The White Bentley Chase Did Not Happen

Such was Jason Quackenbush’s response #5 to the polemic that has been going on the the blogosphere about a live-tweeting event of a certain suicide last month. Yes, I know this is very much a late response, but you will forgive me for I was isolated from the blogosphere in the past two months. I knew of the story just a while ago from my good friend A.V. Flox, who blogged about it herself. Five days later Amber Rhea responded rather harshly to A.V.’s post, saying that accusations of technology being awful has always been going around for ages in virtually every era.

Tatchapon Lertwirojkul's Simulacra, which has nothing to do with our post

I agree with them. Yes, all of them. Well, I’m a Lacanian, and Lacanians like to bring seemingly contradictory things together and show how they are two sides of the same coin. This is what I’m going to do here.

But before that, a quick recap of what happened. On the eve of February 10th, there was a white Bentley chase in LA that lasted for three hours before the driver pulled over in front of a Toyota dealership and finally killed himself. Let us quote A.V., who tells it in a much more eloquent manner than I could ever do:

The white Bentley stopped in front of a Toyota dealership near Universal City after a three hour chase on Hollywood Freeway and Interstates 5, 10 and 405. The stand-off began at around 11:00PM PST, with hundreds tuning in to the FOX11, ABC7 and KCAL9 live feeds online.

Before long, Twitter streams were on fire with commentary from people around the world about what was happening. People watching gave in to speculation about the identity driver, debating whether it was hip hop singer Chris Brown, charged earlier with assault—allegedly against his girlfriend, the singer Rihanna or rapper DJ Khaled, as well as the reason for his fleeing.

As time passed with no action, the public became more and more irate. Jokes followed, including the creation of the fake account @WhiteBentley, which ran a stream of comments as though he was the driver inside the car.

The jokes soon turned sinister, with many expressing someone should just shoot the driver down and save the LAPD thousands, and still others suggesting the driver end his life to avoid repercussions of the extended chase. Then, after news reports began coming in that the driver might indeed have shot himself and the ABC7 cameras zoomed out to avoid exposing the public to a gruesome scene, the disappointment was almost unanimous.

“They aren’t going to zoom in and show us the possible brains, bullshit!” a chilling tweet read.

The driver and law enforcement personnel involved were no longer human to those of us watching. Moving around inside our computer screens, they had become characters in a play put on for our entertainment.

Fascinating. Of course, I could not agree more: people inside the computer screen have become characters in a play put on for our entertainment. Let’s get back to Jason Quackenbush. The same idea, of course, underlies his post. He mentions Baudrillard, whom he likes the more “the older he gets”, and evokes Baudrillard’s famous statement that the Gulf War did not happen and applied the same idea to the suicide tragedy.

I am not a Baudrillardian. I like Baudrillard, but to me his ideas are a little simplistic, and I could never be convinced of his idea of a postmodern rupture after which all things implode into a simulacra. I do not like the technophobic tone, often with hints of a nostalgia for the past, detectable in his works, but also in most postmodern philosophers including today Paul Virilio. And this is where I agree with Amber Rhea. “What’s the current monster of the week?” she said, “The formula seems to be: pick something relatively new and use it as a scapegoat; wring hands; bemoan the direction society is heading (downward, one presumes); repeat in 2-3 months.”

In fact Amber made an excellent point, that we can always go further back in time to find this monster. As far back, I would say, as the development of language and tools itself, the very things that make us what we are today instead of cavemen. You see, mankind is a creature that is fundamentally alienated, separated from reality. Deal with it. To bemoan technology is in effect to bemoan language itself. When I said that the white Bentley chase did not happen, it is not because Twitter has created a Baudrillardian rupture of reality, but because nothing really happened. We live in a Symbolic universe, the universe of technology and language, mediated by it, and things happen, be it with drama and empathy or with sheer coldness and chilling morbid jokes, in none other than our imaginations. We always connect with Imaginary relations with other people.

That should not however be an argument to merely dismiss the live-tweeted suicide event as another day in the office. One could not deny that it was a horrible event, and one that can only happen after the invention of Twitter. Technology does change us, in major ways, and we cannot deny that. Does Twitter kill your soul? Perhaps. But let us not forget that the history of technology is a history of human souls being killed over and over and over again since the beginning of time. It is lso a history of their rebirth, of new modes of Being, as Heidegger put it.

Ultimately, the question of the inherent good or evil within technology is a personal wager. We are never sure that technology will bring us good. But let us not die in postmodern simulacra. Let us be a good Badiouvian and realize the militant nature of truth and the good. I’m rooting for Twitter all the way. Kill our souls, if only to make us grow.

The Cyborg’s Implosion of Visual Space

Scleral Shell, Prosthesis designed by Dr. Danz. Photo by Jonathan James

Recently San Francisco-based artist Tanya Vlach made several headlines with her Call for Engineers to develop her a prosthetic eye that would be able to take still photos and video, use 3X optical zoom, be Bluetooth enabled and hold space for a 4GB SD card. Just below the blog title she quotes Donna Haraway’s definition of the cyborg. Shortly after the news my blogger/designer friend Atherton Bartelby told me of a similar artist, Rob Spence of Eyeborg (graphic images, NOT for the squeamish). One thing is clear: both are obviously aware of their being cyborgs.

What is our relationship to spatiality and the visuals today? Jean Baudrillard has introduced us to the postmodern implosion of the signifier and the signified, where our semiotic sphere loses its grounding and spins around in confusion. But, I think, with the birth of the cyborg — itself a being born out of implosion — as well as surveillance technologies and the evolution of HCI, things get a bit more complex. Here, we are witnessing not only the Baudrillardian simulacra that confuses the signifier with the Thing-in-itself, but also the implosion of the trompe-l’œil with the object. The field of vision itself is objectivized

(This, of course, can only happen qua a posthuman subject, a subject of modular organs: in the past few years, the seeing subject has changed from a subject with eyes to a subject with a nervous system and a camera. It is no longer the eye that sees; it is the brain.)

What does it mean, today, to see? There is nothing natural about sight — the vantage point, the subjective point-of-view is not merely this illusion that locates the existence of the subject, but also at the same time that which radically cuts the subject from within — my gaze is effectively not fully my own. Is this not the reason, the primeval trauma behind all those fantasies of an out-of-body experience? (We can recall here the same formula by Lacan of the voice, and its equivalent ghostly experience of being possessed by a voice.)

It is worth recalling Bourdieu’s famous claim — although ultimately the reference to any “natural” state is a false one — that perspective drawings are not the natural way to see things, but the educated painter’s way to do so. Today, what we take as “natural” comprise of the zoom, the image and video capturing capabilities, the memory in the eye, and so on (suffice it to recall how advertisements of HDTV always feature natural objects). But if the perspective drawing was a way to draw, what we are now effectively dealing with is a way to see — we are now not manipulating how we represent reality, but reality itself, insofar as what we take as reality is nothing but our perception of it (post-structuralism, quantum physics, autopoietic cognitive science, etc.).

And a second point: does not the elevation of the gaze into a cyborg’s render perfectly the notion that our gaze is never our own? Once that trauma is revoked, once the fantasy is realized qua networks and data transfers, it is easy to imagine the paranoia such technology will cause: what if the visions I am seeing is not the way things really are, but are in fact footages and animation transmitted from somewhere else? More ideals, more paranoia. Eyehacking, anyone?

Hentai and the Perverse Core of Japanese Censorship

Hentai Manga by Fuuga Utsura in TSK

The Japanese law of censorship has always been a source of fascination to us porn researchers. Clearly, it does not in the least prevent the Japs to be perverts (but by all means I have no Illusions; I am not doing cheap stereotyping to the Japanese since it just applies to those few, most of which I love). One may even say that it takes Japanese porn producers to create such things as zenra Kung Fu (probably NSFW) or the seemingly mechanistic orgy of the famous 500 People Sex (totally NSFW) video.

Some people have discussed how the censorship law of not allowing the genitalia to be completely shown gives birth to such things as tentacle hentai. Although further research show that the Japanese have been making tentacle hentai as early as 1820, I would claim that this thesis is not totally wrong. Rather, however, I prefer to read it in the opposite direction: the Japanese have long realized that the phallus could not be adequately symbolized by the genitals alone, so fully showing the genitals would paradoxically reduce the sexuality of sex itself (recalling the Baudrillardian desperation). Is this not the reason many US porn filmmakers today are urged to learn from their Japanese counterparts how to film the non-genital, non-breast parts (lips, hair, back, etc.) in a way not less titillating?

Among the most interesting appropriation of Japanese censorship could be found in hentai manga. The censors are very scanty to such extent that it seems insignificant, only in the form of lines hiding virtually nothing. What catches my attention in particular is how the very texture of the censors above the genitals literally seem to function more to cross out rather than cover up — instead of covered because of some taboo, the genitals are barred, as it were, to prevent them from becoming full signifiers of the phallus.

The Japanese censorship law is already in itself a promise to enable this crossing-out of the real genitals in order to strengthen the imaginary phallus. The law does not at all say, ” You can draw anything but the genitalia because it is harmful!” Instead, it serves as a reminder, “Remember that your sexual potency is much larger than what it looks outside, do not fall into the illusion that the penis is all there is!” The crossing-out of real genitals thus paradoxically strengthens the imaginary phallus. The perverse censorship law does not castrate — it performs merely privation, thus putting pornographic art into the realm of pure fantasy in which castration does not happen (which is why underage-looking porn, rape, and incest is all the more popular theme in hentai manga).

Properly speaking, this makes hentai essentially a psychosis. For its Western counterpart, on the other hand, castration is implied and acknowledged but at the same time denied, making pornographic art in the West essentially a perversion. Literary work as a substitute of psychosis is of course the themes of Lacan’s later works of the Joycean sinthome (analogies can also be drawn between the unfamiliarity of Joycean writing to the more common writing and the strangeness of Japanese fetishes to the more common sexualities for the West), which thus makes it possible to claim that it pornography plays a crucial role in the psychosexual development of the Japanese society, which has family practices rather uncommon to their Western counterparts (the routine of bathing together, etc.). But as for a detailed analysis, I have not yet made it, and so for now I will say that this Japanese-versus-US sexuality difference idea is still questionable.

Another interesting point to note if we are to discuss hentai manga (and, in fact, manga in general) is how highly it treats the object little a, as proven by their extensive use in abstract forms to symbolize the gaze, the voice, the breasts, and the bodily fluids. Perhaps it is only by crossing-out of the genitalia, by putting bars over the real phallus, that Japanese hentai artists (and pornographers alike) can avoid falling into the trap of fetishizing the biological genitals, as the majority of Western pornographers do, and explore more on how to capture the object a in its visualizations. But on the other hand, however, this is also why the fetishistic tendencies of Japanese porn can easily fall into other, often more bizarre objects and situations.

The Simulacrum’s True Lie

Jean Baudrillard is famous for his theories of the simulacrum, quoting from Ecclesiastes, which — to refresh your memories — goes as follows:

The simulacrum is never that which conceals the truth — it is the truth which conceals the fact that there is none.

The simulacrum is true.

A common reading of Baudrillard would be that the simulacrum is the empty appearance that disguises the hollow nothingness behind it. However, there is at least one problem that arise once we take this into the truly postmodern context. Frankly, are we today, in general, not already aware of the fact that there is none? If so, why should the simulacrum present itself as concealing this fact? It is here that we see the true trick of the simulacrum — the fact that it claims itself as a truth that conceals. It is therefore not the fact of nothingness itself that is the problem — it is the fact that the simulacrum has to present itself as concealing. It may conceal nothing behind it — but the verb remains. And, in a tautological turn, it is this predicate that defines the subject — the simulacrum is concealment, hence concealment is true.

The true perversion of the simulacrum thus lies in the act of proclaiming a third dimension to it, that it carries an empty world behind it — the Baudrillardian trompe-l’œil. Empty as it were, but it functions, and it functions very well precisely because it is conceived as empty, deep, impenetrable. This is why in the contemporary age we have an excessive dose of conspiracy theories, new age mysticism, individualist narcissism, and other symptoms that make global capitalism flourish in its current state of being. These modes, I argue, can only function when the simulacrum of our social sphere is conceived as a truth that conceals.

In fact, the simulacrum is not a truth that conceals. It is a lie that shows. There is nothing behind simulacrum, not in the sense that there is nothing behind it, but in the precise sense that even nothingness itself is impossible. It does not conceal because it cannot conceal — there is nothing to conceal, not even a dimension that legitimizes the linguistic possibility of concealment.

A great metaphor of this linguistic impossibility would be the case of General Relativity — recall the way Einstein treats the void in his astrophysical formulations as physical objects that can bend and stretch. Empty space, in relativistic astrophysics, is a tangible object. Opposed to this, we have absolute nothingness — that which lie beyond the universe, before the Big Bang, inside a black hole. In this second category, their very linguistic statement is a paradox — there cannot be such as “beyond” an all-encompassing universe, “before” time starts in a Big Bang, or “inside” the singularity of black hole cores. Likewise, the simulacrum cannot “conceal” — the statement is impossible. The simulacrum is flat, two-dimensional.

Recall a typical scene from old cartoons where the antagonists are trapped into running straight into a wall painted to look as if there is a tunnel through it that enters into another world. This painting does not conceal the fact that there is no world behind it — its very texture precisely shows that there is no world, it expects us beforehand to see that there is no world, and only the idiotic antagonist would believe that there is. If there is a thing it conceals, it is the fact that it does not conceal anything. The protagonists are never allowed to see through this obscene second-layer of lie, and can usually thus enter into this third dimension precisely because he knows that it does not exist, because he does not believe in it. The antagonist is the one who believes too much. The protagonist is the one who does not believes, but for whom things work precisely because he creates a self-distance from his own supposed belief. Hence ideology. Hence the true lie of the simulacrum.

Hello, World!

“Hello, World!” is the standard opening template of the WordPress blog. It is also the standard template for test runs of computer language. It is fascinating – to me, this statement is precisely the mark of the beginning of the posthuman. Humans greeting the entirety of the world using a computer – precisely such is the beginning of how we became posthuman. “Hello World!” shifts the subject of action of saying “Hello” not only to the other side of the screen, but also a paradigm that this other side of the screen is so much more superior than our biological side, perhaps even divinely so, seeing the grandeur of the object. If “Enjoy!” is the superego of the postmodern society, as Slavoj Žižek put it, I would argue that “Hello, World!” is the superego of a society of the Postmodern 2.0, with all its trends of user-generated content and increasing connectivity and user-friendliness. It is not even an understatement, I am tempted to claim, that “Hello World!” is, simply, pure ideology. In a Marxist definition that ideology is what society does without realizing that they are doing it, does this simple sentence not precisely reflect today’s injunction to be connected, to say “Hello” to the world? It is no longer a voyeuristic society, as Baudrillard put it, but an exhibitionist one – not a consumerist society, but – to use Don Tapscott’s term – a prosumerist one. Where do we lie in this society? What does “Hello, World!” promise us? If the postmodern presents false freedom and false cynicism, does Postmodern 2.0 give us a false sense of social connectivity and open public sphere? More fundamentally, in Lacanian speak, to what imaginary world are we saying “Hello,” using what kind of imaginary self? Are we still living in the same postmodern world of simulacra, or has the proliferation of interactive New Media shifted us into yet another different world, a new stage of culture, one of New Simulacra? And, more importantly, what subject position does the famed simple sentence “Hello, World!” assume? What are its implications for our cultural, political, and biological life? What are we?

Hello, World, and welcome to the age of the posthuman :)