental apparatus, the Mobius strip, by way of a historical analysis regarding the integration of the subjective experience into philosophy:
You have a position of subjectivity, beginning with Nietzsche; his Ecco Homo text goes directly back to the Augustine moment. So, this is what I want to point out: how come the thinkers on these subjects towards this debt are those who explore what it is to lose oneself ––what is it to lose the hospitality of experience that drives you to the edge of what is no longer related to the subject? Nietzsche’s Ecco Homo is sharp-edged and provocative in the way he returns the possibility of knowing himself and the delusions – to obtain a moment where the opening to the REAL is possible.  (Dufourmantelle, classroom lecture, August 2014.)
The word/image connotation of “conversion” suits a new continental philosophy grounded in a transformation process. The word suggests the religious or the mystical, and yet is rooted in science, chemistry originating in the ancient art of alchemy. Conversion is the process by which the nigredo, or shadow, transforms through the four elemental stages, (Calcinatio, Solutio, Coagulatio and Sublimatio), into the quintessential, the hieros gamos. This final stage had many names, including: the holy wedding, infans solaris and the philosopher’s stone.
Dufourmantelle explained her choice of the word “conversion” was about sameness going into difference, an interpretation which echoed Deleuze’s interpretation of the “eternal return with difference” as a 21st century evolution from Nietzsche’s pre-psychological eternal return of the same. Haven’t we come far enough in self-knowledge techniques to be able to reverse our fate? Indeed, the psychoanalyst instructs us to look closely at the process, emphasising the paradox: it is from the place of sameness that conversion becomes a radical difference. This philosophical language for what physics is calling entanglement so intrigued me that I starting digging into lesser-known Greek myths for a story of conversion. There was indeed to be found a tension of sameness versus radical difference in the centaur Pholus;
Pholus was gifted in a way that made him, like the healer Chiron, stand out from the tribe of wildly unstable bodies fusing hunter with the beast hunted. One day he had a visitor, the son of Zeus. Heracles had just finished his fourth labor, the capture of the Erymanthian Boar, and entered the centaur’s cave with a wicked thirst. His host was keeper of a cask of wine given to him by Dionysius. This was, in fact, the holiday spirit passed down through three generations. The popping of the cork created chaos. The other centaurs became intoxicated by the smell and rushed up to the cave where Heracles shot them with poisoned arrows. Chiron got wounded in the foot. Pholus died in his attempt to save him.  (Streitfeld, Hermeneutics of New Modernism, Atropos, 2014)
The asteroid Pholus was transiting the Galactic Center at 27 degrees Sagittarius, the sign of the philosopher, in a conjunction to Saturn at Anne Dufourmantelle’s tragic death by drowning;  she was tragically swept into a current while trying to rescue two boys on July 27, 2017.
The Mayans viewed the Black Hole at the Galactic Center as the World Tree symbolizing Life/Death/Rebirth.  These three women will live on, and on, through their feminine wisdom in a time of transition out of the patriarchy.

BEYOND SCHIZOANALYSIS: What is Wrong With the American Academy

Editor’s Note:  The following essay was invited into a special issue of “Deleuze Studies Journal” and rejected by a peer panel. It is published here in full. Furthermore, in the Schirmacher Iero pegnini tradition, I am publishing the rejecting comments providing the phenomenology of “What is Wrong with the American Academy” or “Why no New Feminist idea can Come out of American Institutions.”  

Tel Aviv Woman’s Demonsration 22 January 2017.

I.  INTRODUCTION

The global demonstration of feminine awakening during the 2017 Trump inauguration was a Badiousian Event. Multiple localities echoed a universal cry for gender equality in the face of a proliferating oligarchy. In determining that the Deleuzian-Guattari prediction of “decoding” under “accelerated capitalism” has taken place, the offspring of the French duo is instructive for moving from the banner slogan (fig. 1) to a viable structure for a new feminist theory reflecting, in and of itself, the “recoding” an authentic gender equality under egregious economic conditions.

 

Intending to override psychoanalysis, the Deleuze/Guattari project re-introduced desire as “flow” into social investments subject to encoding and subsequent decoding:

For us, the essential thing is the relation of desiring-machines and social machines, their different regimes, and their immanence with respect to one another. In other words, how is unconscious desire invested in a social, economic and political field…we try to show how the flows invest different social fields, what they are flowing on, and by what means they are invested: encoding, over-coding, decoding. (Deleuze 2004:228-229)

Deleuze clearly associates “flow” with the feminine power (which he relates to the primitive) and its social orientation as an outward projection of internal desire: “What we’re trying to do is put libido in relation with an ‘outside.’ The flow of women among the primitives is in relation with flows of herd animals, flows of arrows.” (Deleuze 2004:229

In this paper, the movement into the right brain feminine thinking established the Deleuze Guattari coding now disclosed by a new continental philosophy: THE THIRD.  Subsequently, it will be revealed by way of an established ontology, preciesely how this precipitous leap into a new paradigm by this French points the way to a new feminist movement.

II.  Decoding the Language of Codes

The late Mark Fisher demonstrated how the Deleuze-Guatteri flow language was subject to its own codes. He appropriated Ellen Willis’ 1979 declaration for the title of his 2013 essay: “’A social and psychic revolution of almost inconceivable magnitude’: Popular culture’s Interrupted Accelerationist Dreams”.

Along with paying homage to Willis in his assault on Neoliberalism, Fisher demonstrated that we can continue to look to the Deleuze-Guattari project for language that simultaneously constructs/deconstructs an evolutionary marriage of left/right brain hemispheres with its 360 perspective on the social binaries, whether it be right vs. left or capitalism vs socialism: “the social axiomatic of modern societies is caught between two poles, and is constantly oscillating from one pole to the other” (Deleuze-Guattari quoted in Fisher, 2013:6).

Fisher demonstrates his intrigue with this coded language of coding: “The passage is teasingly enigmatic — what do Deleuze and Guattari mean by associating ‘the movement of the market’ with ‘decoding a deterritorialization’? Unfortunately, they do not elaborate…”

Yet, Fisher’s process of entering the Uncertainty of the Deleuze-Guattari language of the in-between serves to reveal his own unconscious awareness of the dynamism of opposites, as he continues: “…which has made it is easy for orthodox Marxists to situate this passage as a classic example of how ‘68 led to neoliberal hegemony — one more left-wing capitulation to the logic of the new Right” (ibid).

A “decoding” of Fisher brings the feminine voice, via Willis, into his struggle for a binary interpretation (right vs. left/capitalist vs. socialist) of the Deleuze-Guattari Third argument of “accelerated flow reversing the coding”’ (ibid). Ultimately, he “reverses the code” by instigating a Willis intervention into a triumvirate of male voices — Michael Hardt, Marx and Foucault – to finish by inserting her phrase into his summation of Foucault’s elaboration on Marx phrase “man produces man”:

The program that Foucault outlines in his gloss on this phrase is one that culture must recover if there is to be any hope of achieving the ‘social and psychic revolution of almost inconceivable magnitude’ which popular culture once dreamt of: ‘…we must produce something that doesn’t yet exist and about which we cannot know how and what it will be’. (Fisher 2013:8.

Paradoxically, the inclusion of the feminine voice with the (male) philosophical search for the New Man brings us to the declaration of Fourth Wave feminism.

III.  Reversing the Flow to the Equality of the Fourth Wave

We can achieve an authentic gender equality by reversing the flow from the culminating Event of Saturday, 21 January 2017 – to Mark Fisher’s 2013 Willis intervention capturing and captured (subject/object) by the enigma of the Deleuze-Guattari prescient Third view: capitalist acceleration recoding its destruction by way of women arising en mass against the oligarchic last stand of the patriarchy. This brings us to French duo’s theory/practice of externalizing libido in a choice social function: their writing collaboration. Deleuze addressed his process with Guattari as entering the “flow” beyond “traditional duality”:

As for the technical side of writing the book, the two of us working together was not a problem, but it did serve a precise function, as we came to realize. One thing is rather shocking about books of psychiatry or even psychoanalysis, and that is the pervasive duality between what an alleged mental patient says and what the doctor reports—between the “case” and the commentary on the case, the analysis of the case. It’s logos against pathos….This is precisely why we used so many writers and poets: you would have to be really clever to decide whether they speak as mental patients or doctors—mental patients and doctors of civilization. Strangely enough, if we tried to get beyond this traditional duality, it’s because there were two of us writing. Neither of us was the madman, and neither the doctor: there had to be two of us if we were to uncover a process that would not be reducible to the psychiatrist and his mental patient, or to the mental patient and his psychiatrist.  This process is what we call a flow. But, again, flow is an everyday, unqualified notion that we needed….We imagined this book as a flow-book. (Deleuze 2004:218). 

The terms “feminizing” and “schizoanalysis” emerged out of the “flow-book” that inspired this feminist self-critique. Anti-Oedipus interpreted psychosis within a threefold relation:

The relationships of neurosis, psychosis, and also perversion depend on the situation of each one with regard to the process, and on the manner in which each one represents a mode of interruption of the process, a residual bit of ground to which one still clings so as not to be carried off by the deterritorialized flows of desire. Neurotic territoriality of Oedipus, perverse territorialities of the artifice, psychotic territoriality of the body without organs: sometimes the process is caught in the trap and made to turn about within the triangle, sometimes it takes itself as an end-in-itself, other times it continues on in the void and substitutes a horrible exasperation for its fulfillment. Each of these forms has schizophrenia as a foundation; schizophrenia as a process is the only universal. Schizophrenia is aonce the wall, the breaking through this wall, and the failures of this breakthrough: “How does one get through this wall, for it is useless to hit it hard, it has to be undermined and penetrated with a file, slowly and with patience, as I see “it”. (Deleuze and Guattari, 1983:136)

 IV.  The Liberation is in the Structure

It is crucial to examine the language structure here of this Third voice beyond doctor/patient as evoking and reflecting a proposition of three imbalanced states of being (neurosis, psychosis and perversion). Not only is the sentence composed of three phrases, but there is deconstruction within the constructed three parts, though we don’t realize this at first because the positive/negative process is happening simultaneously.

Deconstructed as literal phrases, the three reflect “a mode of interruption of the process”. The first phase, of the relationship between the 3, is marked here as positive (+); however, the process switches to negative (−) as the three interact with one another. The Third phase, or outcome, is where the opposites combine (+ −) in order to stabilize (“a residual bit of ground to which one still clings…”):

  1.  +The relationships of neurosis, psychosis, and also perversion depend on the situation of each one with regard to the process
  2.  − and on the manner in which each one represents a mode of interruption of the process
  3. + − a residual bit of ground to which one still clings so as not to be      carried off by the deterritorialized flows of desire.

The text then interprets schizophrenia through language expressing the Third (breakthrough) via three subsequent phrases marked here with their quality of gender (the + −)

  1.  +Schizophrenia is at once the wall,
  2. − the breaking through this wall,
  3. + − and the failures of this breakthrough

These two deconstructed sentences mirror one another. To understand the positive as the masculine energy and the negative as the feminine energy, we have a compositional diagram for the dynamism of gender opposites.

The key question is how to bring this erotic dynamism into a place of stabilization and balance required for authentic gender equality. The answer is in the very mode of the transition, keeping in mind that the word for transgender in French is “transgenre”. Trans means moving through, passing from one place or phase to another; the French literary term applied to gender means a moving through genre = moving through gender as genre. Therefore, the very ground of multiplicity proclaimed by the singular Deleuzo-Guattarian Third claims all genres, as well as genders, meaning the masculine, the feminine and the transgender/transgenre as the dynamic passage between the opposites.

V.  Transgenre as a Movement into the Third

A new movement encompassing the Deleuzian view of feminism (which wasn’t conscious in his lifetime) provides the phenomenology through that craw stuck in the throat of feminism – language itself. In fact, a proactive movement of breakthrough via the dynamism of opposites (+ −) is interpreted purely by the text as the literal smashing through the schizophrenia wall in which various voices in a single system vie for dominance.

If the third phase of this construction is termed with the word failure, it is due to the inability of the collaborators to see the implications of their argument from a 360 perspective. Their creative use of the number 3 was to remain unconscious simply because it relates to the Third entity of their meeting of the minds. Extending this meaning of the Third to the 21st century icon that Jung termed as the Self and Wolfgang Pauli interpreted as the hieros gamos (Streitfeld, 2014), Edinger summed up the supremacy of this newly emerging archetype: “Since the Self is the central archetype, it subordinates all other archetypal dominants. It surrounds and contains them.” (Edinger 1972:38) This understanding was expressed by Michael Hardt, who declared his writing collaboration with Antonio Negri as guided by a Third entity (Streitfeld, 2014).

The process of getting to the Third requires the embodiment of this Deleuzian mirror we find in his second stage of the threefold process:

(2) − and on the manner in which each one

(2) − the breaking through the wall represents a mode of interruption of the process

Keeping in mind that the negative polarity, along with odd numbers, is troublesome and therefore associated with the feminine, the key to arriving at the state of gender balance is the acceptance of this second stage: interruption, chaos, and eventual breakthrough. Paradoxically, the invention is sourced in the collapsing opposites, requiring surrender into the chaotic stage. This is the natural outcome of the collapse of binary thinking, like trying to walk on solid ground during an earthquake the consensus reality is shattered.

With the reality TV showman Trump elected as POTUS, we see this process of breakdown on a public and national scale. Yet, from the 360 perspective, a complete collapse of logic is essential so that the intuitive (feminine) may come into balance with the rational (masculine). This dynamic of opposites coming into tension as a crucial stage of seeking a true (unconscious) equilibrium is what Deleuze and Guattari had the insight to foresee a priori of the American feminist misappropriation of French deconstructionist thinking. Schizoanalysis refers to the multiple voices vying for authority within a system in which a dictator (the female animus) appropriates the male logic for economic and political purposes, thereby undermining the deductive process of logic contained within the very structure of language.

In this paper, the 360 perspective of the in-between realm of the Third is labeled “beyond schizoanalysis”. Applying the term “beyond” to this universal state of equilibrium recalls Nietzsche’s term “beyond good and evil”, inspired by his fleeting intellectual partnership with Lou Salomé. Continental scholars are now viewing this kinship as the ever-present icon of the hieros gamos (sacred marriage).1

VI,  The Erotic Consciousness of Nietzsche/Salomé

The merging of right and left hemispheres of the brain is an evolutionary process. We can trace this process through the German terminology of Selbstvergessenheit (self-forgetting) and Selbstsucht (self-knowledge) utilized by Salomé in her writing on eros (Hermsen, 2017:6).

The erotic consciousness shared by Salomé and Nietsche established a phenomenological model for the revival of the ancient Sumerian mythos of the dying and resurrected god/goddess (Streitfeld 2014:103-114). The lovers’ coded passage reflected the seasonal cycle from their initial spring encounter in Christendom (St. Patrick’s Cathedral in Rome) into their own coding of the “eternal recurrence” in a May Day creation of the Dreieinigkeit (Fig. 2) to the Sacred Marriage Rites of Sumer in their peak encounter on Monte Sacro (Sacred Mount) in Orta. Along the way, Nietzsche summoned the genus loci of place (Orta meaning middle, or medium) and characterized Beloved via the astrological symbols of the Lion (Leo) and Eagle (Scorpio) – an occult coding2 that would be later be utilized as literary metaphor in Thus Spoke Zarathustra.

The “sacred marriage” of the Nietzsche/Salomé mind produced a wunderkind offspring: Übermensch and the Eternal Return. Nietzsche, intent on creating a new literary language, likened his Zarathustra to dance in his letters (Nietzsche’s

Letter to Erwin Rohde (Feb. 22,1884) cited in Nietzsche’s Library, 66 in Streitfeld 2016:175, 183) and his character spun full circle to embrace the Shadow, embodying the 360 perspective. This is the “sacred marriage” icon of the Übermensch absorbing the Shadow of unity, i.e. the bifurcation of the mind, as the natural outcome of Nietzsche’s subconscious resolving the tension of opposites.

The bilateral thinking of either/or bouncing from one opposite to the other is the condition that Deleuzo-Guattarian offspring termed “schizoanalysis”. While they failed to identify the sacred marriage icon in their language, they created a rich literature from the 360 perspective of having achieved it. This “holy wedding”, also known the “philosopher’s stone”, is personified by ancient alchemists as Sophia, the Greek goddess of wisdom who embraces the opposites of the Third space between the eyebrows, known as the Third Eye,

VII.  Desire and the Feminine

Wing 2 (in Soil) ST

Wing 2 (in Soil) by the Israeli artist Mira Maylor

While Sophia exists beyond desire, the denial of passion is simply repression, closing off the “flow” leading to enlightenment in the Third Eye, according to Hindu philosophy. Deleuze’s injection of desire into continental philosophy is explicitly directed at la féminin. His earliest writing addresses woman as indefinable Other:

Woman does not yet have a philosophical status. This is an urgent problem. The philosophies of the Other (Autrui) are strange to us, we are ill at ease with them, and for a simple reason: the world proposed to us by the Other is an asexual world (Deleuze, 2002:17).

Moreover, Deleuze doesn’t permit woman a place in the opposites of object/subject. She is therefore, transiting between both as the yet undefined Third:

Woman is neither object nor subject; she is no longer simply that which one has, but she is not yet that which is; she is the élan of the object towardssubjectivity. Neither an object in the world nor the subject of a possible world. (Ibid, p. 23).

Whatever the lack that Deleuze viewed in the women of his time, the Deleuzo-Guattarian phenomenology reveres the feminine by means of an unconscious emphasis on the quality, the feminine characteristic of number, to present their holistic argument:

The three errors concerning desire are called lack, law, and signifier. It is one and the same error, an idealism that forms a pious conception of the unconscious. And it is futile to interpret these notions in terms of a combinative apparatus (line combinatoire) that makes oflack an empty position and no longer a deprivation, that turns the law into a rule of the game and no longer a commandment, and the signify into a distributor and no longer a meaning, for these notions cannot be prevented from dragging their theological cortege behind—insufficiency of being, guilt, signification. Structural interpretation challenges allbeliefs, rises above all images, and from the realm of the mother and the father retains only functions, defines the prohibition and the transgression as structural operations. But what water will cleanse these conceptsof their background, their previous existences—religiosity? Scientific knowledge as nonbelief is truly the last refuge of belief, and as Nietzsche put it, there never was but one psychology, that of the priest (Deleuze and Guattari, 1983:134).

Deleuze and Guattari are freeing women to utilize their position in the transition between subject and object to adopt a trifold framework (via the three above topics: lack, law and signifier) for constructing a new vision of desire, a view that “makes of lack an empty position but not deprivation”. The term “emptiness” speaks again to the + − in that what is filled is positive, while the empty is negative. Getting rid of the negative connotations in which “empty is not deprivation” means seeking a balance between empty/fullness. This makes an erotic game of the efforts to destabilize the binary enforced as a patriarchal coding that is both derivative and hierarchical in its aim to continue repressing the authentic feminine power, the same dark energy Deleuze is intent on liberating in the body through “flow”.

The Third entity that is the collaborative voice uses the language of positive and negative on either side of “and” within the sentence construction. Thus, the Deleuze-Guattari text moves the reader into the realm of the opposites via a declaration in which “structural interpretation challenges all beliefs, rises above all images”. How much truth is there in this statement! The Third Entity “flow-book” organically creates an unconscious equilibrium within the dynamics of the Third. With the unexpected bon mot (“scientific knowledge as nonbelief is truly the last most tasty morsel refuge of belief”), the widespread problem of the binary is summed up without explicitly mentioning the cause: a universal acceptance of scientific reductionism making religion out of the secular.

VIII. Challenge to the Feminists

The Deleuzo-Guattarian marriage challenged feminists to follow their collaborative model of entering the “flow-text” of the Third as a tactic for undermining the unquestioned authority of binary reductionist language overtaking the academy. Yet, Deleuze’s earlier writing established a crucial provision for the game: players must free themselves from the “law” by reducing its blanket authority to a simple a rule in the binary game open to new interpretation and subsequently overturned by way of an evolved consciousness:

The modern world is one of simulacra. Man did not survive God, nor did the identity of the subject survive that of substance. All identities are only simulated, produced as an ‘optical effect’ by the more profound game of difference and repetition. We propose to think difference in itself independently of the forms of repetition which reduce it to the Same, and the relation of different to different independently of those forms which make them pass through the negative (Deleuze, 1994:15).

This key passage of Difference and Repetition stresses the authority of the binary to be undermined by the game the French author is literally playing with language. For example, the doubling in “different to different” in the final clause is an intentional Signifier of “repetition and difference”. Or is it “repetition of the Same”? Tricking the reader’s mind has an alchemical effect. Mercurial leaps separate the notion of different (associated with the feminine viva la difference) from the negative connotation in binary thought, and override the “lack” that has sufficed to dismiss the feminine from western philosophy.

Did the feminist thinkers take up the challenge to follow this marriage into new acts of language creation? What happened was the opposite: the feminists in the academy became the law intent on killing any and every form of erotic game.

IX. Lilith as the Third Wave Icon

Lilith (Detail) ST

Lilith (detail) by the Israeli artist Mira Maylor.

 

The Third Wave of Feminists was termed “feminisms” (Strauss 2000). This covered up the lack of an overriding idea regarding feminist development at the close of the millennium. Yet, from the perspective of Deleuze, the inclusive term fits “schizoanalysis” as multiple voices reflecting the lack of center in postmodernism.

I would like to suggest a re-visioning of the Third Wave of Feminism as the resurrection of Lilith, the she-demon of Judiasm known as the first feminist. Lilith appears in the Sumerian myths as the shadow of Inanna, whose proactive journey to and from the Underworld prompts her self-declaration as “Queen of Heaven and Earth”.   A clear signal a Lilith resurrection was the Woman’s Spirituality Movement of the eighties and entering pop culture in the nineties via the Lilith Fair.3

The intention to revision the Third Wave as the resurrection of Lilith is crucial from the perspective of a holistic Fourth Wave in which an authentic internal/external unity recreates the Übermensch in its gender free origin, Die Übermensch in accordance with Nietzsche’s muse Lou Salomé, a human vessel of the pre-patriarchal Sumerian Queen of Heaven & Earth (Streitfeld 2016:198-223).

Logically, the authentic face of the feminine must be fully emerged in order to declare an authentic balance of gender polarity within the individual, as well as externally in the culture. If we can take the Venus glamour of Sex and the City as Lucifer, the Morning Star rushing a new identification of feminist as brilliant and beautiful through excess, then we have the Evening Star polarity with Girls dark plunge into the Shadow of the New York art world of their parents.

X.  A Thousand Plateaus

“The two of us wrote Anti-Oedipus together….We are no longer ourselves. Each shall know his own. We have been aided, inspired, multiplied” (Deleuze and Guattari 1987:3). This is how Deleuze and Guattari introduce the second phase of their experiment. A Thousand Plateaus solidifies the breakthrough of first title — which overcame duality by embracing the Tausk theory of the schizophrenic machine even as it rejected the outcome: the Oedipus theory of the rejecting Freud father.4 It achieves this with a language for the corpus straddling the opposites of biology and technology: “assemblage”, a “body without organs” and “a book itself is a little machine…” (Ibid 3-4)

The numerology in the new title is significant.5 One indicates a new beginning and zero indicates the zero point of absolute creation. Three zeros is creative beginnings. As noted, the Third entity of this collaboration balances the Cartesian right brain with the right brain intuition regarding the quality of number. As quality is a characteristic of the feminine, this unconscious method overturned the “negative” association of the feminine proclaimed by the binary. Therefore, the leap into the 21st century icon of the hieros gamos has overcome the sameness of repetition to arrive at “difference”.   By this erotic dynamism of opposites, the game of chance proposed in Difference and Repetition is enacted from the 360 space.

Enlightenment has been made possible by the freeing of the universal archetype, Lilith. to express her abuse and exile through the subjectivity of Feminisms. The schizoanalysis label was therefore inevitable due to the schism of the Cartesian adaptation of the Second Wave to external challenges to equality imbedded political and economic conditions that required women to sacrifice their feminity (the interior journey) in order to compete with men in society. How could such a surface attempt to achieve a new objectivity through the subjective multitudes not result in a schizoanalysis?

XI.  Beyond Schizoanalysis

This brings us to a new task in 2017, a year defined by something new: a U.S. presidential inauguration catalyzing a global Woman’s demonstration. This outpouring revealed the paradox at work: the “boots to the pavement” approach to equality is directly opposed to the real work of withdrawing one’s projections for the purpose of internal integration. Could the outpouring signify that the prototypes for balance within have been completed? It will take the liberated female brain to come up with balanced approaches that empower, rather than repress, the authentic face of the feminine newly emerging in the 21st century.

Sophia is an apt icon for a new era ” beyond schizoanalysis” to achieve a new objectivity universally applied to all women – regardless of economic status, race, religion or culture. The essence of the pre-patriarchal Venus her bi-polar journey to and from the underworld establishing the duality of Venus as the Morning Star (Vesper) and Evening Star (Hesperus). The worship of a holistic philosophy of the feminine embedded in these cosmic cycles circles back to the ancient source of the hieros gamos achieved by flow between the male and female deities. 6 Clearly the Deluezo-Guatteri marriage couldn’t view from an outside perspective the Third Mind in which they were immersed as collaborators.

Can we now surmise that Deleuze’s notion of the Eternal Return was tied into his hope for an emergence of difference in the authentic face of the feminine repressed by the patriarchy? This approach was a direct contrast to the American feminists fighting to reduce the gender differences between male and female in their quest for political and economic equality. Therefore, it had to be coded.

Here is an obvious code that reveals the passage forward: equality has quality written into it. This suggests that a state of gender equality means introducing quality into the notion of gender balance. For example, to analyze the feminist waves through the quality of number, a Fourth Wave returns us to the One, the holy marriage of unity. In this manner, the feminist passage from the beginning of the 20th century can be viewed as an alchemical transformation in which women became their gender opposite (Second Wave) in order to undergo schizophrenic breakdown (Third Wave) and resurrect (Fourth Wave) as a unity of masculine and feminine in reflection of both the holism of Sophia and containment of the erotic dynamism of the bipolar Love Goddess. In order for this alchemical equation7 to be complete, we have the images and slogans of woman’s march on Washington, displaying the full range of emotions –- from rage to joy — that women in society have been denied under the patriarchy.

The task now for women is to consciously embody this pair of icons: Sophia penetrating a wisdom beyond the opposites, and Inanna, whose erotic dynamism between opposites has been anticipated in pop culture through the slick Sex and the City and its antidote, Girls.

What this leap into the Third requires honoring the alchemical stages of the inner marriage mirroring the zigzag evolution of feminism itself. While this is a condition extremely hard to achieve in the gadget love of the 24/7 technological society, the rewards are too great to deny the attempt. Out of the belly of an applied “eros consciousness” comes the birth of Das Übermensch as the 21st century woman guided by her holistic brain.

Can we really continue to interpret Marx’s New Man apart from the feminine? The Dutch author Joke J. Hermen created a Kairos moment when she placed aside her written paper at the 2017 Lou Andres Salomé Colloque International and announced that she discovered Salomé through her professor, Gilles Deleuze, who told his students of her writing on Nietzsche. Hermen became the human fusion of opposites when she seized upon chronological time to embody in free form Lou’s Kairos pursuit of the Self:

For her artists are best able to articulate this exploration of the inner self which transcends individual identities. In her works on art, the writer defines a unique space devoted to the exploration of the innermost recesses of the psyche: it becomes the mirror that enables us to search for and scan the contours of a Self with unparalleled loving care and attention. (Hermen, 2016),

Salomé’s l.anguage of the in-between encapsulates the Deleuzian concepts of Eternal Return with Difference in that the embrace of Uncertainty is key to real change. This brings us full circle back to the philosophical term of Übermensch as the Aquarian archetype of the sacred marriage and Lou Salomé as the human embodiment.

XII.  Conclusion

The Deleuzo-Guattarian marriage foresaw the individual internal struggle between opposites manifested in language as the necessary prerequisite to solving the global problem. This was put into practice at a time they could not express their views of feminism for fear of being attacked by means of their own terminology: schizoanalysis. Instead, they put their vision into practice, surrendering their individual ego as a model for the reconstructed feminine.

The Fourth Wave of feminism honors the unified brain and puts it to work to resolve social problems in a manner that is both holistic and sustainable. Lou ’s personal example of living a life dedicated to psychic integration provides a trangender/transgenre model for a new feminist movement. This universal effort annihilates the binary reductionist coding of the military industrial complex. The painful reality is that this either/or mentality resulted in the disastrous 2016 US election.   The dueling male and female golems (Fig. 4) arising from the binary patriarchal division legitimized the schizoanalysis language born out of the flow. Is it now wonder that what came to pass as a vote of “the lesser of two evils” removed the affirmation of individual choice?

This newfound inner/outer position is being termed by continental philosophers as diverse as Slavoj Zizek and Bracha Ettinger as the Mobius strip (Streitfeld 2014:148). In this figure, the inner and outer are so intertwined that neither can be distinguished from the other. Integration automatically resolves the problem of the objective vs, subjective in which Lacan dismissed the feminine as “excess”. In the present state of chaos, these opposites can be overcome simply through conscious recognition of the dynamic tension linking them in the body and without. The oligarchic society of the late stages of capitalism is where Lilith fully awakens in the culture to vocalize the deplorable state of inequality existing far beyond the loins.

Clearly, the time is NOW for a twenty-first century philosophy of feminism. In 2017, we see a new positive global society arising out of a holistic movement in the arts and philosophy which resolves the problem of gender balance by returning humanity to its origins — the hieros gamos.8 The feminist that has traveled through the subsequent stages of growth to embody this icon is the proactive mover of a new age of gender equality. In this sense, the contemporary feminist has become the Deleuzo-Guattarian offspring in that she has also birthed the New Man and New Woman in herself: the hieros gamos.

Deleuze/Guattari demonstrated how this can be achieved – the coding of capital acceleration recoding female desire as a mass social movement seeking genuine gender equality. The partners anticipated the collapse of the quantum wave and were setting up the rules of the erotic game in which the constellating icon of the hieros gamos guiding their hand would free the daughters from assaults on both sides of the gender divide: the patriarchal authority intent on keeping women from expressing their authentic power through capital flows and the feminist authority intent on repressing eros that forbids access altogether. In this sense, the Third realm occupied by Deleuze and Guattari fulfilled the Foucault prescription of “man produces man” – (“we must produce something that doesn’t yet exist and about which we cannot know how and what it will be”) by giving permission to women to play the game of love as a unifying force of the opposites. Sometimes it is necessary for the father to unmake the sins of the mother.

 

Notes:

  1.  Amirpasha Tavakkoli’s “Nietzsche lu por Lou Andreas- Salomé” stressed the feminine balance that Salomé brought to Nietzsche’s philosophy. The paper was delivered in “Lou Andreas- Salomé Colloque International” in Strasbourg 9-11 February, 2017.
  2. Nietzsche’s coding for the sacred marriage between himself and Salomé was uncovered through occult methods such as astrology and numerology in my 2016 dissertation for European Graduate School, “ÜBERMENSCH: Nietzsche, Salomé & the Age of Aquarius”. See 2.2.4.1. Nietzsche’s Dream, pp. 103-113.
  3. At this time, I was in discussion with Lily Rivlin to update her classic 1972 essay “Lilith” republished in a 1984 anthology: Which Lilith: Feminist Writers Recreate the First Feminist”.
  4.  5.  See section 3.3.2. Dreieinigkeit 1912: Salomé, Freud and Tausk (pp. 279 – 321) in “ÜBERMENSCH: Nietzsche, Salomé & the Age of Aquarius” for an analysis of the Dreieinigkeit between Lou Salomé, Victor Tausk and Sigmund Freud and its influence on Freud’s theory of Oedipus. It would seem that Tausk’s influential text, on relating the schizophrenic influencing machine to libido influenced the Deleuze Guattari language and Tausk’s role in the development of Freud’s Oedipal theory, along with Salomé, ties their experiment with the hieros gamos to that of Deleuze Guattari. See also: Tausk, Victor, Sexuality, War and Schizophrenia: Collected Psychoanalytic Papers. Introduction and edited by Paul Roazen. Translated by Eric Mosbacher. New Brunswick, NJ: Transaction Publishers, 1991.
  5. See “The Event” (pp. 162-167) in Lisa Paul Streitfeld’s Hermeneutics of New Modernism (2014) for deconstructive method of number as quality.
  6. New scholarship during the writing of this paper has determined the Greek enosis Aphrodite Cover-Up repressing the ancient bisexual fertility goddess in Cyprus and knowledge of the dual face of the Venus orbit as Morning and Evening Star.
  7.  The Axiom of Maria Prophetissa applies here, particularly if the Third Wave can be seen as the daughters of the Third Wave creatively birthing something entirely new that will resolve the problem of gender via integration (Trangender): “Out of the One comes Two; out of Two comes Three; and from the Third, comes the One as the FourthIn this way the Two become One.” See Streitfeld 2016:16.
  8. See Remo Roth’s Return of the World Soul (2012) for his translation and interpretation of Wolfgang Pauli and Carl Jung’ s 30-year correspondence in which they come to an agreement on the hieros gamos as the 21st century icon.

References

  • Binion, Rudolf (1968), Frau Lou: Nietzsche’s Wayward Disciple. Princeton: Princeton University Press, 1968.

Deleuze, Gilles (2004), Desert Islands and Other Texts: 1953-1974, New York: Semiotext(e).

Deleuze, Gilles (1994), “Difference and Repetition”, trans. Paul Patton, New York: Columbia University Press.

Deleuze, Gilles (2002), “Description of woman for a philosophy of the sexed other”, trans. Keith W. Faulkner, In Angelaki Journal of the Theoretical Humanities, vol 7, no. 3.

Deleuze, Gilles and Felix Guattari (1983), Anti-Oedipus: Capitalism and Schizophrenia, trans. Robert Hurley, Mark Seem & Helen R. Lane, Minneapolis: University of Minnesota Press.

Edinger, Edward F. (1972) Ego and Archetype: Individuation and the Religious Function of the Psyche, Bolder: Shambhala.

Fisher, Mark (2013) “A social and psychic revolution of almost inconceivable magnitude: Popular Culture’s Interrupted Accelerated Dreams” E-flux, October 13, 2013. Downloaded March 6, 2017.

Hermsen, Joke (2017), “Eros & Art: Time Rebels and Soulsearchers in the works of Lou Andreas Salomé”, Lou Andres Salomé (1861-1937) Colloque International, Strasbourg, 9-11 February, 2017.

.Jung, C.G. (1970), Answer to Job. In Collected Works, Vol. II. Princeton, N.J.: Princeton University Press, 1958.

Mysterium Coniunctionis: An Inquiry into the Separation and Synthesis of Psychic Opposites in Alchemy. 2nd Dd. Collected Works Vol. 14. London: Routledge, 1970.

Nietzsche, Friedrich (1976), Thus Spoke Zarathustra. Edited and translated by Walter Kaufmann, New York: Random House; reprinted in The Portable Nietzsche. New York: The Viking Press, 1954 and Harmondsworth: Penguin Books.

Roth, Remo (2012), Return of the World Soul: Vol. 1& II. Pari: Pari Press, 2011, 2012.

Salomé (1981), Lou Andreas, Amor. Frankfurt: Insel Verlag, 1981.

The Erotic, Translated by John Crisp. New Brunswick/London: Transaction Publishers.

Strauss, Tamara (2000), “A Manifesta for Third Wave Feminism” http://www.alternet.org/story/9986/a_manifesto_for_third_wave_feminism/; October 23, 2000. Accessed 10 January 2017.

Streitfeld, Lisa (2014), “Schirmacher (R)evolution in Saas-Fee: The Badiouan EVENT Takes For(u)m with Michael Hardt, Antonio Negri, Graham Harman and Geert Lovink”, Huffington Post, 09 September 2014, http://www.huffingtonpost.com/lisa-paul-streitfeld/the-event-in-saas-fee-bad_b_5737080.html.

–(2016), “(R)EVOLUTION IN BERLIN: GOLEM Ushers in the Shadow Dialectic”, Huffington Post Arts, 2 December 2016, http://www.huffingtonpost.com/lisa-paul-streitfeld/revolution-in-berlin-gole_b_12827868.html

–(2014) Hermeneutics of New Modernism, New York/Dresden: Atropos.

–(2016) “ÜBERMENSCH: Nietzsche, Salomé & the Age of Aquarius”, Ph.D. dissertation for European Graduate School.

Tavakkoli, Amirpasha (2017), “Nietzsche lu por Lou Andreas ” delivered to “Lou Andreas-, Colloque International”, Strasbourg 9-11 February, 2017.

 

(R)EVOLUTION IN STRASBOURG: Lou Andreas-Salomé in the academy

It finally happened!

conference image projection

LOU ANDREAS-SALOME (1861-1937) COLLOQUE INTERNATIONAL: A l’occasion du 80eme anniversaire de sa mort 9-11 feb 2017. The conference at the ESPE de L’academie de Strasbourg was organized by Britta Benert and Romana Weiershausen.

Une cosmopolite sur les chemins de traverse | Kosmopolitin auf Zwischenwegen: Lou Andreas-Salomé (1861-1937). The first European International Conference on Lou Andreas Salomé was introduced by Anthony Mangeon, a member of the bureau of I’EA 1337 and Andrea Young (above), director of l’ESPE, who declared Strasbourg as the ideal location for a woman who expressed in the realm of the in-between borders.
LEOECLIPSE

Lou Andreas-Salomé was ushered into the academy on 09-11 February 2017 directly under the Leo/Aquarius Lunar Eclipse of her reprise as the Aquarian icon of the Übermensch.

Scholars from various disciplines convened at the Universite Strasbourg to share their research and creations inspired by Lou Salome, while struggling over a common vocabulary for the in-between symbolized by the location on the French and German border.

organizers drei
The organizers with the archeology of the Dreieinigkeit. The Nietzsche/Salome creation of the Dreieinigkeit (projected) is the hieros gamos, or the Third realm between the gender opposites.

The German scholar Irmela von der Luhe was the keynote speaker. Her full-bodied struggle articulated the need to uncover a new language for Salome, thereby placing the feminist denial of her importance into a crucial critical perspective.

On Thursday evening, the group was treated to the new German film, Lou Andreas-Salomé,  expertly crafted to unfold the untold story of inner/outer feminine liberation from the holistic perspective of writing of her autobiography in her twilight years.

Slide1

Cordula Kablitz-Post’s direction of Lou Andreas-Salomé stressed the androgyny of Lou as the trans-gendering of opposites into the dynamic erotic space of the in-between.

From a critical perspective, Lou Andreas-Salomé was (r)evolutionary in the manner that it acted as a cinematic Mobius strip dramatising the untold story of inner/outer feminine liberation from patriarchal projections — not through female fantasy but the lived experience that was the (r)evolutionary trademark of Salomé.

Indeed, having the first European academic conference on Salome in Strasbourg, a stunning city in-between two nations, where the bulk of the people are trilingual, in using the international language of English to communicate over the historical borders.

men with badges
All participants entered through the holistic perspective of the woman with whom they shared their identity — via the Lou badge!

book tableThe growing trade of Salome literature, in three languages, in evidence at Strasbourg, courtesy of Ursula Welsch, director of Median Edition Welsch.

Thomas Schmidt (Deutsches Literaturarchiv Marbach), presented projections from his curation of “Rilke and Russia” that will present the archeology of Rilke’s travels with Salomé.

theater

During the Thursday Round Table, Lutz Keßler (above) shared images from a recent theatrical performance about Salomé and the Dreieinigkeit in her chosen hometown of Göttingen.

joke

The Dutch author Joke J. Hermsen (ab0ve) lived up to her Hermetic moniker by creating the Kairos moment in her interpretation of Salome through the binary of time:

In her philosophic and psychoanalytic writings Salome formulated a theory in which love, but also art and creativity are to be understood as the renewing forces of human life. They both provoke what we could call a kind of crumbling down of the identity-limits, the so-called “Selbstvergessenheit” enabling the amorous or creative subject to come into a new interaction with ‘the other self’ (Selbstsucht). It is this practical movement–to forget oneself in order to find oneself that Eros and Art engage…. Her model of a two-stringed or double-edged character of time and subjectivity implies therefore the existence of a distance, a creative space between these two layers of our subjectivity, that is: between the facts of our identity, our race, sex, age class, culture, etc. and the unconscious story of our inner self.

 –Joke J. Hermsen, “Eros & Art: Time Rebels and Soulsearchers in the Works of Lou Andreas- Salomé”

katieThe boundary-crossing scholar Kristine Jennings (above) presented “Im Zwischenland: Lou Andreas Salomé on Adolescent Female Sexuality”. Jennings’ translation of Salomé’s masterpiece, “The Devil and His Grandmother” is now packaged as Sex and Religion: Two Texts of Early Feminist Psychoanalysis introduced by Gary Winship, the scholar who presented the first English translation of The Erotic in 2012, the year of the Salomé resurrection.

Jennings declared Salomé as a key contributor to the debate surrounding sex and gender. She presented the essentialist Salomé departing from the American feminist view in her belief of biological considerations: “the reproductive difference between male and female comes down to the female egg enclosed in her own circle — as opposed to the male sperm as differentiated and striving”.

k jennings

Jennings’ paper “Im Zwischenland: Lou Andreas Salome on Adolescent Sexuality” presented an engrosing literary analysis of the fiction of adolescence as metaphor: commanding the space of Uncertainty between the opposites.

pasha reading
The Iranian scholar Amirpasha Tavakkoli presented the Nietzsche Salome philosophy into the crucial 21s century context of the hieros gamos balance between the masculine and feminine in his “Nietzsche lu par Lou Andreas-Salomé ” on Saturday morning.

three women

The German scholar Annette Kliewer (left) rose to her role as the closing presenter, providing an essential placement of Lou Andreas Salome’s literature in the academy via her paper, “Mehr als eine spannende biographie: Ein Playdoyer fur eine ‘Behandlung’ von Lou Andreas-Salomé in der Schule”.

The closing moments of the landmark conference, Annette Kliewer (left) with organizers Britta Benert and Romana Weiershausen.

cordula

Lou Lives! The enigmatic prize-winning Austrian author Cordula Simon (above) revealed her Salomé influence of boundary crashing through borders, both literal and literary, reading from her eclectic novels at the Austrian consulate.

3 womenThis sampling of the brilliant and beautiful boundary-smashing conference participants  at Austrian consulate in Strasbourg celebrated Salome as heralding an authentic fourth wave feminism of liberation.

For more information on the conference, go to medienedition

All photos copyright Lisa Paul Streitfeld

Dr. Lisa Paul Streitfeld is a Kulturindustrie theorist, art critic and scholar relating Salome to a Fourth Wave of feminism.  Her paper “Beyond Schizoanalysis: How the Offspring of the Deleuzo-Guattarian Marriage Allies with Fourth Wave Feminism” has been selected in a special edition of the Deleuze Studies Journal. 

(R)EVOLUTION IN GREECE: Michael Mantas’ “Receta” for the Avant-Garde

It is a cinematic breakthrough that perhaps could only come from the monk.  Michael Manta’s Receta expands the vocabulary of film to fold the personal journey into the universal quest for transcendence.

lisaMike Mantas enacts his inner monk on a spiritual journey in his “Receta”.

While this is no small feat, the surprise is how it achieves this quantum leap into the timeless; in real time by way of interweaving the making of homemade cheese into political documentary about his ancestral Greece during the violent uprisings anticipating the Trump era of nationalist revolutions.

As writer, director and producer of his own mythology transforming his identity from queer monk to avant-garde Greek-Canadian filmmaker, Mike Mantas‘ layered interweaving of autobiographical…

family-archeologuy …the mythical…

mythical …documentary of the Greek uprising…

xarchia …and political narrative of ego repression…

docu …absorbing the the long-repressed Shadow

shadow …by means of a multicultural tapestry of Queer identity on a sea journey…

boat …to absorb the transgender Aquarian icon…

goddess …is coded with the newly arising icon of the hieros gamos via the extraordinary face of Mina Orfanou as the Goddess Eurynome.

Evoking the hero’s journey of our time of dislocation, Mantas, a trained actor, self-performs the marriage of polarities (masculine and feminine)…cheesw ….by means of mastering a Greek recipe for cheese created in real time…

Diametrically in opposition to the externalization of the “male gaze” …

manneqjuin …coded through the killer stare of the nude female store mannequins…

sea …melds symbol and gesture to herald a 360 perspective symbolized by the trangender figure holding a utility geometry of holism: an umbrella.

The outward projection of the psyche’s inner struggle for union takes place through the eye of Mantas’ vintage camera in which the analog camera serves as recurring motif…

camera …for the physicality of filmmaking in which the gesture with the camera is an apparatus of personal excavation…

mobious… a metaphor of Heideggerian Being in which interior is reflected in the exterior…

Such a richly multilayered narrative texture utilising the Shadow as container for the embrace of the iternal feminine is new to cinema.

box“Receta” has a metal lock box as metahpor of the Philosopher’s Stone storing the coded psyche.

Upsetting the hierarchical linear time measured in quantity, Mantas infuses kairos — the unexpected moment of the quantum leap– into film as a measure of the qualitative…

Melding analog and digital by means of the symbolic and performative, Receta constructs the organic source of film, celluloid, into the Mobius strip as it overcomes the binary dualism of the subjective/objective…

doormom

Receta proclaims a bold new era of cinema marrying subjective/objective through the right and left hemispheres of the brain.  By challenging the viewer as participant in the quest for unity, the real/surreal seamlessly blend personal and universal narrative..

thirdeye The Third Eye is among the rich iconography in “Receta” for the paradigm leap into the Third.

Mantas’ Greek birthname is Chronopoulos.  Not surprisingly, this enterprising filmmaker has made his destiny in digging so deep as to establish the visual language of a new art for(u)m at the intersection of Chronos and Kairos…

door …by means of opening new Doors of Perception.

While making unconventional demands for a whole brain participation to absorb multidimensional narrative, the rewards of learning Mike Mantas’ Receta are well worth the effort.