Worked out flickr collection

Posted on: May 17, 2008

(daughter Nine)

Reverted logic in time (construction)

Her small daughter to Inés de la Fressange: “Non, non, maman, moi, je ne veux pas m’habiller bien, je veux m’habiller en Chanel, en Dior …” (No, mum, I don’t want to dress myself well, I just want to get dressed in Chanel, Dior …)

 “The best make up is an honest touch around the eyes”

If a psychopath can be very briefly defined as the person who not having a logic allowing to express his feelings in a proper way through the insertion of the feeling inside of a frame of thought, it is easy to see that great parts of human social organization deals with how to deal with these strange entities who have a tendency to show impulsive and compulsive violent reactions whose origin is hardly detectable. The less the social organization deals with them, the more there are possibilities these particular characters to become mass murders or serial killers or rapers, or whatever.

One of the main strategies while trying to counter the arbitrary reactions of those has always been esthetics, and esthetics adapted to ‘national’ parameters of madness as one ‘object’ not fitting everywhere. Some do seem to have universal value, such as Chinese pottery and silk broidery, others extend themselves far beyond the country of origin: Byzantium’s combination of purple, black and gold, etc. OT reports that that kind of illness was effectively countered by music (harp in the story of David and Saul), and it seems an evidence that a certain number of paintings, dress designs, songs, etc. were produced only with the purpose to calm down some Barbarossa’s fury.

As far as I could determine myself, there is something in the combination of colors, matters and lines, of sounds and instruments, that hits almost immediately very low parts of the unconscious, so that the effect on the nervous system is much quicker and effective than the one of whatever obsolete becoming chemistry, which on top, may have horrible side effects.

As much objects as combination of colors and lines do though only fit some determined illness, and the ‘wrong’ combination of colors and lines may have as side effect that a person may jump into the airs just because it seems to him irritating. For hundreds of years these wisdoms are diligently kept and transmitted as universal truths, and going as far as to guess where it all came from, I would situate it in China, seen the extremely developed techniques concerning esthetics observable over there (not the last being the pagodas) and brought probably to the Mediterranean areas by some adventurous Jews (I tend to think that they actually arrived to China at Moses’ times, interpretation which is allowed not only by the incredible number of years of absence, the dangerous proximity to Egypt if having staid only at two weeks distance Mount Sinai, and the similarity of the name Sinai, or desert of Sin, with voices referring to the Chinese: sinaic, but also the similarity of Sinai itself with China in pronunciation) and more or less intelligently introduced into and adapted to other cultures. Currents maintain also the extreme influence of Indian and thus of larger Asiatic, probably Chinese wisdoms on early Greek philosophy, as it is said that Siddharta was known at Plato’s time by some privileged polyglot’s. Although it is of evidence that mostly Byzantium and then Russia do develop their own strategies of integration, I would situate the core of these observations in Chinese Asiatic environments.

For hundreds of years, mostly quite barbarian tribes as German do keep through censorship the extreme subtle variations allowing to change, as otherwise senses not reacting anymore to outer impression, while keeping the general structure warranting the peacefulness of psychopaths. Thus, master pieces of those kind of work, may be considered Bach’s works (for a German environment), while attempts to break censorship as supposed to limit subjective creativity (Schubert, Mozart) do obviously fall back in the tension of creation as incapable by themselves alone to give further the whole amount of transferred knowledge as expressed in ‘German’ tones. (To my understanding, progressive adaptations of Byzantine Sacred Music, which had the same purpose but can’t really fit the German environment.)Spain does mainly vehicle psychopath’s bumpers through popular songs and poems: the Spanish rhythm does naturally order psychopathetic currents and is thus transmitted with greatest enthusiasm by all sorts of troubadours, who’s main task is to further innovations inside of the given tones. Russia specializes in icons and transmits a certain number of quite peculiar wisdoms through popular dance and music (regulators of psychopathetic currents). Thus for each people, who does counter the social disorder deriving from these presences by his own means.

Intellectually, it is possible to discern two main currents: Byzantium keeps a ’spirit’, a tone conveyed even by movements and appearance. If this is lacking, the object thus appearing is considered as ‘dangerous’, rejected or ‘punished’, corrected or banned. Spaniards to keep reason in definition, in word, which does also have as consequence a ‘tone’, but which is more restricted to the areas of spoken work without clearly establishing relationships between those and movements.

Both cultures though have a logic in identity, which is not the case for France. Although the Greek is obviously more ‘psychic’ than the Spaniard it is still determining in identity (it is) and not in interrelationship (it belongs to). Whatever solution derives from Byzantium or Spain, is none in France. This very peculiar structure, probably an accident, seems to be related to the fact mentioned yesterday that France integrates Celtic stories into its popular traditions. Celts are living still in matriarchal structures: mythologies vehicle wisdom concerning dragons and witches attacking soul and wounding the mind and the outer reality is an undetermined whole that is good just to transmit signs that have to be understood inside of these myths. When time comes to change to the first spheres of patriarchal societies (determination of reality in defined formal patterns), France seems to integrate Celtic wisdom in empty formal structures that were ready for definition and are though now filled with all sorts of fairy tales.

What results of that is, if considered in the kindest way, an interrelative structure as formal pattern of the organization of reality, and the only fundamental interrelative structure of the human is love. Thus, the French will organize their reality for hundreds and hundreds of years around love, to the extent that, the Spaniard will say: ”Children come from Paris”.

It’s obvious that the Spaniard does not understand this strange configuration which seems extremely dangerous to him, as you may say almost intuitively, it has inherent the ‘Morgane virus’. On top of that, it has situated the lower realms (sexual impulses) as forms of understanding, which is to say, they have conquered the upper realms, which seems quite bizarre to a determining Spaniard still keeping strictly Plato’s organization of different realms.

What is the Morgane virus? It seems to be something like the possibility of imitating the character (psychic lines) of someone fitting to a third, so that there is a substitution of someone who may be the real object of love of x, as fitting in interrelationship, by a fake. This phenomenon, seen as disastrous by Celts, seems to be at the origin of national catastrophes as very well described in ‘Excalibur’, where the son born of such a substitution in a ‘Morgane logic’ will be the cause of Arthur’s death and the same considered as the structure that does freeze Merlin for decennia until he gets rid of such a seduction.

It seems quite obvious that Celts had developed some kind of defense against those witches, which is inherent, too, to all these stories but that accidentally the solution is eaten up by the way it introduces itself in French territories: as the Celtic is ‘translated’ into French by Chrétien de Troyes without the structures being adapted to a more ‘correct’ French, the stories thus related substitute already, as if imitating, pretending to, doing as if they were French. Which is to say that the essence of the Morgane virus is inherent to the very transmission of the stories, without solution.

The French seem to clearly see the disastrous consequences of such a misbehavior: “La Chanson de Roland” describes well a psychopathetic character with the following coordinates. The French are the best of the troops of Charlemagne. Heroically they go to encounter the twisted and betraying Arabs (who are actually Spaniards) and have no choice but to … betray Charlemagne. Roland, cut off from the main troops while crossing Roncesvalles, fights against the enemy until he dies, whereas two interesting things seem to determine the logic of the battle: First, he confuses his best friend with the enemy and almost kills him, and second, he dies protecting his sword, as if concentrating in a material object his name, his strength and his value.

It seems as if main features of what will be the French as resulting from the strange structuring they have embedded into a national character is already defined by themselves along with the somewhat disastrous end: their logic does lead to death and this awareness may perhaps explain some somewhat desperate attempts of escaping to their fate. Strangely these features appear more clearly when put into combination with the actual German: French look less psychopathetic when Charlemagne is not their King anymore.

It’s obvious though that French structure their reality up side down. What is an economical solution in Spain, is none in France, what hunts psychopaths in Byzance, does hunt none in France, what is a battle strategy in Germany, is none in France, what structures society in England, structures nothing in France. On top of that, their own logic does tend to continuously take from others while translating it into French, reproducing eternally the same original behavior, while, precisely, the patterns allowing adaptation to their peculiar organization do simply not exist. Logically they are overcharged with elements that do not fit into their own structure which has as a result that they finish by loosing main poles of identity.

As having put an interrelative structure as forms of understanding, they act intuitively, affectively, spontaneously, erratically, moved by impulses that make Spaniards very, very nervous and do not allow the structuring of national economy. But they are very seducing, as they have studied very well the effects of psychic interactions: they do always manage to get a lend from Spain until … even Spanish treasures are lost (Borbonian wars). On top of that they don’t always channel the expression of the most positive features of soul: jealousy, egotism, pretension, all sorts of wicked ideas are born from the fake desire of maintaining an identity in soul. Though soul, the Spaniard’d say, you may perhaps still make the difference between low passions and the others …Inside of this quite complicated natural environment, solutions seem to be more the question of angel’s inspirations than of structured thought. It is perhaps possible to detect the glimpses of some older solution concerning the Morgane virus, affecting not only affective life but also economical, legal, administrative structures, through a logic inherent to the Fressange family (probably another accident born from the Jewish French combination) and perhaps other but not to my knowledge.

Strangely, my own lucubration on Fressange already in November do hit exactly that point of the problem: “In French you don’t say to copy, but inspired of.” The problem of the copying appears constantly linked to Fressange: usurpation of name, first, and substitution of identity, second. That her ‘inspirations’ are constantly taken by others as being theirs is an evidence (Lagerfeld sells Fressange’s ideas as being originally his). More than saying anything about Fressange’s attitudes, which I would on the contrary, and precisely, say as extremely respectful of other’s were it intellectual property, it seems that a logic allowing hunting counterfeits, copies, substitutions, etc. runs into void by the revelation of the mechanisms of copy it was originally supposed to fight against. Thus at the end, she stays even without name, surname or image as if confronted to the obvious incapability of fulfilling effectively her main task.

Personally I would situate the annihilation of French system’s of preserving identity through the fight against ’substitution’ in a strange Italian/German combination, which having already marked history during Second World War, is the logic Fressange seems to reconstruct while building up a life. The German (Lagerfeld in professional activity) is ‘followed’ by the Italian (D’Urso in private life), probably inside of the same logic at the origin of the destruction of those very sophisticated mechanisms of defense. If it were possible to determine exactly the nature of this logic, it would certainly be possible to get back the fundamental working of French identity in defense, which on the other hand, may be the basis for a bridging to other logics. As the virus having attacked French identity (probably starting around 1750-90) has evoluted in time, it would be of need to have a look at the evolution of the same in order to further determine its nature, it being obvious that the last expression of the same (case Fressange) is already almost a giving up of proper identity as such.

from “Ines de la Fressange and the Russian Prince” page 435


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