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Zizek 89 Perm Card

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Could someone please explain how the Zizek 89 card functions as a standard perm against K's?

If you don't know I am talking about this piece of evidence-  Thanks for any help!

 

The kritik alone fails – criticizing the plan head-on pushes the alternative aside – only the perm solves

Zizek 89, Senior Researcher in the Department of Philosophy at the University of Ljubljana, Slovenia, Codirector of the Center for Humanities at Birkbeck College, University of London, and Distinguished Fashion Expert for Abercrombie and Fitch Quarterly, ’89 (Slavoj, Autumn, “Looking Awry” October, Vol 50 p 30-55, JSTOR)

By means of a metaphor of the way anamorphosis functions in painting, Bushy tries to convince the queen that her sorrow has no foundation, that its reasons are null, but the crucial point is the way his metaphor splits, redoubles itself, i.e., the way he entangles himself in contradiction. First ("sorrow's eye, glazed with blinding tears, / Divides one thing entire to many objects"), he refers to the simple, commonsense opposition between a thing as it is "in itself," in reality, and its "shadows," reflections in our eyes, subjective impressions multiplied because of our anxieties and sorrows. When we are worried, a small difficulty assumes giant proportions; we see the thing as far worse than it really is. The metaphor at work here is that of a glass surface sharpened, cut in such a way that it reflects a multitude of images; instead of the tiny substance, we see its "twenty shadows." In the following verses, however, things become complicated. At first sight it seems that Shakespeare only illustrates the fact that "sorrow's eye . . . divides one thing entire to many objects" with a metaphor from the domain of painting ("Like perspectives, which rightly gaz'd upon/Show nothing but confusion; ey'd awry/Distinguish form"), but what he really accomplishes is a radical change of terrain. From the metaphor of a sharpened glass surface he passes to the metaphor of anamorphosis, the logic of which is quite different. A detail of a picture that "rightly gaz'd," i.e., from a straightforward, frontal view, appears a blurred spot, assumes clear, distinct shapes once we look at it "awry," from aside. The verses which apply this metaphor back to the queen's anxiety and sorrow are thus profoundly ambivalent: "so your sweet majesty, / Looking awry upon your lord's departure, / Finds shapes of grief more than himself to wail; / Which, look'd on as it is, is nought but shadows / Of what is not." That is to say, if we take the comparison between the queen's look and the anamorphic look literally, we would be obliged to state that precisely by "looking awry," i.e., from aside, she sees the thing in its clear and distinct form, in opposition to the "straightforward," frontal view which sees only an indistinct confusion (and, incidentally, the further development of the drama fully justifies the queen's most sinister presentiments), But, of course, Bushy did not "want to say" this. His intention was to say quite the opposite: by means of an imperceptible subreption, he returned to the first metaphor (that of a sharpened glass) and "wanted to say" that, because her view is distorted by sorrow and anxiety, the queen sees causes for alarm where a closer, matter-of-fact look attests that there is next to nothing in it. What we have here are thus two realities, two "substances." On the level of the first metaphor, we have the commonsense reality as "substance with twenty shadows," as a thing split into twenty reflections by our subjective view; in short, as a substantial "reality" distorted by our subjective perspective (inflated by our anxiety, etc.). If we look at a thing straight on, from a matter-of-fact perspective, we see it "as it really is," while the look puzzled by our desires and anxieties ("looking awry") gives us a distorted, blurred image of the thing. On the level of the second metaphor (anamorphosis), however, the relation is exactly the opposite: if we look at a thing straight on, i.e., from a matter-of-fact, disinterested, "objective" perspective, we see nothing but a formless spot. The object assumes clear and distinctive features only if we look at it "from aside," i.e., with an "interested" look, with a look supported, permeated, and "distorted" by a desire. This is precisely the Lacanian objet petit a, the object-cause of desire, an object which is, in a way, posited by the desire itself. The paradox of desire is that it posits retroactively its own cause, i.e., an object that can be perceived only by the look "distorted" by desire, an object that does not exist for an "objective" look. In other words, the objet petit a is always, by definition, perceived in a distorted way, because, outside this distortion, "in itself," it does not exist, i.e., because it is nothing but the embodiment, the materialization of this distortion, of this surplus of confusion and perturbation introduced by desire into so-called "objective reality." Objet petit a is "objectively" nothing, it is nothing at all, nothing of the desire itself which, viewed from a certain perspective, assumes the shape of "something." It is, as is formulated in an extremely precise manner by the queen in her response to Bushy, her "something grief" begot by "nothing" ("For nothing hath begot my something grief "). Desire "takes off" when "something" (its object-cause) embodies, gives positive existence to its "nothing," to its void. This "something" is the anamorphic object, a pure semblance that we can perceive clearly only by "looking awry." It is precisely (and only) the logic of desire that belies the notorious wisdom that "nothing comes from nothing." In the movement of desire, "something comes from nothing." It is true that the object-cause of desire is a pure semblance, but this does not prevent it from triggering off a whole chain of consequences which regulate our "material," "effective" life and deeds. 

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It's Zizek, so it doesn't really say much.  Based on a quick reading, it seems to say that when we do the alt alone, we overfocus on whatever they criticize and that causes us to lose track of everything else, which makes it impossible to figure out how the object of criticism functions - the incorporation of the plan distracts us, forcing us to see a broader perspective and keeping the object of criticism contextualized to a broader viewpoint.

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The tag is just total garbage. Ignore it completely.

Zizek is saying that we can't look at only the objective aspects of structures, and we need to incorporate subjective desires into our account of capitalism. This tells us nothing about the alternative or a permutation. Whoever tagged the card is either stupid or unethical.

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This is about art. Like you look at a painting from the side or squint and see something different, nothing in here says the alt will be marginalized or coopted. Giving someone the benefit of the doubt i'm gonna call them unethical just hoping nobody would notice how decontextualized and empty this card is. It's just like any juxtaposition perm or paradox perm 

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Well, to be accurate it's not about art necessarily, he's analyzing Shakespear and the characters are discussing art. Some context would help. Looking Awry is a book that is about Lacan's psychoanalysis, not capitalism in and of itself. He's basically introducing Object Petit A here: http://csmt.uchicago.edu/glossary2004/objectpetita.htm

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It's Zizek, so it doesn't really say much.  Based on a quick reading, it seems to say that when we do the alt alone, we overfocus on whatever they criticize and that causes us to lose track of everything else, which makes it impossible to figure out how the object of criticism functions - the incorporation of the plan distracts us, forcing us to see a broader perspective and keeping the object of criticism contextualized to a broader viewpoint.

lol. I think the person who underlined "from a straightforward, frontal view, appears a blurred spot, assumes clear, distinct shapes once we look at it "awry," from aside." 

is trying to spin, straightforwardness as plan vs k. Method debates can obviously be more complex. The permutation is the distortion that Zizek is talking about, though contextually he's probably not talking about politics. 

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In the cite.

 Distinguished Fashion Expert for Abercrombie and Fitch Quarterly

 

Slavoj-Zizek.jpg

Edited by RainSilves
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Pretty sure it's just another (bad) juxtaposition perm.

 

If it had strategic utility (it doesn't because it's generic) it would be in suggesting that apparent exclusivity between the aff and alt might be the result of a particular way of seeing things, and that we might creatively find ways to mingle the aff and the alt if we put them together ('look awry') despite seeming contradictory.

 

To win this argument, you probably need specific analysis about what the combination might look like, otherwise it's just bald assertion.

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