What's The Ugliest Part of Your Market-Researched Anaclitic Affect Repertoire? [Franz Zappa als Anlehnungstypuskritik]

by

Keston Sutherland

paper addressed to ICE-Z (International Conference of Esemplastic Zappology) 16 January 2004 at Theatro Technis, Crowndale Road, Camden Town, London

  1. propranolol hydrochloride 10mg tablets
  2. buy propranolol tablets
  3. buy propranolol australia
  4. propranolol hydrochloride tablets 40 mg
  5. propranolol hcl 20 mg tablet

Propranolol Tablets Online
5-5 stars based on 375 reviews

Propranolol 40mg $44.12 - $0.49 Per pill
Propranolol 80mg $45.6 - $0.76 Per pill



  1. Propranolol Yarnell
  2. Grangeville
  3. Green Bay
  4. Westover
  5. Propranolol Boomer


Propranolol 20 mg oral tablet 4 2.2.3. Oral Contraceptives Oral contraceptives are also used to prevent pregnancy. Topiramate Topiramate can be used alone or in combination with diltiazem (Anafranil) to prevent ovulation. Topiramate may Propranolol 40mg $44.12 - $0.49 Per pill not be a good choice in patient with a history of severe liver damage (see WARNINGS & PRECAUTIONS, WARNINGS). Efficacy and Safety of Rifampicin for Vifidus The efficacy of rifampicin in preventing ovulation remained largely intact in two clinical studies 12 women with VrVf. The patients were given either rifampicin at 200 mg/m2 (n = 8) or placebo 6). VrVf was diagnosed on day 18 or after 2 weeks of treatment. Patients randomized to rifampicin alone experienced a dose-dependent reduction in the median rate of new breakthrough pregnancy (12% versus 8.7%; P <.001) and in the median time to anovulation (7 days versus 4; P <.001). In one study, the mean basal and FSH concentrations after the first 2 doses given on the same day were not different. The median time to first menstrual period was not significantly different between the rivaroxaban and placebo groups, which indicates that rifampicin does not decrease the interval between menses. In other study the median time to first blood loss was not significantly different. The difference between 2 groups could be due to the fact that patients in rivaroxaban group received the same dose on 2 separate days. In the other study, a dose-dependent decrease was seen in the cumulative mean basal FSH concentration (539 ng/dl), the mean basal LH concentration (822 ng/dl), and the mean LH secretion rate (4.4 IU/mL per day versus 13.3 day). These data suggest that the drug may increase progesterone secretion. Clinical studies with Toparax (Rivaroxaban) have concluded that Rifampicin prevents the ovulation of women with variable symptoms attributed to VrVf and does not improve the clinical outcome of these women. In a clinical study 5 women with VrVf who were receiving rifampicin and given a single dose of Toparax, the median time to first menstrual period was 3.5 days. Safety In patients taking rifampicin because of VrVf, discontinuation is usually recommended if a pregnancy occurs within 12 weeks after discontinuing the drug. effects of rifampicin and its associated adverse events on fertility remain uncertain, but, in the absence of severe liver damage, the risk of such events is low. In a controlled pharmacokinetic study of rifampicin, a withdrawal rate approximately 0.23% (P <.001) for 2 years was observed. The median rate the generic pharmacy price list of discontinuation for these patients was about 1.4% (95% confidence intervals range of 1.1-2.4%). In patients who voluntarily withdrew from all or part of rifampicin therapy, there was a significant increase in the incidence of gastrointestinal bleeding in the 6 weeks leading up to the withdrawal. Patients should be advised to come back for clinic follow-up or call their health-care provider as soon possible if they experience these events (see PRECAUTIONS: Use In Specific Populations, WARNINGS: Gastrointestinal Bleeding Table). In patients who have no symptoms due to VrVf, discontinuation of rifampicin usually does not affect the efficacy of oral contraceptives or the ability of hormones to meet the pregnancy goal. In addition, patients with any symptom related to VrVf, oral contraceptives must be discontinued Over the counter version of propecia for at least 3 months before the patient can restart hormonal contraception with a new regimen. Hypersensitivity Reactions Signs and symptoms of hypersensitivity reactions, including hives, angioedema, and dizziness, have been reported. These symptoms improve with discontinuation of rifampicin and may resolve on discontinuation of the drug administration. However, discontinuation of therapy may be necessary. Hepatic Impairment Hypersensitivity reactions, including anaphylactic shock, angioedema, myocardial infarction, and other serious reactions, have been reported in a subgroup of patients with Hepatitis B vaccination and/or C infection who were treated with rifampin. Because of the potential for serious liver injury, rifampicin may be used by only persons with severe active Hepatitis B or C disease.

Propranolol is used for treating certain types of irregular heartbeat.

Propranolol Tablets Online >> Exclusive & competitive discount prices



Esslingen am NeckarPropranolol Salzkotten
FrederickPropranolol Riverdale
BenningtonNorth Providence


Buy propranolol online australia WASHINGTON — In an era of rampant partisanship and low approval ratings, candidates in both parties seem willing to risk getting their name in front of Americans' screens — and their heads through increasingly unusual and sometimes controversial political campaign tactics. In the case of Donald J. Trump, the Republican front-runner, he has turned himself into a television personality, taking on Fox News with interviews over recent days, defending himself against allegations that he had groped women and disparaging the Fox News anchor Megyn Kelly. He has Buy metronidazole 500 mg oral tab also sought to gain the support of evangelicals, whom he must win over given his record on abortion, with whom he sharply disagrees on many other issues and with whom he appears to have little in common with politically. For Mrs. Clinton, an accomplished former first lady and her husband, Bill, running mate, Senator Timothy M. Kaine of Virginia, has called for an end to some Unichem pharmacy online nz of Mr. Trump's more extreme views. It's not an issue of being "unpopular." It's an issue of social anxiety. As if society couldn't handle another election without it, as if no one with anything propranolol tablets australia to lose would want be Buy cipla cialis associated with a fascist. We can't afford to lose another generation of young people, who will not want to sit at home on election day and just wait. We can't afford to be silent. My friends, I am asking you to support an important goal. Make the most of two days in this election month. I will explain what mean when I say that. On Saturday, Dec 21 you will have two days in which to vote for the President of United States. And if you vote for someone else that day, then person does not deserve your vote on Monday, Dec 22. I know, sounds absurd. know. Who would vote for anyone else? But remember what I said above. This is Election Day, not Christmas. It is important to act with courage, be assertive and to go out, as a nation, in way that makes this election meaningful to you, but also represents that we are with you, regardless of whether you are voting for Hillary Clinton or Donald Trump. No one deserves your vote at this time, any more than anyone else. And everyone needs to take just a minute be prepared for the long, tough, dangerous, exhausting, unruly trip of an eight-month election. Don't be afraid to take one for the team, even if you never want to see your candidate again after election day. If we go out to vote now, we can create the first true party in America that can unite victory against any future enemy. By rallying together in support of our common values, we cannot only defeat Clinton and Trump the neo-cons who could destroy world, but also take back our country. We can get involved in groups across the political spectrum. We can reach out to the people who will actually take the country in a different direction. If you are undecided, look at how many others there are who have given up on the election process. People who have already cast their votes – the ones who are still considering it. Allowing Donald Trump a full term represents historic moment, but we also have an opportunity to stand up the kind of rhetoric that makes our country less safe. That rhetoric is what Clinton and Trump are peddling to you. They the same words in different flavors. They are toxic, demagogic and dangerous. They both share the same roots. They both represent the same worldview that sees America and the West as.

Is there any over the counter drugs like viagra Silagra 100 kaufen Levitra kaufen günstig Buy prednisolone 25mg tablets Valtrex over the counter uk


  • propranolol tablete nuspojave
  • good price pharmacy warehouse online
  • propranolol tablets australia
  • generic adderall pharmacy price
  • good price pharmacy warehouse shop online
  • propranolol 10 mg tablet
  • propranolol 40 mg tablet
  • propranolol buy online australia
  • generics pharmacy vitamin e price


< Indomethacin 75 mg sr capsules :: Fluconazole in uk >

In 1964, four years prior to the appearance of We're Only In It For The Money by Frank Zappa and The Mothers of Invention, the British Labour Party set up a Commission chaired by Lord Reith of Stonehaven, the first Director General of the BBC, to "consider the role of commercial advertising in present day society and to recommend whether reforms are required". Reith was an outspoken paternalist who regarded American TV economics as a kind of moral-weaponised dirty bomb in the hands of fanatics ready to terrorise the British plebs (whom he himself had betrayed during the General Strike of 1926).(1) Reacting to the advent of commercial television in 1956, Reith evacuated a stubborn warning from history into the House of Lords: "Somebody introduced Christianity into England and somebody introduced smallpox, bubonic plague, and the Black Death. Somebody is minded now to introduce sponsored broadcasting...Need we be ashamed of moral values, or of intellectual and ethical objectives? It is these that are here and now at stake". (2) He might also have mentioned that somebody likewise introduced the House of Lords, moral values, and even himself; but at least two of these things had probably been introduced to England from the inside rather than from the outside, and it is introduction from the outside that tends to reawaken the chivalric attitude in a person of Reith's class. (3) Reith's fatherliness was of a common sort, both true and false. True, because moral and intellectual values were in fact undeniably at stake, and would undergo extreme mutation as a result of the American influx he sought to prevent. False, because he failed to admit that it was the inevitable tendency of oligopolistic capitalist economies trying to remain competitive in the mid-twentieth century to substitute advertising for price competition as the principal weapon of profitability; (4) and false also because the moral and intellectual values he so passionately mentioned were assuredly unknown to him from any perspective other than that of a career-propagandist. In any case, moral outrage at the tip of the superstructure was never likely to defeat capitalism on its own basic turf, and despite Lord Reith's fiery imprecations Britain was soon to be overrun by a horde of image-makers and their made-up images, with its ears, minds and off-shore bank accounts kept thereafter permanently agape for all the fantasies of good living they could squeeze into their splitting apertures. By 1968 this invasion of compulsory commodity-life was, even in the United States, still in its infancy, most likely somewhere around the anal stage; which makes We're Only In It For The Money a first-rate example of what Georg Lukcs called genuinely avant-garde art, that is, art which expresses from within the superstructure an accurate anticipation of forthcoming economic reality. The album's anticipatory power is expressed not in a straightforward critique of commodity-life and its human billboards, but more radically, in a sickening string of jokes at the expense of hippies and the whole dopey counter-culture that imagined itself to be the enemy of the state, whereas in fact that counter-culture turned out, as Zappa predicted, to be an object lesson in how to be recuperated by capitalism. The album, like much of Zappa's music, is a critique not of commodity-life itself but of the counter-cultural stupefaction that guarantees the continual success of the capitalist recuperation industry.

The following paper will attempt a theoretical homage to Zappa's 1968 album in two interrelated polemics dealing not only with commodity-life in the 1960s but with its current apparition also. The first of these polemics deals with some psychoanalytic ideas about pop music, magic and love, and their relation to advertising. The second is an attempt to think about what irrecuperable art would look or sound like in a society dominated by marketing, and to propose some conditions for irrecuperability in future art. This second polemic is directed quite predictably at the post-structuralist notion of reading as a kind of free play or production of meaning by the consumer of art.

The first issue of Internationale Situationniste, published in June 1958, featured an unsigned article called 'The Struggle for the Control of the New Techniques of Conditioning'. Like much of the Situationist material that would appear in the journal itself, the article is pretty thin on the ground when it comes to outright proposals for practical action; but it does include a declaration of intent that plainly distinguishes it from anything that Adorno or other humanists might have said:

...it must be understood that we are going to assist, to participate in, the race between free artists and the police to experiment with and to develop uses for the new techniques of conditioning. In this race the police already have a considerable advantage. The outcome of the race will depend on the appearance of passionate and liberating environments, or the reinforcement-under smooth scientific control-of the environment of the old world of oppression and horror. (5)

The article mentions the conditioning of an incarcerated Hungarian revolutionary, Lajos Ruff, by soviet police agents and psychologists in a specially designed, psychotropic jail cell, which sounds a bit like Patrick McGhee's experience in the cheerful 1960s TV show The Prisoner. The emphasis is on highly specialised, sinister, labour intensive and secretive methods of conditioning practised by the state and its modernised inquisition; to which the Situationist response, at least in this early article, is to imagine a highly theorised, provocative, play-intensive and elusive method of artistic experiment. But the most powerful form of conditioning was never secretive, in the sense at least that its purpose was to be as well known and pleasantly ingested as possible. This is of course advertising, and the shift in Situationist programs for revolutionary aesthetics (from highly technical experimentation to quick and easy vandalism) can perhaps be understood as their way of keeping up with capitalism at large, not just the police, in the race for control of the means of conditioning. A stupid advert requires only a quick bit of damage to be turned against its owners, and this is one aspect of advertising-the fickleness inherent in its obvious stupidity-that made it nice and convenient as a half-baked if not raw material for Situationist art.

To go a step further, revolutionary artists needed to understand not just the transparent principle behind advertising as a substitute for price competition, but also the research industry responsible for its particular strategies and aesthetics. That research industry has been unashamedly psychological from its beginnings. It has subordinated psychology to its own ends so effectively that some of the most cutting edge experimentation in the field is now in what is called "neuromarketing," a procedure for observing the physical and chemical behaviour of the brain of a volunteer consumer as he sits in a laboratory and gapes at a slideshow of prospective advert-types. This is all well enough known, though hardly well enough hated. Of more interest from an intellectual point of view is the relation between Freudian psychoanalytic theory and market research. What is the value and utility of the basic Freudian tropes for market research; and what is their value to the enemies of capitalism, not as a means of describing why this or that individual may or may not feel dispirited that the position formerly occupied in his mental apparatus by his mother is now occupied by a Dyson hoover, but more radically, as a means of diagnosing the ontogenetic origins of homo consumer in general? Is Freudian theory up to the job of providing a critique of commodity-life under the dance-steps of universal marketing, or is Freud's total failure to produce such a critique of his own evidence enough that psychoanalytic thinking is essentially irreconcilable with revolutionary thinking? Put in Situationist terms: can Freudian theory be detourned? Can we pull off a detournement not just of the images of advertising, but of the psychoanalytic research methods used to come up with them? The history of the British and American pop song is a good testing ground for this problem.

In 1964, the same year that Lord Reith was commissioned by an anxious government to look into the effects of TV advertising, an American psychoanalyst called Frances Hannett published the most detailed and elaborate psychoanalytic paper on American pop music to date. (6) Hannett noticed that her patients would often arrive for their therapy sessions humming or whistling a tune, or would tell her that a certain tune was stuck in their heads, or they would find that certain tunes burst into their memory at important moments of self-recognition in the course of their treatment. After analysing the sudden appearances of these tunes and what Freud would call their manifest content, i.e. the narrative or sentiment in their lyrics, Hannett concluded that they are "a 'voice of the preconscious' and must be understood in the same way as a dream fragment, a fantasy, or a repetitive act". (7) This agrees with both Freud's and Theodor Reik's view, that, as Reik puts it, "the incidental music accompanying our conscious thinking is never accidental". (8) Hannett set out to examine the entire body of chorus lyrics from American hit songs published between 1900 and 1949. She explains her decision not to include contemporary hits as follows:

This period [i.e. 1900-1949] was chosen because it covers the half-century during which popular music had its heyday and because the end of World War II ushered in various artificial influences which made it difficult or impossible to determine the intrinsic popular appeal of more recent so-called 'hits'. (9)

These "various influences" Hannett lists as "commercial rivalries among music producers, radio networks, disc jockeys etc". Her definition of a hit song is

one which has gained top ranking or appreciable acceptance by the public. Before radio, the popularity of a tune was determined by the sales of sheet music and Victrola recordings. Later, with the advent of radio and television, the success of a song depended on the amount of exposure it received through these media as well as on the sales of recordings and sheet music. (10)

Hannett's methodology excludes as a distortion of the real data the entire edifice of the culture industry in its post-war form. The underlying assumption is that permeation of the unconscious by music is more meaningful from a psychoanalytic point of view the less it can be chalked up to marketing, which Hannett calls "exposure". This an obvious theoretical convenience, analogous in some ways to Wilhelm Reich's preposterous idea that "there is no use in individual therapy...from the standpoint of the social problem" except money-making, and that analysis conducted on socialist principles has to "go back to the unspoiled protoplasm" of the strictly infantile psyche. (11) Both Reich and Hannett advocate an approach to analysis of the unconscious founded on the idea that the spoliation of an individual's psychic operations by capitalist culture makes psychoanalytic research either gratuitous or methodologically compromised. Both attitudes are plainly romantic and undialectical.

Notwithstanding that criticism, Hannett uncovered some useful data on the manifest content of hits songs according to her limited definition of them, which I've reproduced as Amoxicilline kopen zonder recept in your handouts. The significant result of her observations is first of all that the great majority of all hits songs are love songs or "romantic" songs; and secondly that the manifest content of their lyrics is limited to a pretty small and unvarying range of reference-terms, symbols and affects. She concludes that "the popular lyric expresses unconscious infantile attitudes" and that "unresolved whole or partial attachments to the image of the preoedipal mother provide the latent matrix for American popular songs". (12) From this she extrapolates a judgement about human valuation of freedom in general: "although man values his freedom, there remains in him the paradoxical tendency to feel it as a rejection when it means separation from the mother". (13) Amongst the most popular themes that crop up in the hits she examined is a category defined in Freudian terms as "Metformin kaufen rezeptfrei": possessive dependence, depressive and hostile affects, separation anxiety and dreams of wish fulfilment. The frequency of these affects as themes in hit songs is shown to have increased significantly since the late 19th century, when hits songs were more often undisguisedly about death and sex (a trend that was powerfully restored to life in the last quarter of the 20th century by the mass popularisation of rap and hip-hop).

So what is an "anaclitic affect"? The term Anlehnungstypus or "anaclitic type" was invented by Freud in his 1914 paper 'On Narcissism'. Translated literally, it means "leaning-on type," according to the OED gloss "a person whose choice of a 'love-object' is governed by the dependence of the libido on another instinct, e.g. hunger". The anaclitic type of person experiences the full potency of erotic longing for somebody only when he feels that this somebody will satisfy what Freud called his "ego-instincts". That is, he is driven by his libido to find a "succession of substitutes" for the nourishment and protection that his mother and father provided for him in his infancy. He leans on these substitutes, driven by a sense that he will otherwise be exposed helplessly to the elements of a hostile environment that he couldn't possibly survive on his own. What Hannett lists as "anaclitic affects" are the ravages of the world's hostility against him.

The great prominence of these pathogenic affects among the tired old themes of pop music both in the early 20th century and in our own eternally recurrent and samey chart music is, logically enough, evidence that a great part of the psychic life of their mass audience is anaclitic; or at least, that this mass audience is taught by lyrical rote to think of itself as anaclitic and thus actually to become so. As Adorno and Horkheimer insisted, the defence of the marketing men that they are just giving the people what they want is undoubtedly true, but only because the condition of wanting has itself been downgraded in advance by these same innocent marketing men into a stupefying adjunct of the culture industry.

Hannett's data is essentially market-research. What it tells us about the drives and needs of homo sapiens finds its ultimate consequence in the life of homo consumer. What could be more useful to the marketing operations that decide the content of pop music than a complete breakdown of the sales figures for every symbol and affect, published under the disinterested imprimatur of The Psychoanalytic Quarterly? Yet her research is also conveniently incomplete. What Hannett's research excludes from vision by the ruse of ignoring the popularity of post-war hit songs is the one dominant category of which all the other themes in her list are sub-categories. This is the category of what I will call commodity-love. The heart, sexuality, nostalgia and all the other themes of pop music are not the unmediated symbols and drives of the lyrical psyche that Hannett implicitly proposes they are; each of them is transmuted by its appearance in a pop song into something quite alien to the human protoplasm. They become the symbols and drives of commodity-love, by which I mean both the love of commodities and love itself in commodified form. This is not to say that nothing can ever be wrung out of these hits songs except the experience of commodification; rather, it is by a process of transition in the mind of the adolescent listening to pop music that real love fresh from the bubbling libido is imperceptibly rehabilitated into commodity-love. Pop lyrics with their saccharine buffet of anaclitic affects are possibly the most powerful machinery discovered by capitalism to effect this transition. They are an inducement to choose one reality principle over another in the market-place of competing reality principles. The tears that sometimes reappear in our eyes when we're knocked about by an old love song are not 100% pure commodity; they have enough of our own infancy blent into them to keep the eyes from which they tip out firmly shut to the true business of their social and economic production and the problem of who owns the means of it.

In his essay on narcissism Freud lists six possible "paths leading to the choice of an object". Anyone condemned only to one list or the other, or to an imperfect combination made up of both, cannot in Freud's reckoning ever be really happy. Freud writes: "a real happy love corresponds to the primal condition in which object-libido and ego-libido cannot be distinguished". (14) That is, we are only truly happy when we enter a love relationship that gives us the illusion of being once more primally unable to discriminate between love for ourselves and love for our partner. In more technical terms: love for a "love-object" and love for the ego itself. In the remaining part of this paper I hope to show that this "real happy love" is exactly consonant with the commodity-love experienced by teenagers listening to pop songs; and that this psychological triumph of the culture industry will meet its most ruthless criticism only in art which, like Frank Zappa's We're Only In It For The Money, conducts a full-blown assault not just on the bourgeois sensibilities of its audience but on the deep psychical stupefaction that fuels capitalism's recuperating-machines.

Picture a naked teenage boy prancing around in front of the mirror in his bedroom, with a hairbrush in his fist, singing 'The Power of Love' by Huey Lewis and The News. Exactly what kind of narcissism is this? It is none of Freud's four types of narcissistic love, not even the third, since he himself would not like to be Huey Lewis so much as to believe that 'The Power of Love' was actually his own creation. In Totem and Taboo, Freud discusses what he calls the "animistic" thinking of archaic societies and its residue in contemporary psychical processes. Animism is a structure of thought in which "things become less important than the ideas of things," such that "relations which hold between the ideas of things are assumed to hold equally between the things themselves". (15) Animistic thinking originates in the belief that thoughts themselves are "omnipotent". Freud remarks that "in the animistic epoch the reflection of the internal world is bound to blot out the other picture of the world-the one which we seem to perceive". The result, he says, is "a general over-valuation...of all mental processes". (16) The world turns into a spectacle of our own creation, its events and appearances governed by our own essentially infantile thinking. The contemporary American psychoanalyst Leo Balter describes how this kind of thinking is an important part of what he calls the "aesthetic illusion," a kind of best-possible experience of art "accompanied by narcissistically enhanced elation". (17) When we as teenagers listen to music that we love, we sign up for the illusion that it somehow makes us more loveable; but why, and how? As with much of Freud's writing, this moment in Totem and Taboo needs only a quick Marxist detournement to hit its peak truth-content. Freud writes of "a general overvaluation" of mental processes in animistic thinking. But in the case of the "aesthetic illusion" triggered by pop music in the heads of teenagers on the slide from real love into commodity-love, the "overvaluation" is literal and economic: it is surplus value; and the "mental processes" are no longer those of a primitive animistic community which constructs a meaning for its own life and death through ritual expressions of wishing; instead, the "mental processes" are the data of market-research. Our teenage participation in the new ritual of pop-music consumption is still animistic: we consume music-commodities as if they were our own mental processes. Think again of that nude 13 year-old. He writes out the lyrics of a song, and by writing them out in his own handwriting he gets this feeling that the song is being pulled into his life and his heart, and even that by writing it out it has become a song about him or to him, thus repressing in his mind as totally irrelevant the memory that he bought it in Woolworth's: it has become his own creation. And how does he love this part of himself? At once in a narcissistic and an anaclitic fashion: a commodified mirror image of Freud's "real happy love" in which "object-libido and ego-libido cannot be distinguished". We lean on the commodity we are.

The similarity of this adolescent good behaviour to the claims made by post-structuralist theoreticians of reading as a kind of production on the part of the reader herself are pretty obvious. I might even speculate that this theoretical attitude can be explained ontogenetically as a late resistance to the reality principle, mounted by adult litterateurs who never really stopped believing that the pop songs they bought when they were first learning how to masturbate were essentially their own creations. Roland Barthes made something interesting out of this fantasy, but he grew up playing Schumann sonatas on the piano; whether anything interesting will be made out of it by a generation fucked daily in the oval window by Girls Aloud and Justin Timberlake is open to some sort of debate.

The animistic thinking brought to life by the narcissism of this "aesthetic illusion," says Balter, "conceives the external world as having properties corresponding to the contents and forms of infantile mental life". But the external world does have these properties, not just in the image of it projected by adolescent narcissism but in its real, material image. This is the triumph of the culture industry: it turns what Freud called the overvaluation of mental processes" into real overvaluation in the form of surplus value realised into capital. It will continue to do this for as long as it manages to deceive its flock of consumers into the conscious or unconscious belief that the "mental processes" given to them as pop-songs are out there only to be fused back into the consumer's own spontaneous feelings and needs. That is to say, for as long as adolescents on the slide into adulteration go on believing narcissistically that these cynical pieces of shit are in some magical sense their own creations, only to buy in ten years or so later to a reality principle engineered by the culture industry that tells them to be forever nostalgic for that delusion. Narcissism is both the psychic end-point of the capitalist finishing school and its mass ontogenetic breeding ground; and if the self we fall in love with can be sold to us at a decent profit margin, so much the better.

So what would an irrecuperable art look or sound like? And why do I think that We're Only In It For The Money is one such work of art? One of the first conditions is that it should totally and violently frustrate the impulse of its consumer to fantasise that it is his own production. Art that matches the description broadcast by Roland Barthes is by definition recuperable. The "reader as producer" is merely a lone practitioner of recuperation acting out in solitude her variations on the main act of social recuperation to follow. She is a one-woman test audience. How can art be so violent that it resists this kind of individualistic recuperation? At a very basic level, it needs to have within it somewhere or other an unadulterated FUCK YOU in the form of some ethical or political or sexual exhibition that the one-man test audience could never imagine to be his own production, because its confrontation against him is too powerful and total to be subsumed under the product-heading of his own immediate cognition. And it needs to be a FUCK YOU that has the final word, not one of those substitutes in capitalism's endless succession of substitutes that ends up sounding more like, fuck you because after all you sort of want to be fucked and anyhow we both know that neither of us is really the target of any of this so we can keep these sapient grins plastered across our half-sapient faces. That is, the work of art must have something in it, some moment, that is not capable of being subordinated to the free play of abstract interpretive fantasy that is then declared to be the work of art itself. It needs to get a stranglehold on the imagination of its audience until they are made to gasp out in panic for some real air, rather than the steady drift of ether through the consumption snorkel. It needs to be irresistibly mediated by the suffering that consumer narcissism causes and relies on for its continued dominance. It needs at some level to be something that we can't agree with or don't want, even if later, with the benefit of dialectical reflection, we decide that we agree with it on account of its disagreeableness and want it on account of its unwantableness. In fact, irrecuperable art is conceivable as a source of pleasure only with this dialectic up and running. It is a condition of our enjoying the irrecuperable art work that what we most sweetly enjoy is how it offends and needles against the institution of enjoyment itself as the latter exists in and for capitalist culture. At its best, Zappa's music is a jump cable clamped on to the dialectical motor of the brain and sexual body, using its unadulterated FUCK YOU to rouse that motor back into action after a life spent rusting cheerfully in the pop music garage. We're Only In It For The Money grabs the market-research data out of the hands of its owners and reproduces every affect on Hannett's list in a gloating duplication of all the average love songs it can muster, thus decisively reducing their stupefaction-potential to zero. If I love it, it's because it also grabs hold of the commodified mirror of Freud's "real happy love" and gets it out of my face, pushing it back in to the faces of those whose stupefaction amounts finally to job security for the market-researchers for whom stupidity is bread, butter, milk and honey all rolled into a revolting luxury clair.

FOOTNOTES

1 See the propaganda article against commercial-free broadcasting by Ian Murray, dated 11 August 2003, at the Competitive Enterprise Institute website, http://www.cei.org/gencon/019,03597.cfm: Reith "believed strongly that the BBC should become a single broadcaster for the nation, bringing news and culture to those who had never experienced either before. Reith felt the BBC needed "the brute force of monopoly" in its mission to "inform, education [sic] and entertain... [and] bring the best of everything to the greatest number of homes". Reith was very much an establishment man. During the 1926 general strike, he argued that the BBC ought to support the government absolutely, because the BBC was the people's service and the government the people's government".

2 Ibid.

3 Compare Freud, Beyond The Pleasure Principle: "a particular way is adopted of dealing with any internal excitations which produce too great an increase of pleasure: there is a tendency to treat them as though they were acting, not from the inside, but from the outside, so that it may be possible to bring the shield against stimuli into operation as a means of defence against them. This is the origin of projection". The Standard Edition of the Complete Works of Sigmund Freud (London: Vintage, 2001) vol.18 p.29. Freud's analysis is something of an allegory for the social and economic manifestations of patriotism and xenophobia.

4 See Paul A. Baran, 'Theses on Advertising' (1964) The Longer View (New York: Monthly Review Press, 1969) p.224: "Under oligopolistic conditions, price competition is avoided as a response to the insufficiency of demand and other forms of sales effort are substituted". I will return to this word, substituted.

5 My translation. In the original French: "il faut comprendre que nous allons assister, participer, une course de vitesse entre les artistes libres et la police pour exprimenter et dvelopper l'emploi des nouvelles techniques de conditionnement. Dans cette course la police a dj un avantage considrable. De son issue dpend pourtant l'apparition d'environnements passionnants et librateurs, ou le renforcement-scientifiquement contrlable, sans brche-de l'environnement du vieux monde d'oppression et d'horreur".

6 Frances Hannett, 'The Haunting Lyric. The Personal and Social Significance of American Popular Songs'. The Psychoanalytic Quarterly vol.33, 1964, pp.226-269.

7 Ibid. p.237.

8 Theodore Reik, The Haunting Melody (New York: Farrar, Straus and Young, 1953).

9 Hannett, 'The Haunting Lyric' p.237.

10 Ibid.

11 Interview with Kurt R. Eissler, 18th October 1952, in Reich Speaks of Freud ed. Mary Higgins and Chester M. Raphael, trans. Therese Pol (Harmondsworth: Penguin, 1975) p.52.

12 Hannett, 'The Haunting Lyric' p.255.

13 Ibid. p.257.

14 Freud, 'On Narcissism: An Introduction'. (1914) The Standard Edition of the Complete Works of Sigmund Freud vol.14 p.90.

15 Freud, Totem and Taboo (1913) The Standard Edition of the Complete Works of Sigmund Freud vol.13 p.85.

16 Ibid.

17 Leo Balter, 'Magic and the Aesthetic Illusion' Journal of the American Psychoanalytic Association 50/4, 2002 p.1165.

Back to ICE-Z
Get You Back Home