0a,qJrJM Mass Media Culture THE NEO-OR ANACHRONISTIC RESURRECTION As Mar» said of Napoleon III. somťlimes die unit events occur iwice in history: flic ľrrsl lint they have a real lii.loi n al imparl, whereas ihe second lime ihcy are no more ihan in farcical evoť*(Íon and iis grotesque avaiar — nourished by a ttgtndary irjrrrnrt Cultural consumption can lfm* he defined as (he lime and \\\->< r ní the farcical rťsurrcc* INU and parodie evocation of lhal which is already no morc-of thai which is 'consumed' in (he original sense of (he word (■( (Ik signsofcatastrophe(dcMlis, minien, rapes, revolution, ni ) ' Mm litis sause pat bet it »wrabtwbfMT "I sign* >> N-giWc everysvheee"—in , die (».ill. iiidii of all youth and extreme age, in ílu- ilinll nl I due blond 11 i.i 11 i.igcs ■ ■! ■ I hi" It ■ Mil ■>.■«•(". in i lie 111.im molia hymn In l lie luxly anil sexuality. Kveryivlnii-we witness t h< fiisiniii.ildiimli-giaiioiiof icilaui llllu tllll'S will! ll III .1 Hint lelľhralc. Illlili'l I III- Slgll of COIISIIIIinlillll, r Ion real ilňwnpunuicc as »ill as 'lien farcical resurrection Ilu-i.t injly is breaking down? We r »alt li Childien arc m» longer children? \Vc make childhood tarred. II«- rldcriy arc lundy, left by |hc wayside? OM age umves .ill of m m tears. And mux clearly «ill; w£ ifli>rring into "|«-i .11 n'li. at t h<' level nl Inm.Ji i Igt anil niiliviilu.il-. tin- kann* pl-uuiCil i>lm>li-u ein e' i ni I h im 11 i>ii iii.iih pal gum It I >y the • yi lea nl pi mint lii'ii and fashion. K this were die ease. I lien what we have before m is nm a rational process of scientific BCCumUhMMu, lnu a MCÍal -nil noti-raiional prut ess oft nnsumpt ion cousistciu svitli all il» other fi.....s 'lake die nnrural Vlirtk up', nr die upgrnhngnfuticsUidy, nm« I". anil liineii —healili . Inlis Im men. diets ami K'.nHv lieannetilS fur wnnicn. holidays far everyone. Hut ibis noiion i an (and »in»/) I« exlr-rukd in plienoinena on a» even widet s< «le 'I'lu" v. ry *rťdis» mn y" of die iHKly it a lei yi ling of lbe Inxly. pi« as die Vedi*rnvery' nl Nature— m ilľ farm ol a iiiniuiysiď iiiuiiucd down lo sample spcu-mens framed againsi an immense urban sprawl, partiiiuned and illWlafifIIIlľ a* i-n . i■ bells, n.iiun' reserve», nr .is a hai kdiup fnt weekend CotlagCl is X lually a tccyiling of Naiiitr In oilier words. Nature is no lunger at alia primeval anil ougiiial pieM'iue syiultnln ;illy opiHisiil lo i ul lure, bi" a umultllOH inWrŕ, a innstiiiiinŕ' nl die in inn laicd signs of iiaiure; m slum, il is njllure ittptltd 11 ibis is not yet die liluaiion everywhete. Íl is iionctlieless die CUrrelH tendency Ami whether il il culled die management or preservation of nature rcscives and the eilvironmcnl, it always involves die reryrling nl a nature condemned by its very enialcncc Naiun* as cvem, anil as kiunvledgr, is governed in ibis sysiem by die fmnttpfr »J fa lalttf itrn'l Fwni lionally. it Aai lo i hange like fashion It has ilu value ofamHtmrt, and tlieielntc is ■ubiert loa cycle of icitewal. 'linlay uWsame pnmi|iltfeni rnarlwsupon the prufcsm.....I diuiiaiu. whe"e die « ICMlfiC and 10 liniial Values of i-iiiu .iiinii and competence yw-'ld lo a process ul nffyding; in other words, m the pressures of mobility, iiaius. iiul a carte'pnifilr ' This organising print iple dnminaies ihr whole ol 'masť cul iure today I lial lo uhnil all (lie ariultiiiaieil hase a right is not n'lluie, hill iutlbial irtyc/iHf (ami u In mal el y not even die *i nluiieď can or will e* ape U) It islolK-'uilhekuiiw'. m Ire'in die swing nfihing»'. to paiade inn's cultural baggage ai 11 u mi lily of annual mierv-^U ll is losiilfei theioii->( ranu «I i he shnrl-tenu, lo peipeiually change like f.islunn, and this il lbe lolaloppotileotiuUure tonc.ivtd .u I 'nieinhenlcilihaiacicnslicsof «-oiks, thoiighis.aiKllradi......s. 2. The continuity ol theoretical rellcilion anil iis iransceinleni. nli-ťal and syinlmJíc fun« lion. Hotbof these are iepudiaicdbytlusty»lical suUulutrc cniiijHiH.I ol olnolcHcnt ..iltiii.il ingredicnls and »igns, l»y ibis Ctdlurc of fa liľ'l lund i nulling Ihhii kinetic an lo weekly em yi lopaeihas II is culture recycled- |l isili.n i hat i|ie pi nl ili-m nl die «iiiiiuupiiini ol inliuie is nol slri« |ly linked it> il» loiiieiu, nm m a 'disreniing piihli.' (this is die eiernally false problem of die 'vulgarisation' of an and ■ ullurt. in which pra>-litioncrs of 'elitist' culture and champions of mass culture both fall victim). The decisive (actor is nm how many thousands of million» 98 paitake ni ,i iprriitr mri, bot 1I1.11 litis wi»k. like die cm of tli*- y..11. fir n.«hit in green Ih-Iii. i« condemned 1,1 In- nothing 1......■ rli.m ■III ľ )>ii 1 11 ic r .il "g n — < nndVmniil I»'* •him- j 111 n Im cil. imi'iil n m.iMy m no*. 111 ,■ ilniKini'in 11I jiri-lm unii win,I« is universal iml.iy, 1I1.1I of iliť ijvlr and "í recycling Culture '* «a longei produced I" las* Ofeounr, il inn,urn a universal authority, -■■• ideal rrlerťnie, and all 1 lir mint- so «lien 11 loses its <'»cnii.il meaning (just VI Nature il never more exalted than «hen k it universally destroyed); Inn m ils reality, a* much a» in iis inndc of production, culture is Mibjrn (O ■lie saint- demand m \>t 'up m date' ,i* an- maici i.il goods. Once again, itus docs um concern lite iaduihial diljuno« nf mini re li u quite licinli- the point whether Vjn Cnjjli is exhibited m uiajur department siun-i or Ku rkcgaanl »ells 200.00(1 couiea The meant nf circulated liy these winks 11 itint all Hgmftralion A-u beramf mheal in othei woiď«. il it precisely through lite- system ill cnuiumnicaiioii ih.u ihc latRC mode o( succession, alternation, and < i>inlfiii.Hi>r i,J modulation 1» imposed 11111 in litem as 11 imposed nim" the length nl \ku is 111 M'icviiiiiii braatlfMl (11 Tin- Medium is Ihe Message"), .mil thus (hat mľ lure, as a j »«.-udí »even I in current alfaus*. ns ,1 pscuiln-objrtt in adscitising. »an ,i|vi Ik- pinduccil (or pulciilially m) /n« wilhi» Ihe medium ifW/and in irlerciui.il rode. Hen? we ae/Jtn link up wiili the logical met h a 11 ism of 'simulation models'* or lli.il which can I«-seen ofsrratinjj in gadgets, which arc no more ihau Ihe manipulation of tethaelofita! formt. At ihe very limii, (here is 11» ditTcrciin' between cultural crcaliviiy' (in kinetic an. clr.) and ihis technical and luilii iinubinaiory, msi as there is no difference l--i™.i] '.nam i;.n il. cieatioiu' and 'mail culture. "Pic latter simply eon)' bines ileremypcd (hemes a* il» couienl (ideolog" al. pnpuliil, sentimental, mural or historical), whereas ihe former combines ■nodes of expression as its form. Hut alrovc all, both manipulate a 1 ode through a calculus of amplitude and longevity, h is furihcrmoii-ciihous how the system ofliferaiy awatds. ciiriemly scorned for its academic decrepitude (it is indeed stupid 10 award a prize lo one boui per jear, covering cs-erylhing), has remarkably managed lo survive by adapting ii*elf to ihc functional cycle of modem endure. But the rcgnlaiity of such awards—an absurdity at any mini lime —is again compatible wiili the current icndcnty to recycle cultural fashion«, Formerly, these awards singled out a luml Im posterity, which was enmieal. loday, ihcy single mil a book for ihe latest trend, and ihis is effectual. It is in tins way lhal they have found their second wind. TlRUPOP AND COMPUTER«, OR THE LOWEST COMMON CULTURE (L.CC) The iiu-.Ji.umni (tf Tuhp*t theoretically, il is the exploration through question and answer of ihc delinii ion ol a verb (firnpofrr is equivalent in ihc 'thingummy bob' |nn)y ihc comperes themselves and the ideologues of mass media), then whai is il? In Tir/ipol, il is clearly participation: its conicnl is of no importance. For contestants, il is |he thrill of occupying |bc air waves lor the iwcniy seconds il take* in gel ibeir voice across. In blend in wiih the compere's voice, lo hold hi> Attention »lule engaging in a brief dialogue with him. ami 10 establish through him a magical contact wiih that benign and anonymous multitude which is Ihe public. Most contestants are elc*rly not ai all disappoinied by their failure «i .".v"' muri lly IlicyVc goi wli.il llicy Wanted, which u a »on ni i plamu*'»«, m iiiliri »voids. tli.il modem, fei hnúal, i»nI aseptic loitiidl'ioiii.tii'«Imli itnMMMMmlM* Cfrmaimri m» iciy is nut in Cm id.n.mi i i^n I liy ii» l.uiuiiinf absence in iciciuony tadm game shows are jiiM as ■ (-■«-liioiii.il as llir lellgioiis mJH ni s'iti nli, li in |iiiiiilllM soctiiy — i -i ii íl i! is mi longer li i I'iriiii ni I'll < i íl 11 nm 11 ii ■" i (HIKI i .ii« I liy lirc.nl and MIM, said Id It flesh .mil blood, lull liy llic mass uieili.i (which »n nNnuusnl not only of messages, but of Iransniiiie», riilimil,. stations, irieivcrt. Hid, "iiimnc. |>i<>gi.iu>iiicis .mil die |Hili!n ) I» oilier wmds. (om"'»">"n ň no MSUJST nihireerl ihwgh •■ tmlmlil mtdium. /•Hla iii Aukn/»Mr: ihisiswhal.....kci " »"'iiiiiiiiiiii alion Wh.ii is shared, then, is no lougci Vulture': a living ln*ly. die actual presem c ni .i i iillii (inly (.JI those tilings wlili li i iiki inmpilMil lliL symbolic ami i octal ml i i limit inn ill ■ c.i.mnny m ■cast); ihh is ii even knowledge in ihc striel sens«', nul rli.it Mi.ingc Corpus ol signs, ich -t-(mil. uhnol rcmiiiisecuics Hid signals til iiiiclti-* itul laid mil railed 'mass culture', but "hulí could l>r named the I■(' CX (I.owesi í äimmoii C-tiltuic) — akin i«' die lnwesi cnmimin uerimninaiar in ariihmeiic, «n* che |Kioui.m's| 'Standard ľ.nkagc', a i.tih designating d«- lowest ■m 11 mm i i ni lei nim ni ni iic» i? ill. m 11 ic asi-iagc 11 mm liter nm»i |-"mh ill iikIci m «•.mi .i icililicaiľ lo lite: ii is designed toeonjiirc die risks ill life and turvall. liy means of a denial nl living culture, the ritualised signs 'Amltuiali^tion. ľnelled by a iticili.imc.il process afquotron ami answer, ihii !.(;<'. nonedieleu lus many alliiiiiiis willi siliool Vullinc-'. Indccil. all ihese ljiiic sliovvx .ne i n ■.pi i cd liy die iihhIiI of the KX AM. Anil dux is no aKulcni. 'llic exam is die nreferresl niv.mv ol uni.il advancesneiu. Everyone wants io |ms» exams, even in mm Ii bastardised Imms as i .■■ h... iittaiise lo !«■ cunimiHil is ;i mailer of pTClifje today A |Hi»crful mcclianisin of stXi'l iniegiaiion dim exists i» llie CrMllcn piolilc i.kioh of diese game shows' one tan ullimalcly imagine die integration of the whole or society into diese mass media contcsis. «ill social orgWHSMion becoming ilepemlenl o« iheir sanction History lus already seen one society where there «a. .t lout sysie.....f selit lion and oitjanisniion hascil on eiams: China midei the M.mdaiins Kill thai system only extentleil to u privileged lew Willi mil society, ■< wouhl be the entire iiui.e- inuhihseil in a endless game ol double of nothing, where everyone would ensure or pul at risk dun own n. ia) del my Thus would die untune inachinciy ol sih ial COO!rol conic to Comprise an economy, sine«- the best system of social integrálům bas always been ritualised competition. Urn we haven't reached ib.n jioint yet. Im the time bring, lei us *nii|ily note a pOwerTuI longing fin the |iroTessof eKanimation — a twofold process sinic everyone can In- examined in it. hut als» integrated inio n as examines Or judge (insofar as everyone is a member of thai colleilive authority called the public). As svith splitting m dře.....í. this desire lo \k Ixnh one ami the nthťr is truly faniasmaiic Hut it ;ilsn involves a i actual process of integiation ibrongh theilelega-tum of power Ma,11 "inmiiiiK alio" (an thus 1m- defined as iis IľiIuik.iJ suppoils in comhiiiaiinn with lbe l.CA', (.mil vol ihr Intal nwobti •>) ihr •nan patluipatiHf) f.Vn/mlrt is also a mass medium, even if it secmslOUC ■m individualised game. Ytmr choices are still programmed by a COhcc-tive agency in litis slot machine—on adinitable symhesis of knowledge and household electrical appliance»—where menial dexterity registers as blip' and beeps lbe medium "I Cim/iuta is simply a technical materialisation of the collective medium, of (hat syste.....|" ImvcM- commun cultural' sajpssll which piest ribes In each the paitii ipation ol all. and lo emryouc the same parliripation. tím ť again, it is useless anil even almu d lot unipareand coiUtasi the merits of High Culture and Mass-Mediated í aiHme The loiuier hass 'complex' syntax, while the latter i* a loiuhinatniy of element^ always diss'« üble in terms of stimuhis/iespoiiM* .md mieslMMuansvn*r. "Iliis sihema is mos| vividly illustrated by i actio games shows Hut, apan from gos-crning the filual of these speilacles. it also governs the behaviour of Consumer* in their every transaction ami in their general conduct, organising all tastes, |>refei*cni es, needs anil i hours a* a series r>f responses to vai ions stimuli. With regard lo objects.is with relations, lonsurners are constantly solicited, Vniizzed*« and summoned m respond. In this rontexl, a purchase >> rumparalNe lo the radio g.....e show: ii is today leu die personal transaction of an inilividu.il «oh tin-view to (lalisfying a com rete need, than lirst and lore must Ihr in/>o*i/ li a (/nation - * reaponJC dial eng.igei die individual in the (olleeij'c litual of const i in in ion A pin ihase is a game In lbe es lent lhal e.u h object is always presented within * range »f options, fiom which lbe individual is required m choose: ihe «i »i purchasing i* a choice, the dktermi' nation &i a preference —exactly a* one chooses hrám among lbe various MMn presented in Computet 'lliis ii how rite purchaser play*, by responding Ki ,i question wild im tura i baring on Iheubjei li unliiy, bul wiih -in indirect bearing *m lbe "play'of variation in the ohjoi i Tin» 'game' and the choices it sanctions characterise the pun haser/cunsuimr as ihe complete opposite of t he irjilnntn.il user. THE LOWEST COMMON MULTIPLES (L.C.M.) The I..C.0 (laivcsi Common Culture) o( media broadcasts or nun CiltllUlion weeklies ha* bran«lied Mil inid Ml loday li is the mim u lous uiulliphc aiiou of artworks, whose piototypc can be found in ibc Hible and the famous miracle of the luavc* and fishes on the »limes of Lake Tiberias—ihc very same Hible ihat is mm multiplied md delivered i" i In- ma*scs in weekly instalments A great danocrMk wind has blown here**- the cdafiaf Jťfmileai of culiure ami an. 'Contemporary an", horn IVasso 10 lvausthcnbc ■ response to the growing pöbln demand Im ihciH, which fatally (!| lead» to the demand lor new venue», fcpcrimenial research no longer indicate» ihe «islawemesd to money and powei I lie ainateur/bcnelaitiir ha» given w*y •" '** iitccu' laiioii on the hl,u k market— stu h is the cunning naively ul those who conceive and produce them) Works of art find their way into deliča-lessen*, and abstract canvases into factories Don't say; Art. what's that?' Don't say: Art, it's ton expensive.' Don'l say: 'An, it's not for me," |{<;u! La M»fes It woultl l>e facile lo »ay that a Pi->ultiu.iľ »lamling ol ihe average citizen is dclermined — ai least, in (he ideal circumstaiu es where everyone would have real access lo iheui ľor (he lime being, while these pscudo»vorks may have ceased to be works of art. they nonetheless remain tare objects, economically oi 'psycholugicilty' in- 04 73 accessible for most people Itceaiisi- j* distinctive objet is (bey r.i(cr In a paiallrl and«Omewhal larg« market foi Culture. It i« prritBT* more interesting—even cli*»*«*;li ilic problem remaini ihr ume —M Sec what is cirmmircl ill weekly eilt ytllopacdlas liki* /.o HMe, /.n Mut**. AtfJia. i*.Mtiiwn. «»t in man-riraibwi.........m .nul .m 11 u lil 11 alious |ikr I-tuml ftialtrt in it I tifand mUtUMM. I lit iKileiili.il piihlu they reach it tlrarly enormous: all I hose ttffiec workers, junior*, ami m ( ictaiial stall wild an average secondary' or let Iuir.i1 education (nr wiili i luiiiiin 10 educated). lii th.se rcCCM nuts publications we should ail») those. tikeStitmxtt \'ir, llitlviia. etc., which haw long iaicn.il '» die demand lor iulinii-ainniig the 'rising daises'. What do they «ek in f.uuihatisiug diem-selves wild esoteric Kicniilic, liiitiiin.il, .nul musical knowledge? In other wind), what do ibey ieek in these established and recognised disciplines whine coniem, unlike lhal disseminated liy ■!■•- mass media, has a t|Kcific functions Do iliey seek inu ruction nd a real ' nliiii.il cilucaiion, or a sign oi increased standings I í» iliey seek in culture .1 training 01 a commodity 10 appiopiiatc, knowledge or status? Duní we duCUWCT here tliai 'display effect' which we have alu-ady seen to designate — as one sign among oilier signs— 'lie objet 1 of WW III pi ion? In the ease ol.Vcieuirri IV(here we icier to a survey of its readership Carried urn by laiut~\íui into what? Into the altstract community, into the potential collectivity of all those driven by the same ambiguous requirement, ?ml who also icad Scsmnr Cf Fir (or 1st M umí, cli.) It is au act of allc-giaiu C "I a mythological order: the reader dreams of a group whose present e he consumes mabiiiaeto in hi* reading — an unreal, man Ma/r relation whose effect is hici ally 'matt loflimunuatiuii, an undilfcreti-dated complicity which nonetheless constitutes the profiHiiully teal substance of this reading, with all its mythical qualities of ictoguiiioii. acccpiance and participation (a process also readily detected among the readers of Noui*(Obtetatrur. since In read this |icnodi« al islonnwi-alt on»'// with IIS readers, and to e iig.iijc 111 '• 11I1111 a ľ ai uvity .11 ,1 ■ lass emblem). Oľ course, i«osi readers (we should say adherents') of these man publications, of these venules for'undcri iiliuicd'culture will aignc, m all good faith, thai they arc interested in their actual iontem, and lhal their aim is knowledge itut the objective finality of this cultural Uk value' is largely overdeicrinined by its sociological 'exchange value'. Il is this demand, indexed 10 * siaiutory and increasingly lively competitiveness, that the huge tpianlily of Yulturahscď material in reviews, encyclopaedias, and pocket editions fulfils All this cultural materiál il 'consumed' tu the extent lhal its coniem does not cater to autonomous practice, but to the rhetoric of social mobility— a demand which aims at an abject odut than culture, or rather which aims at culture insofar as il is d t odijt/d element uf lutia/ ttalui. There is thus an inversion, and the strictly cultural coniem no longer appears here except as a connotation, a. .1 «ndary function. *Vc could therefore say that U is consumed, just as a washing m a< h me is the object of consumption, once it ceases to be a tool and becomes an aspect of well-being or prestige We know that it then ceases to have a specific purpose, ami that many other objetu could be substituted for 11 — among (hem, precisely culture. Culture is an object of consumption to die extent thai, gravitating towards this other discourse, il beiomťs substilutahlr foi anil >ommensuraie with other objects (even if hierarchically superior). And this is not only true of .Viirn.r (/ l'i>, bill also of'high' culture, 'great' painting, tlassical music, etc. All these can be sold together in drugstores or newsagents. Hut it is not strictly a question of where they arc sold, the size of their ed 11 ions, or the 'culluial level' of ihcii public. If iliey are all sold together, and eon «med in dus way, it is became culture is subject to the same demand for competitive signs as any other category of objects. and because U is pioJutedtu a funilion of ihn demand Al ihi) point, culture is reduced to the same form of appropriation as those other messages, objed 1. Jnl' images responsible for die 'ambience' of mir daily life: it is reduced to a form of mírnily — not necessarily a ■lot indifferent curiosity, since it can be pariiculaily passionate for those sectors in the procesí of aitulluraiíon, but n curiosity subject to the constantly changing cycles and ilii tales of fashion, thus one replacing ihe elitist pi at ike of culture as a system of symbolic meaning with a ludic and combinatory system of signs. 'Beethoven, what a groove?' At the very limit, what individuals undergo in tins process of 'culture' —from which the autodidaei. thai marginal hero of liaditional culture, 1* just as much t\*"hided as ihr culiiired man, 1l1.1t fragrant garland ol a humanism now rapidly beginning in decay —is 'cultural' recycling, an aesthetic recycling which forms part of their overall 'personalisation', of their cultural grooming in a competitive society, which gcucially s|teaking is not unlike diessiug up the object through one nhlie major maiiifesiaiicins of the object, and mienf the most fertile I) r.' n c In i til im n men r 'I his rr.i if wi I limit cut I. si m ľ oll f sc h ku i j .111 now viitually in a staienf perpetual mobility III f.llt, lil VI ll ll.lHll llľi ill ľ V.I I lil- (if 1.11C. Ill CI 11111%. Ml III I Im II* objľl t S (»hose pioiliiiiion ran als» I«- industrial) Km« lí ami ihr '.nulu nm' obj I'll (hut illinium* logelhei 10 oigamse ihi' mn Id 11I 1 iniMiiii|iiimi. ■cronling to die logic *»f distinctive material forever changing mid expanding today Killch has a minimal value ofdisiinilinn. hui this minimal value is linked in .1 maximum statistical profitability, since LiImIi appeals to vvlmlr classes. Tills tail lie contrasted wuh the ni.ivi 1111.....Iimuh uvi* quality ol rare objects, linked 10 then liinilcd supply VVli.n is in question here u Mri their *ln-»uiy'. Inn their power ni distiiu -linn, vilu* h i*. .1 ivíľ-lvfi.nl function In this mum*, all obje-1* arrange themselves iiiio a loci,uchy ol valuci determined by llirii sialism .il availability and I Ikii relative supply Al .my moment, ami lor .my t on* H ami acslhclii function. VVh.it kitsch opposes, to ihe aesthetic ol lieauty ami originality is the tutthtlit ojsimulation everywhere it reproduces, ulij«. i> on an unnaturally small or large scale, it imitates materials (paste, pi.«*, lie, ftt), it mimics forms nnil combinrs them disrordanlly, il irfnal, jaihion wit limit belonging to its process All things 1 onsidered, kits, h ii homologous lo the gadget al a le1l11111.il level tin* gadget is -ilsc» this technological parody, litis hmelionally useless cviicsienee. Inn constant nmutaiion of function with no real practical referent. Tliis bch Ihm ic of simulation is profoundly linked to k u m hi am i.illy assigned function ol eiipiessmg liigli-i lass asp u at ions and soi 1.1I cxpťs lain mi, as «veil as a mai*u ,il allilialtuii with 1 11I11111-. with tin* fin mi. iiiaiiiuis anal signs o( die upper classes', an amliclie of acculturation leading la a subculture of the object. THE GADGET AND THE LUDIC The m.iilune was mice the ruiblem ofindutlfi.il society, whereas the gadget is the emblem of poti-imlusmal society There is no rigiHOUi deli nil ion of the gadget Hut if we r an agree dial ItW object iilimiMimp-lion is di lined by the relative clisappcarani ť of its objei list" fund ion (.is B tool) IO the Itcnelil ol in function a\ .1 sign, and if we c an agree that the objed of c on sit 111 pt inn is 1 hai.u tci iu*d by 4 kind of funtltonol mtttitnf u (since what is 1 ousutned is precisely soincthitig other than the 'useful'). lUcn ihr gadget tt indtal the (tttlh o/lhtobjnl in romumer lotielf. In this sense. aaything c-r« bftoau a gadgrl. and everything is one, putcnlially The ililimiinii oilhc gadget would lie its potential usch-ssneis and us Iodic ioinbinatoiy value."Thus gadgets are just as much like badges which have had their moment of glory, as they are like 'Venusik', a pine' cylinder of polished melal which is perfectly useless (ot perhaps useful only as a paper-weight, but such is the tunc lion asi lilwd lo cat r y object thai is good foi nothing!). Tor .ill you lovec of loimal I Kant y and potential u sel ess 11 ess. I he fabulous * Venusik" has at 11 veil'* Hut they are just as much like —lor where does 'objective' uselessmn liegin *mi rod?—dial iy|H--writer which can type in thirteen diffeient cliaracler registers, 'depending on »helher you are writing lo your banker, your notary, .1 very import ant ihent. « an old hiemľ ll is like Cheap imitation jewelry, or even I lie IHM. dictaphone: 'Imagine a small device (12 k I* em) lhal can accompany you everywhere, on 11 i|«, lo thcnlTlie, over ihe weekend. You hold U in one hand, picli a bullou, and whisper yum decisions, dictate your instructions, ami pnxtaint your victories to it. Kverything yint say is 1 outmilled 10 its memory . . . Whether you ate in Uouie, lokyo, or New Yoik. your set teiaiy »ill nul miss a single word you utter . . .' Nothing 1011I1I I»* more useful, ami nothing more useleis: when the technical pruresa is pven over to a magical lype of menial pranice m j ladnouahle social practice, then lbe lei hun al object 11 self becomes a gadgel. Are gadgets those chrome fillings. IWO speed windshield wipers ami pnv.i*i-o|ti-iaieil windows of a car' Ves and no: I bey do have some usefulness in tei ins of social pi est ige. Tin negative cnonnlatinns associated with the tet m'gadget'are quite simply die result of a moral penpectm on the utility of ohjeels: some Ule lliought to have a |>uipose, while othei-s none - but on the basis of whai criteria? There is 110 ubjeil. neither ihe most marginal nor decorative one, that is without purpose, because, even ilc • t.,.IUJ,.(\Ji.,r n ph-thiira of 'irashy', sli.im or faked objects, ihn whole museum of junk which probicrairs everywhete, wiih a i lit «ltd preference for holiday and iouii*l ipota Kim h i* etpiivalciil In ihc Vbthe in dřsCDunc. Ami ihi* >hoiihl help ut m untlcisiantl lhal kitaeh, ju*i like ihe gadget, con-rcrm a toUguy- one which, while diflituli loikRtir.diouId not be confuted widi any imfollfectl. Kilwb tan In* found ,uiv»licic. in the detail of an objcci as in ihc general design of a man hin£ set. in an and'icial Dower as in a photo-novel. Itcanliesi \h- ilefímrd a •* p*ftfoobje. mice ilicy become linu ni thelogji of f.iduuii anil pi est ige. in n) a fetishist ii logic, nni only do the chrome fittings oceňme a gadgn. but so do the steering column and the ei'lirctar. Koi the systematic ili.ii.un r of objects loday drives them all in this diicci inn. The world of lilt pseudo-environment and ihe |»*cudo objci t is a source of constant delight for all creators' of 'Junctional objects' Witness (lie wurl of André Faye. 'technician in (lie art of living', who creates Loun \Vl cabinet» whose doors open in reveal ihcsmoolh ami (bating surface r>f 'he Inrniablc or speakers of a hi-fi system . . . 'Mi» objects »iir. like Calder mobiles: in ilu-ir eonsiim lum I hey reP* ■" ordinal y objects H mna h as genuine works of ail. wIkmk .ihn nation i iľiiilin.iiľil wilh ihroiuophoiuc in itjľi l n d 11 I» i itgt l h ľni ever < Iifsit lo die lotal ip/tiailt \o which he aspires Thete is >yl>cri>cii< furniture, revolving and adjustable desks. * calligraphic teleprinter . A tele- phone filially become an integral pari of man, making it jhisiiIiIc Im ling up New York or to lake calls from Honolulu alongside the p.ml or ilt'cp within the esiate." Knt Kaye. all ibis represents the 'subservience ul technology to (he ail of living'—irresistibly evoking llie la'piuc <.....• petition Is there any dilfeienrc Iwlween an offii e videophone and .1 cfťďwalcr heating system dreamt up by some «centric invenloi? Itnl there is a difference Whereas the good old invention of die ailisan grew mit of miminy .nul the soinewhai deliiious poetry i»f Iktihi ioIhiii.iI skills, the gadget itself forms part of* systematic higir grasping all of everyday life as a I01111 of s|*ec(J*le, wiib the result thai (he whole environment of objects and. by «(tension, all iis concomitant human and social relations, bernmes suspiciously artificial, bogus, or u seli . In its widest tense, the gadget attempts m supersede tint general I' istt of ihc finality ami utility of things ihwugh ajotm of gamt. Mill it doesn't aihieve, nor can i( achieve, (he symbolic freedom ofa plaything I'm the child h 1* limited to Ix-iug an effeil of fashion. -1 kind of .unfi.i.il booster liir oilier ol'jccls, it is caught in a vii üms ein It when-1 In- useful ami the symbolic toil up merging, as in thou- 'lutaľ visual specii*Its, itH/J a sort of useless combinatory, where ihc lesu val itself is a gadget, whicli it In say a social pseudo-evenl or game vviilioin pl.iyiis \n don hi the pejorative lone conveyed by ihc term loday fit's 10 much gadget ry!") reflects hnih a moral judgment and an ■nsicjy pusdwcccl Iry lite general diiappeardiiiL-ofiiSe value and ihe (unci ion of ihc «yinholii (tin ihe (event is* also (rue: which i» to say the 'new took' < ouibiu.Uory of gadget ry can oppose —and this applies lo any object at all, run the gadget «self— iht e'allalwn of nottllt Novelty represent* in a sense the 1... tf-tit 1 .«■>• ). «mhlinu- phase of theobjeft. and in certain instances rM even aci|iiirr. if not llieipialily. (heii'hr intensi« y n| |h> 1-11111111111 of love 'Um phase 11 ■ lie one of symbolu discourse, wlnih involves neithei fashion nor any reference to other*. The child experience« his objem nr toys, as this form of intense iclaiinnship And what lain .11 nam us to a new ear. hook, article of clothing, oj gailgct is nothing less than the charm ul immersing ourselves in |ierpelual 1 liilJhond This logn is the inverse of that of consumption It is in fact ueiibeľ its utilitarian nor iis symbolu function that defines a gadget. Inn its I.UDIC lomnou Our relationship to objects, people, culture, leisuic'. sometimes work, and even |K'litics is nun.t. ingly governed by (he |ndlc. The dominant tonality ol nur daily aelivi lies is bei......ug ludii, precisely lo the degree that all objects, goo-Is. ■elatioiis and services Iwi ome gadgets Hie hulíc correspond:! in a very soecifii type ol investiuent: mil economic (since objevil an- useless), nor symbolic (since llie object-gadget has 110 'soul'), it 11 mi prises 3 g.imc with combinations or a couibinaiory nUMlulatiou — a s|Heulaiiun in the varieties Of technical |M>lenlialiiics ol the object, a name »'ilk Iht rain oflhf ;iii!>ill machine. Noooecowprefcetidi iis neiwurii of wires, but they all accept tlii* brag" woriil .1» an absolute ami indisputable given. Their relationship to (lit- n 1.u lime has mulling ifiioiiiumn.with thai ol .1 kuighl lu hii hurst, worker 10 liis tool, or imiinil I" j wink of art Herc lhc relationship uf man (1) liii object 11 intJy magical, win« li is in say hyp* none anil manipulatory. This luthe activity can give lbe appeal ancc of being a pauion Hut n never is It is consumption- heft, I he abstract manipulation of blip*. Hipper», and rlrfirical reaction mneš. elsewhere, the .ilaii.ni manipulation of signs of presume 1)1 rough changes in fashion. Consumption 1* always a combinatorial investment: it pi eilmles passion. POP: AN ART OF CONSUMPTION? As we have seen, (he logic of inimitnption can l>e defined as lite manipulation of signs The symbolic values of creation, ami the syiu-bolic reJathMU nl inlcriorily are absent Inn- U is pure exteriority. The objeti loses us objective finality ami iis function lu ln-ionir a lenn m ■ niu.li widci comlMtialory 01 scries of object«, in which iis value is purely relational In am-thci mom. il loses iis syiulxilii meaning, in millennial anthrupuuiurphic slatus. and tends to disappear in a discourse of connotations, which are also illative to one another in the framewurkof a totalitarian cultural system, which is to say one capable of integral i ng •'" significations whatever their origin. We hase based out analysis on «irfraV-ir objects. Itul ihcrc is anothcl discourse on the object: the discourse of art. A history of the changing slatus of objects ami their represent M.....i" art and liicialure would In" revealing on iis own Having played a minor symlxiln ami decorative role in all iiadiiional art, objects in the 20ih-eeniiiry (cased to be lied (■> moral or psychological values, CCSsed to live in the shadow of man as his proxy, anil began m take nn extraordinary impoiiame as nul mu nm mi elements in an sisalysis of space (Cubistn, etc.) Ily ihrnmc token, ihc-y became fragmented to the point n I aim r a» 1 ion I laving celebrated their parodie resurrection in Dada and Suuc.ihsin. and iheii dceninpiisiiinii and vulatilisatioii ihrough Abstraiiion, we now lind litem in Nco-Figuration and 1'op apparently reconciled with their image. This raise* lhc question of their contemporary stains, in any event, il is forced upon us l»y this sudden elevation nl objects *<> die pinnacle <>r unistiť figuration. In a won! Is I'op an an lorm coniciJinuraneous wiih this logic of signs and of consumption urnler duKuanV»? Or rather, bil nm simply an effect ol ladnou, and thus a purcuhjcu ol ruiisumpliim ilsclf' The two air hoi mutually exclusive II lould l>e argued lhat, whereas Pop Ail lilt u> litis obji-t l-woitd U|itidt* down, il si ill end* Up (according mils own logic) in nhjKK pure and simple- Advertising shares the same ambiguity Lu u* pose die pioblcm another way: the logic of consumption «•linn nan's die tradiiionally sublime staius nl aiiistu lepí CSCntal ion St 11111 v >|*'aking. ihe object is no lunger piivilcged over the imaci* m leriiisoltss'-iinoi sigiiiliialioti One i* imlnngfi ihenulh u< die oilier: I hey toekisl in tlie same physii al ami h'gu al sfsare, svheii- liny »pir-Ui' equally .is signs'" (iu their 1l1rleiLim.il. reversible, and iombiuainri.il relations)- Whereas all art before Pop was based on a vision of the world 'asdeplh'". Pup claims to l>c at one with ih.u tinmaniMotdti o/ttgni. with their industrial anil serial protluc Hon. and thus with ihe artificial or Manufactured character of ihe whole environment, with the phys<H*, lei lis teply ob|i'< lively: if all tin- is Amaitanitm. then Pop ai lists, aciuidiiig in iheir own logic, taniioi bul ailopl il If 01111ul.11 lined objects '»peak Allien«an', it is because ihey have mi tfthct liulli than ihe mythology that inundates litem -vi il ii 94 C-C 13 mil)- liiyii.il t« integrate dlí) myilralugical diwinirse. and í" Ik- integrand into il onesell II tonsupptei uHii'ly is engulfed ''V iUiHvn m-, |li • ilney, 11 11 11." lin ( Min h I iieispei ti»' i in itself, niil if ihn ti i/i iiiul (.'t/ivtlion'-'. ilu'ii dure cm Im' no tiifiicmpaiiwy in lhal i> not, in ••* very existence .uiil prat m e. a CPWpmmüc *•'''' ""d "*" aceflmplie* nl I Im HianiJeii iip.Kily Indeed, lilts i* why IV>p »t IM t p,nut objects .Kiiit'lini; in their real appearance, since u n W /**>■ /umn»» «otto» tifitiith — ai iiadymadt »/f« t. ~/e- f trudí of objects -"nl pfodints i* iheii luulimaik. II ihis i» "Aim-i". uiisui'. ihca puch isihc neryhMBť of contemporary cuhore, mmI ľop.uiiMn.m hardly ix- repKMrhed «» In inging ir in light, i Nu mint' than ílu , .....I x n i.....u hľtl Im i In ii <■ niiiiM-iii.il mih m. apiil [«u accepting n wiilioui sbamc Tbc mM ihmg would I»- luilamii ilirtii, .n ul dm* tu ku (veil (dein with a sacred fiuuiiun Il is logieal Im , iin an ili.u I inn prevent i< becoming .1 uffd object ami l>ciiig < "miueicialiscd in lenu* of n* signature (Abstract (.impressionist* carried ihi* liňamphoni inventive' neu and shameful opportunism la ne* heights). I'up artists retum ili- ■hc objeti of panning with the painting as object Is dus i ohercni ■■( pandoucal? ľ»p. ji mm li in i'* DoaMncrcial tu* • < ss a* in ii* praliln lion for objeli*, in in infinite figuration ol 'irademaiks' •uiil lOiiMiiiľ ables. i* llie hrst ni ovčinci» io explore ilic very HMlUoJ a" M ■ '»ifíiml* ami (cjiiiiiiiicď olijn i Yet ihií logu jI enterprise — %#hiise cHrcinc romecpiťuccs. were ilicy lo conirdvcnc our lrddilion.il motal aeslheiic, conlil no' bul ni.il wiilt í our appiov.il — i» < oiipK'il with .in ideology jnio wliii h Íl is in duntjCr ol sinking: die ideology of Nature, ftevi-I.ilion ('Wake lip!') anal iiuilicu lícily, »linii evoke» the belief nioinrnii of bMulfciMi <-]»ml.uiľiiy. "ľhi* VaUical eiiipuiiisui', *uiu oiiipnniinin^ potilivinil' and \mii-irlrologivin" (M.iiiii Amaya, /!■/> ui A'l) HHiietiiiies begin» in look ■ISpicioUSly like a form "f mHialum Olili'nbiug: 'I ilrovt- ,uiiiiinl die eily one day widi Jimmy Dine By tbaner we ilrqve abni|[ Onlianl Sireci, wliidi i„ ernwded will» »mall slot« on Imlh ade». As we lIlHW I remember having a vision of I hi S:..n In my hiíihIs eye | s.iw a complete cnvironpneni based on ihj* ihesae, Il seemed in me ilul I b.nl í : í x... .u. -' . -i discovered anew woi Id everywhere I wen I I began wandering ihii'ugh ihcdifTrrei« stores «n ijiAtf <•<*'* mufum 1 »aw die object* displayed in windows as prcomi* woik* ni atl * Kn«enqiiisi: ""I hen tnililenly lbe ideas seemed loflov toward me ihr'nigli the winilnw All I had Unlľ was scire ihnn in inid-.iir and slaii panuing Kveryihmg spontaneously fell inii) place, die idea*, die eomposition. ihc images, lbe tnlours — everything bega* in happen "I inom mff ord 'On ihc ihemeof 'liispii.uioir. we can see thai Pop anists aic in iin way inleiiop m early general inn* What this ifacrnc iipipliei, since Weriher, is an idealised Nat—t lo which one only noil» to l>e laiihful in order In be irue. AN you han- In do il awaken or reveal il In llie words <«" musician and llienrisi John ('.ige. who inspired K.iuschent llu-y ap|H*ar (sonicilmig rcw-nibling -n iuipiessiomsm of ťonsiiuiri sot leiy) coupled mill a vaguely Zeit or lloddhisl mysticism sliipjimg die Igo and Superego down lo die 'Iď of die surrounding woihl, wuh a il.ish of Americanism thrown in for good measure? lint there is above all a grave CCpjiv« .nioii and in'onsisiem y lín, by manifesting the MirfUUruling envinnnuent nui as il •*, which is in say firsi and forfinosi as an artificial field ol mauipul.ihle signs, a Intal cultural artifact where midier sensaiiou not >is.....i"inn into pl,iy, Inn iluleienli.il perception and lbe t.nln.il g.une ol sii;iidi>.illoiis: l>y manifeslnig il as a leve.iled llallire :Uld essein e. I'uji lakes mi a doobli' cunnoiation on the one h.iml, iin- nleology nl .in uin-giali'ii siuiely (eoiiieppipoi.il f WHiely - IMllun - .in ule.il mi ill) . I»U we ban J en how ibis tollo,ii.u formu pari uTiislogH ), .mil, on du-oihei. ihr imur-aliou of die «hole muni p0Cta of an. a pfiMess ih-'slruying ill b.i»n ob|iCIÍve. Pupclaimi to In- .hi >il ol (heCO!.....iiiipl.M''(Íl isjoi ilu% leiy iea»on 75 :'_''.' dui ii i) .jIIkI hipular A") Hitl «li.k i» llii inuuunDplaic il not .1 metaphysical category, a modern nimm «I ihe category "' 'he *"'»-KaM? The object i> only cufflmonptarc i» its use, ji i lit- dmhiwiii "I iis tne ;.i, ivilli the Voiking' radio in Wesselmau's installations) Hul lbe objeil Ofasci l.t l.i- m........njitjd unce ii liegins la signify as wc have ■cen, iliť'i'iiih'ol ilic contemporary object is loserwnanuipoBEOlher ihan io signify. 1.1 Ih* manipulated nul at an instrument hni ji ,1 »igu. And the success ni i'npin ii* better examples is thai ii dtuiumiiatc» dus 10 H. Andy Warhol, whose appfnach is the mosi radical, i* aha lite one wlm lni cpuomisci du- theoretical cot radá liOM in 1 Im* anist j. prat • int. and ibt ihfnciillics ii iiuounitti wlii-n 11 irics 10 inTJuigr in real object. |lc says: '['In: CHW i* an alisohilcly everyday object, like this ili ji 1 or 1 ti iii iHivlcf (Always I li i 1 will 1 u almu h ,ind icahsoi li .11 i, nlnii wc find t»'lli American pragmatism —terrorism oflhc nihil, lil." I mail ni integration —and something like an tího ■>! ílu- my st u um ni sat rifíce.) Meadds: 'Reality needs no intermediary, all yoii have lodou isolate ii from du- environment and puf ii nn canvas/ Hm this d lbe whole iirublci n siuicihccvciydayiicuolihisihaij (m hamburger. I 11I lin,celebrity pin>up) i* precisely h* ..miest, and .|M.'.ili«jlly I|k smál Kinicxt ni all similar Ol ilighdy dissimilar diaiis. cM rVctydayncJS 11 diflfitnte m iifxiiiwii Hy isolating a 1 li.m on «anvas. I rcinťw il 1.....1 all everyday Hess, and ai du- ume linu* I remove from du* i.inv.ts .ill id chancier at an everyday object (whiih should, according m W«u|iol, make it absolutely resemble a ■ h an) Ihn 11 a familiar impasse-: an On no more be alisorbt'd hy ihc everyday (the canvas • the I hair) lhali U fan capture die everyday at wuli (the chair isolated on ianv.it - the teal chair) Immanence and transcendence are cijually impossible: (hey are two aides oflhc same dream. In brief, iheie is nncsscnic- ol ihc everyday 111 the commonplace, ami iliut no aii of ihc everyday. 1 his is a mystical anuria 11 Wailml (and ihc (idicrs) believe lhal, il i* because ihcy delude themselves al">ui the vťi y ■tatu* of aft and ihcarimic ad, and «hu i* nm at all uncommon among 3111m Furthermore dm my si u.d nostalgia can even he foiinil in (In* (»rnduciivi' an or gesture: 'I'd like tobe a machine,' lays Andy Waihul, who indeed paint! wich sicnuls and silkscrcen*. etc. Then is no mime arrogance (or an than the pretence of being m acholic, and there is no worse conceit lor someone who enjoys ihc stains ofi reaior, whether he wamsii or not. than being dedicated 10serial auionialiaaa. However, ii I* 1101 p< mi I'd in an me Warliul anil die 01 In: r IV p aiiuis el bail I.111 h. Since (heir rigorous logic run* Up against ihr Si« iulogi. ,i| and collucal status ol all. about which ihc/ can do nothing, linn ideology iclln is this inmilli IHM II WIii-ii they try to (Ickm raliw elicit |>i.u lice, smieiy sacrahscs them all the more. And fioin lliii one 1 an conclude dial tun dun uiiui radical .iinuipi in accuľaluc ihelhnucsand uractkťol their ail iiids iij) a* an |iin cdeiilcd ctallaliim ami uiaiutiilalioii til the sancd in ,111 (.'nil. tiiu]>ly. l'n|i ailnn tail m see lhal d a pni m c il In avoid being a sacred mpti siijii (.1 iiin(|iic i>bn*.i. a »ii;ualui.-. .1 nuble anil magical objeti ol 11 numeric), then content oi ilit' UHcntioOi "I «be auihoi arc not enough; ii i> the ilnKlures "f cultural produnum that decide this. Ultimately, only iIm rationalisation ol iheniarhct Ic* paintings, as with .'<>Y other niaii.il.il lining ciiicrprise. enuhl dt>.» i.ilnt iheiu ami nun diem into everyday iihjvri*-" IVrhaps this 11 neither ihink.ible. 1101 (»issiblc, ItOf even ib'sii able - «ho knows? In anv 1 a*e, il is die point ol i"> return; oilhes ymi imp panning. 01 rise you cuntinuc ai the cost t if Hi.» llia| n> ihe iradi'ional inylbology oi ariisiiccivalion And this dnwnlull slide leads lo the recuperation ol ilassiial piiliui.il value»: OldcnbiiryVKxprťssioimi' ireatriieiil. Wcsseliiiann's hauvism .1 la Matisse, l.ubd iisif m's ail aowvrau and Japanese «alhgiaphy. etc. What are we to make of these IcgCndary1 resoDanresľ Wlui «C "'e to make of tlusc icthuujut* that seem In say 'II'» all painting plil ihc sameV Ihc IngU nf l\>p it not to hi found m ••« aesthetic ol luulliphcj-liouoiin a iiu-i.iphysii ul iheubjcci — iislogu isebevrtVre I'np ■ tiulil lie ilt'lim d as .1 j.Kiic nl manipulating ihlli itm kwh ol menial perception—a kind of mental Cubism whirfc wikiIiI seek m diffract objeils noc in leiins ol spatial analysis. Inn Scconling lo die mndaliiics ol pciiepiinu elalmrateil across lbe untunes by an entire culture' ihrniiifb its uiicllcitual ai'd icibiinal appatalusct iibjctiive tealily, image ;ts reflect ion, di.n-11 liguialiou. Icchnical ligiiialion (ihc |i|iolo), absir.ui jtlicinaiisaď'ii. disniisivc uiicraiue, cit. On the oilier hand. I he use i'f the phrmctic alphahet ami uuluiiii.il lech-mtpiik have iin|H)sc further by silkst tiening The repetí I ion of the UK pboio preauppusCS the unitpie phmn. ami beyond lhat the real being of whom it is a reflection; runhcrmore, ibis teal iH-jug could 55 figure in lbe work »nimm dimpling »-it would Ir- only ink more combination Just .t* ibereis nu order of real it y in I'm», Inn level- die mii.ijji' or altilai l in its relation In die real obje. I (u docso'l inviJv. reminiscence, but ''» pCfCeplion of an immtdialt .■ i■.I 'w51.11/d1llcn1n1:) .Nut 1,111 tins reading cui lie j vcaich for adu ulanou ■n i.iluTi-tm-, inn nl'-ayi an""iTiľirriIirm. averürcaiionul succcsshhi. Wo can tec thai die aftivity I'np prcsciibc-i (rnwe »gain m it* ambition lei I»- iigm.iu») has lilllc In iln with 11111 \inlhilii sensibility'. I'up ii a 'ii-iľ uii: ii demands neither acsihcth ceslasy ihii allccfivc or symlmlii p.uii< ipaimu (*ilcc|t i n volumem"), bin .1 kind oi'.ihatiaü dime inlillciiii.il rcflcXO of decoding, ilciiphciiiig. cic. whiih wc described IkÍoic In > word, Pop 11 urn popular art. For die ellios id' popular culture (if it cxiíU al all) is based precisely on unambiguous realitní, on lincai narration (and niK repetition M the ihlfiatiiun ní levels), mi oSegory and thcdeim of vie") Then, a smile of densum. soi11 dial oik: cannot icll d dny arc- judging die • .1 .|, < Is painted or die pa ml mi; itself-a smile dial turns willing accompli, e. all more 01 less contorted m lbe shamelul ilesolaiion ol ma knowing whal angle lo lake on it. That uo'l really lie miioiik. bill we're mil going \a be scandalised by il. because pcihaps deep down . . ,* live 11 so. I'np it both bill of Immune and humourless. By all logic 11 lias nothing lo .lo with subversive nr aggressive humour, with a sui realistic tclcKoping ol objects. Wbai is piciiscly involved is 00 longer I he shnrtcmmiing id ■ibjicts in their funciiou, bul die juxtaposition ol them in order |U analyse (heir relations I Ins appmaeh is not lerruristlC,*1 but al best emails effects nore like cultural estrangement. In lau. -uimcihu-g entirely different is involved lal os ihM forget, I" ictoiii 10 (he system being describe.1. ih.u .. Villain smile' bcbulgS '" ihe nAligalmt itfii ill consumption —a smile no longer comprised of humour, 01 Critical distance, except as a reminder of ih.u trarukUkkncc ol critical value uiaiu'csicd (inlay in a knowing wink, 'ľlus false distance is present everywhere, m s|«y film», in Godanl, in modern advertising which t minimally uses it as a 1 oliura! allusion, etc. Al die very limn, one ran no longer distinguish m this 'cool' smile between the smile of Immun' anil lhal ol C01u111c111.il 1 oliiph« ily I his is alsi> whai h.misciis m I'oii, wh.ise smile sums up ils svhole aiuhigmty: u is not the smile ul 11i11c.1l distance, but the smile ol iolluuen THE ORCHESTRATION OF MESSAGES TV, radio, the press ami adver Using comprise a he ten »ge neon s matt ol signs ami message* while all orders are equivalent I lere is a seleili.ut taken al lamímu from radio. — an ad lor. Remington razors. — asmiimaryufsoci.il unrest over ibepasl foil night, — an ad for DunlopSI* S|»oii lyres, — a debate on the death penally. — an .ul Im l.ip w.iichcs, — a report on the wai in itiah.i. — ami an ail lor new blue ('■• in bnindl y tlcici j{eiu In this litany allei nalmg between the sim y ol the wMrailÍťKury ■Banges, iniDsignswlucncaii I«.* jimapnyid mil combined withi'ihci MgMindwfehnraa realm »ŕ broadcast mg What wc consume, then, ii nu( a particular s|X-(tailc or image Mich; ii it the potential mi 11 Minn uf all possible ipeetades—'and the certainly that this law nfujciuilnii and division of program» will ensure' thai nothing will mm p. h..... them which it nut j HMjCiacic °r sign of one kind or another. THE MEDIUM IS THE MESSAGE' Here wc need to Keep*, in ibis seine at baa, McUihana formula "die medium i> die message' .<* I11n1l.11mn1.il m die analsis of consumption. II indicate i dnít ilu true message delivered by ihe media ol lulm Mid TV, onedeeodicl and'consumed'at a deep uncoils* umí level, is imi die manifest content of sound*and linages. Iml a coercive system, linked Io ihc very technical nature nf these media, lor disaitii ulaiiiig the leal ÍMO successive and equivalent signs — ihc wMwi.mW. programmed, ami miraculous transition hum Vietnam io ihc variety show through their total Mutual abstiariion. And ihcrc it something like a law of technological inertia wbi< h says 1I1.11 the closer you yet lu 'live' documentary reportage, and the more finely attuned io reality is ihc colour and resolution, the wider becomes the gulf between perfection in technical |Ktľeclion and tbe leal wo» lit, and ihr iraer* bccumci ihe assertion thai, (or TV anil radio, ibc primary (nm non of each menage it to refer lo another message, at Vietnam do« io advertising, and advertising docs lo ihe newscast, etc— their syaiematii juxtaposition Ikihu the discursive uintle ul ihe medium, its message, lis meaning. Ilul in thus Uttering Um.II tu ihe message, we can easily sec bow il imposes a whole divisible system ol interpretation un ihe world. This leihuologiial pioecsi ol mass loiiunomtalinn deliver» a highly imperative soil ol' message: ihe mti">s' %>J wioiar* tumnmfmoft, of liag-mcntalion and qiectacuUriSation, id inisu-iogmuou ol ibc world and ihc vahu isalioii ol u i Ion o alum as t'lmminlily, lbe ".ill .iimn ol •> intent assign In brief, us luuiiioii is one «d paikagmg (in ihe |Miulii'iiy sense ol the woid — m ihe tense that at I ve Hiking is die 'ma*s' medium |>ai csccllencc, one whose dtvites jieriucale all the uiltcfs) and ol mis* recognition, This is tine ol all the media, ami even ol ihe medio.....I books 01 "hleraty*, wlm |i Mil.uhau made into a major deiiiuiisiiaiion o| his (henry II. maiulains lhal the appeaiam e of the printed Iniok was a dindaiuciiial iiiiniug |wiini for mu civUisaiino — rut) so nun h ibrough theeouieiu {ideologii al, inroiiualiiiii.il. n u nlilie, ell) paiseil Irom one generation lo tbe next, but ihiougb ihi f'tu/iiumitoitiliaiHl "I tpl'maliialwu rxeiltJ ty in u, h ait ul naiwt He m.iuUains dial the book is lit si a Inhmml model, and thai tbe order "I cot.....inuraiiuii whiih governs it (the visible fragmentaiion into leiten, words, pages, ett ) is ultimately a more iinudil ai"l lar-rc.icbinij model than any symbol, idea, or phantasm constituting ils manifest disioorsc: The cflcctl of tedinology do noi occur at (he level of opinions and concepts, but alle t sense ratios or pallet ns ol jn-riepiiiiu steadily and »ilhoul any iesÍslan history «ill no lunger he m HUiilii.li. Inn iim|>ly i In* uileinaliiihcitnicul a lysiem nl it ailing lib mi ilm ili.iinii, i.inllniiijl, .mil mim.iiliiiiiry win Id that en h nut limn ihlH i Hi | i•• Mcl.uliaus hitnuila, as lbe mnup'. Ami il i* ibc miIi-Stance ni a World fragmented, lillcrttl. and reinterpreted according In this itihnual hut'legendary'unit i|,.,i wc consume' AH actual tiilim.il ui political vkjuc hat wiirited from the whole MaicriaKiy of the world, (mill 4 whole i nlluiv utdusinall) mi welted into liilisln d produi n ,tiid ihc lil.Ki-iliil nl signs If wc u i milk'r ibv ugn -ii .in .mn "Lit inn III nfßHlKr .mil Minified, tbt'ii M is Liniiililt in ii" i íly i i-ii i yiii \ nl 11 pii'iiii'ni I'm ibľ i Inlil, m Im lliir"|niimiľn'. lbe signilii-r can ihaiappciu in umnil ul il«.' signified (like ilit ilnlil wlm miataka In» own image 1m .1 living being, m ihnat African television viewers wlm wonder what Ik-i units ul ihc man ibal dttappcari !i..ni ibc miw) Conversely, iti ibc inutge centered on iiK'H. or in tin- message centered mi tin cuňt. Hit ngnifiei IwrtMiHa us OWII ligmli'd. ilitii: it .inmliiicil .11. iil.inly nl 11 it I wo in lavnm ul the ilgmliei. an aliullliiiuul ill. signified and a/(inŕ«'ojri>/l/|ŕ ilfiil/tiv This is wIijI ,1. lint-. lonMimptiuA, or llu- vyntin.it n tfftflft/«—fKM,Wi—. .11 lln* level ol niii» mtiliii Instead ul .nuviiil; ,11 ilit win Id »la ilit mediation of iht image, ii is the image whkh turn» round on nselt viadu-dctouvol the World (ii ii ibc signilict which designates tiscll 1*1 und ibc alii» nf ihcngnif* d) Oni passu frontthe message unitiction tin- signified (the transom: message) tu du- mcuagt Centered on (lie signifiet — in ibc 1.1«: III TV. lor ekantple, (rum ibc cvcnl* signified by llu- illB(T ll' ihr imuuiiiplHMI u! Mit image a> »m Ii (which 11 in >.ty .1% something precisely dilti u m from 1 boar events, or a« llrcehi would lay, as a special ular ami '1 ulin- ary'substance, tltvoiiinii- iisclf iti die wiy umru- ot Hi nUttMjHHMl......' invi, itltiimi; inyuiul n). Also tlilltium m Hit senna: lhal ibc iin.n.i printKi (litm nciilitr in !«■ ncricivc«! our . itinpiebi nil« ll in ibur Imtnr11.1l. mu ul. ,11 cultural spcciľieiiy, l>iil ilclivi'is all nl ibtin m indiurimiiiaiil rcuiici|iniinn acCOnlusg 1« ibc SSjuc little whowi nructure is ai unit I'l/iunnimul id&ittgitat — in oilier wonb, in the case of TV, (lit iiltnliHl mttsaiiet. liti whuli it sulnlimic* in nun itkjul OMUIl.....is Itf mcaimi|>. litis oiofmnnl tin cursiviiy of ibc oiriliuni is. as opuosoJ la ibc manifest discourse ol iinatjcs, iIccimIciI inwumKiHuir by ibf ipecutijr THE MEDIUM OF ADVERTISING Inibis tense, iitlvcrii'.ini; hi perhapsihc «n'ni reinarfcabk mass inedium of our epoch- |nsi a» ii noieuiially pjlorifica all objects when speaking of a pWlicubu one. anil jn»i a» ii ,u inally iclers, when snenking nf a |un lit ili.n object or uailcinaik. in a lot ulil J ol objci is and a ttilivcrsc entirely made »|» of objcc'is and 1ra1lcm.uk). 10 does n address all tonsumera ibroogh racb nl (hem, and each tonsumer through all of ihcm. ihui siriiuljiiug a totalit? ej tvnmmen, and reiiibalising ihcfn in a Mi l.uliaiirsiuit sense; in other words, ibrough an uninanem comoliiiiy ui-11 illusion al tin direct level ol ibc mcssat;cF bin almvc all al lb* level of the wiy code of Ibc medium iisclf Kach «Welti»m image prescribes a consensus among all (hose individuals |»itcnitally summoned lu dcci|>hci it, which n to aay, in denHling die message, to aulouiaiieally tonliiiui 10 ihc code in which ibis image has bom encoded, I Ihn lln Imi. linn of advertising a» ma*s tunuutuui atiun it Hot related to il* content, ill modes ol iblhaSHM, in overtly eionouue or paycbologiial objenivi», o, die actual sicr refcrting to real objects, to a real reference i" lbe world, but referring 8M ligu to .inolhn, uur objttl to anathn, oni tomumir to auůihtt Ir\ a kiimlai fashion, ibc book becomes a in<:ans of ma» coiiiuiunkation when ii refers one of in readers lo all lbe Other reader» (thus the substance of reading is no longer meaning, bul quite simply the »ign i,| cultural itmihliiity), and when the lMKtk-object rclcis 10 others in the same tollcction, cic. One could analyst the way in which the symbolic system ol language itself becomes a mas» medium at ibc level of the liailtin.uk and the discourse of adveiiising " lively where massinmiuomcaliun is defined by (his syaieiuaiisaiion at lbe level of the leiliuical medium and ua «otic, b j ibis cyaienuttic pruduethw nl ntcnages—ntH about the world, Iml abotil ihc medium inelľ" 35 4244 THE PSEUDOíVENT AND NEO REALITY ] lere we CMC! (lit world nf ll«" p»-ufr. in uiber mixli, .1 »MM !il nl i vi nil. hlSIOry, UlltUle anil ideas piodineil iiiK hum die lliuiti.iiini; ami mntradietnry nature ol reality, but piuduud m ailijaih/mm ihi lnhnitul »luvuWu'mu ■>/ /fci mnlium ami il\ m-UJ tUmenlt. ll 11 this, •mil nothing cbe. wl>ii-h defines .ill dgnilicaiuMi whatmcvci u íCHfumaUf. U is this generalised mbHttuhoii of iknodt Joi Iht irfeiau, lli.it defines nuna MieducomuinpiioiL lh> i. iv, event is exchange, und nut lbe material of efffcsnge. Ii it um Yiitmiin.ilik-' miles* filtered, fragmented, .mil rcelatmialcd by .1 whole min ni industrial procedure*—by Hit- mm media—into .1 liitished praducli nun ihi- material ol linidied umlcombined signs, aiuriugiMuiu ilit finished object» u! hkIiiiiii.i! production. Makeup on tin- I.m umli-reoev 1I1. same operation: tin systcmaiic siilntituiiou i>l id real but Imperfect features liy a network <.l .ibsti.n 1 and rnfcrrrai manages mailc up ni ic» 11 n ii .U dements and a «nie of prescribed nrniincurons (lbeCode ul "Iw-auty") Wo shuuUI be careful not m interpret this immense enterprise fur producing artifacts, makeup, |weudn objects .nul pscndn-cvcntj tlt.n invade* nur everyday existence as die denawratiotl or Usificaliori "I authentic 'content'. Given everything mentioned thus lar. we CM readily ice (li.ii die mimpprooriaiion ol meaning, depulilirrsaiMa "I polilicsi ilvniliuiaiKiii nt culture, .mil desexuahsanon ol lbe l-nly m mass media consuioption is situated (|iuie lieynml lbe n inhnmim' remnr|inuiiiiii ul ioulml. Ii u 111 l»im lhal everything has «hanged. everywhere ibere is. in lie« and in placeul lbe real, us substitution by a 11.11 1..il*entirely produced Irmu actmsuinatiua ul nabilihumui An immense piana uj nmulalion has taken plait ihr'ni^hi-iii all ul cvenl.iy life, in iln image ol 1I111M-'Simulation models' un wbkb operational .m>l computet sciences are based One 'I'abricatcs' .■ model by combining (Ii.h.ii n iiMiii or dements of tbc real; and, by making lbem \\-1 um' .1 1111 u re evviit, strut 1111 ľ 01 »11 u al u 111, i.i, in j| 1 m u humus (an I» ill awn ami applied m nalily. It can l« usc«| Jt an analytical mol umlei ion trolled >i mu ilk loiidiiinnt. In mass eouuuuni.atinus. ibis procedure assumes ihtfoni o/italilf, abolishing mul volalílisiiis die latter in lavoiu ul illJl «iii i/altlf of11 modli iii.ilci iiiliM.l by die mciliuin illelf. Bui once again. In usbewniyol Inttfjiagr v. In. L automatically relets iu 1 lie I.1I-". ilic 'pseudn and (In 'aiiiľuaľ. And I« US return with Buinitiii 1.1 advertising in our alti'iiipt logman lln. new logic, »bi. b is also a new prat lite and a uew'mcuiahiy' BEYOND THE TRUE AND THE; FALSE Advertising: occupies a >n atcuic position 111 this prínos, nine 11 1* ib.* dominum ot the pseutkt-eveiti p.» eareVence Advertising turns tbe nhjui into an evrnl, In fail, n cnnstnicts ii as »tub Ity eliminating in nbjUlim iliaiai terislies. It tnnnrinii die objen as a UKJuVI, as a spec-l.iiiil.n BOM item 'Modem pnblnily was bum when .iilvtilistiniiils ceased iu Ik- memtanttitu reo......lemlatiuns, becoining udí..1.1 "fabricated ni«» iiems" (iliis \s «liy adventsing ii rmnmenstimic with the 'news', 1 s., 111 being >iib|citi .nul myslili.aiinu isiim.li Ii-»,hie milieu lack of temples t ban to our desire In be deieived. II protee.ls lest bum ili.ir .li-ľ.m- loaeduccthan rrtmiourilesireiube irdurcd Andbr|hMnis in 1 be exaiuple ul Itanium, whose "genius lay nut m disMivering bow i'.1.y it is Iu hnil the public, but lather in Imw nun b die publu loved 10 he foolctľ. It is a sedm live hypothesis, bin .1 brise one .ill ,>i dus tin.-, mu rely on a certain reciprocal perversity, unarynicai uuinipulaiUHi m > nlle. live masochism rwulving around the true ami the labe. The truth is iImi .i.lveMi-iiii; (ami the Othci mass media) iIih-sii'i 1i-iI us: «AvtMtiag ú btyand iht llu/ anil ihrj.ilif. jnsi as l.islilou is beynnd ilie ugly ami llie l>eautilul, and just as lbe umdern ubject, 111 ns si^n liimnnn. 11 beyond lbe useful ami the unless. I he probílili ul 1I1' 'veratiiy' ul ailverliune sboulil lie puseil iu the i'.M.i.viin; mannet: if publi. in, really 'be', n would be easy m unmask diem — but ilieyduii'tduibis. Ami ll they dun'i, it's mil because they aie I'Ki iulelbi* u Minn (u i ľ t i.i im i in reálny, itdvei f in hi; ha* In lnul a .Iill.fi.ill typenf riil/liuiuoi. at do .ill myitis and ■«Jgii.il spee-, II, lli.il nl 'self fullitlidg propheiy' (a statement which become» true by nt very utterance) ''IIn- sui icssful pubht iiy age in is master uf■ nrw jm, ih.it of tendering things I rue l»y .mining ili.it they are true. He is »ell vened in id.- tei hni'mc nl 5. II fulfilling piupheiu > ' Ailiľ.Using is a i|»ili n prophet y Li lbe exlenl lhal n isn't me.iul In be comprehended or apprehended, bin | wfaiionrfup h iinpoa-siblc In untangle. Just as nature imii.itci aft, sn ihn-» eveiyilay life end up as a i.-plii a nl n 1 model The mixle of VI ľ* fulfilling pmplieiy' II tautologii .il Urality is mulling mi."f than this model nf self utterance. So u ľ, with magii.il »pee.h, an it is wiih simulaiiun models-and so il is with advertising ■linii, among all ihuK lUacuuracl available In il, pulen in n-urale lliiuugh iaoinlngu.il discnuise. Kveryihiug m n is a 'nul.iphoi' Inr one and the same thing: ihe trademark. I'lirayes like 'A Heuer Um' (biu beiicr than whai*), and'Lucky Strike, A 'liMsted Cigarette'(nl mm... Ihcy all arc!), patenily rely on u circular argument A» Men* ('ihe wo 1 Id's number one in car rentals') concludes in a Ion«; advertisement: 'Let's be logical If you didn't get ibai huh' bii more Irmu US, wc wouldn't have ui h uved I he pnu i inn we occupy ■ ■ .And iieihaiii >nme-one else would be lining ibis advertisement.' Whai else is ink but puie lautolcigy. argiimeni alter the fact? 11 islhul repetil inn itxlf ibai every* where ensures cffciiive causality |mt .11 certain laboratória wort on ihe arliluial synthesis nl molcculei, hi lines advei Using wnrk im ihe 'anilicial »yWhcsij' nf die inie by means of efficacious spcei h Tii-.il Washes Whiter* is not a sentence, but ľcisilspcak Like other adverlis ing »ynlagms, it does nol explain nr oiler nieamug —liny tolT neither true nor labe, bul pn-iiiely elimiii.iie meaning and pronl. They 111 bill lute fur the latter indicative* widioul sememe). lepeiiuvi- iiiipei.nives. And as with magical speech, ibis tautology in dňu.....K aileiiipU m induce taulnlogii.il n~|ielitHHl l-t an iitml 'ľhiuugh In. pouhavr. ihe cunsumei can do no more 1I1.111 mnui rale iht tr*il vf muh Wc COuld lake lllil analysis ol advertising diwnurse luiibet in ilu> duel t mu. as well as extend it toihcdill'ereni modern media, 1.....dri lu sec thai everywhere, according In a mial iiiv.oiuii nl the 1r.1du1011.il logii nl sigm li. Jin >u and illlil pnlJlion based nu ihe line ami ihe false, n is ibis myth (or model) that liuds itseveiu, .Minnbng to a pui.hu u..n of speech now induttti.ihted in direit prnjiortion to the production ol material vondn. NOľKS I I See "I j tu ne> • iMWMnr tlr L rauntfuiri* ' I d i—wir aV .--u.ivi..ijíi..iii mi i M-35.| 1. |t'l ki.fi In,. .i!>" "i 11 .nullit;', 1. |tii^i iiiuji' .iii,| 'n|>t;i.tiling' I X II b-BWy 1. m iln Iiib'. iIhii ill. >.m. i i, m it,, |.i.ilil. 11„ .,.„„„.„ut u| 11 Hi km mi u .i);iulii M| I CI bd-a-.nV IVmiIu KWrMmJ Ne»Kraby' S- J Kí lithf*J 11 .1 n d n im In j Imni. ipiu Jum i«i In m h rjHlm •Im m, ih, I'JbOt) 6. |Kr. Cwmputn i"'M stupBM Ha In ihr branci 11411«' <>l .1 i|n\iln lypr -A .I..1 MÉI In in' lhal lew* |HH|ik's nun Li I iilh.ii jint irijtk'i iIhiii jii iiitlniEly.l In llili -iim-. Ili.lv \\ a m Min 11 la mi iiN 1 [i Inm.i" lil u li .nul twJilam ll.il wlm.jv u, J J «1 y is hiiLiil m .1 -jmr-atal MhM'jn m U-iii«.«. jt.nliiii jii..n. viim hi- rwrtaiaM) ihr pnnkti t ol ihr ifu^iaahnV i I.i.... m l-nutt-n-u n.ilii.ii i.i »a jely. H Kulil im..! .1 |>J.i»"liiiiť. siiii.liirllH-.lnkllhi. - ,..> J .(iiil-Ji. Imunitu Ví. Iiy 1 lni viiy l.iit, li« 'iu-w limľiii l.iuii pbyillMHC > •'" rál In 1 mu. . uktl 9. 1lH(Vii-/>;.itl^-i.ihtii»>ll>yiiliirialui.huii.» Im ,ui) lhaly »IuImh.u. «niuld In* iKiiiniim.il 10 Q Pi aid H.-'»..... I.'lmaft \'lln Ima^f .1 i:„J. ft> /'.nj- Aiv.f. it, Ibtltiii (l%l). New *rk. Aili.-nt.il», IWIj II. t'lllllilt ilill M ail lull UiC lli> '.mm ,' nl i|un'. jm 111 j 1111 ii; in inn, il n, —> 1,1 roiiiiieuy'. to With l».hi.i, I)u mm! il- Snnralnu, i-éfrai> -.1. *Iii|i|kiIiiI I lull (l-nil^iini) In m I n ii) ,,n,l |ui.lil. il ill ll" II «III IM IUI. Il.ii.iIiI. i> j iciiiiiuki .a hm imnuiiiii iiui iink-i .a .uiiii.iiiuii) ev-khrd taWnmh il-jbiuiil Km I'1 ■ • >U" - ilieiv *"■■• .nil •" KlnvponM lOOn musiu'si 1» prftrauim in im .m j, in um« ii> aahnl -mi .»k res* ul»>i it in In 1.1, urtWilm • nü J >•• (iin'i- . .ill jii, "-»Il III mi nllli 11 l!ilii(t «mali I It, mi limit 1 lun »li.il llli 1 .u.'. -(\iiiiiiiiiuilái I»!!!».....i. ílu Mi. i iMiimiiuml .tin| ílu' jn galtet y 'ľUpnlii' JM ik mil .hi ji In"I »" nlifn l>. Imi lit u .nul sh-oyi n> ni.in .u-l |m • •plum ll uiiiiMii'i ikpltl -t iklh.ilni.il in ju Aimi-i.m ll.il*, Inn .1 ill JII ratine, nt a null i.iliiling llle Ann In .an Mag t In (ml. «í nhni n*l ihu ian-m' Iuiiih.ii mm n Hut iIii.hijIi iiiih.iI ll«J>l{lll«IIUI pjll ll ■> ui( to kc Ikim J«">ť"-"f ľ""("I'| *'Ml I»' 'ťUimiiK>r •" ■hl" » "■•' I jugiugT Imiiniei J ll oh-ttl «r < omul upi um i» u litt-Ji hum «lie t lit» mill ilui. uiiii.iil ■■( Ix-iiie j »vim k- Im iiiijiiiitK. it ijIici i« iht iiHnuiajiKiiii. nit .il-.i1.ify. jiul tnlklli.Mia "I intinl«lilllp in .i friMip. il.m. m ■.■»r (ll« inli llii in it .nielli ul lilt 'im.llť trt, or ll« (HililH jl j.llqiill l>| |klllli> .mil • I.j-h .). i.......I« iiHnii.'ii ili.ii LaM-MtfC, mm.ul ul Mag iftfi— nfnihwiji. ht..m,tiil« Im ihc prtv.iii-me fl j pdf of ft— (ifa luiKiiim Lin,, Ultimi ll« -íl i' x ill a MUfl, MC ul inlliiM.ni .mit ... ..i; lítium'. ..ml lunu llit n»»!» ni i d.U. in in.n I ul hinifiiii; in..m i lit mol ■ in n Ulm», u iiiiiil.iiit ilv-U .i- .i |MHWBhI im iiiU-ii i>l p-in.n;. in ■ uuliilni(i.il ffn-ip |nm m (il, i;ii'n|i I» »Ital it «(H-il-l ll t> mi lim^ti langiM-jr |ía«/in| .1 n|>liii.-l M .i >y>itni ul ilmiiit i iltin~-.ii it. liljill. Inll innmin.il t\J lyitini ul i i "ii ml .u ii >n. -i a ilmim tin- ■ mit Hit unit pn-iii jjiiiltcl I" iIh-1 niiMiiiijMiiin nl tin .In nu" Wt an wiim-iuinr an ..lu.ii.liii.il y iiilLiiK"! ul liti' i kutan. I li.i hi.ill d. iliii.ily liiiliil iiii.ii^.l il.uiiUnk.il living lli.ieniľihMirii ait) (Ilium Mini I- iv-i in ih. ikm.iml U« li.lili' Ilia till i .III (dill mi »li.il id liniliini nl niiiiniiiiiii dt.ilid .mil lim-piyiliui.nii.iiii ti|iiilil>i|llln Hindi ll In luitiľ) anil idi UMiipiiltiim nl urn-lumen li'i intilii jl. fingt, al 'i>il 'l.iii-il Kivii iv I Ik prall» • nl mulu nit luv i li-.iii;i.I mm ihr an a/dW"i Ihtmulm, ami ihn tiitavagt in .m.l . ,m,nuumu ni. i.l ill. iIimI.h iik)eil. ul iihiIkjIiuii j» m l4jjuCI, links ti|> xxili I Ik iIimI itiuk-ut uml il. atiK ii m J iilt du iliiptjyini; unci mh nil Mainline, I Itti* .iij.iiii. 111.1I11.111..H. .m.l jl... 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Mts itl.inii|( In my.iiiii iininii.iiiiii, IhiI il »ill invnlivi ■■ ii|)Hll nl 1m.«mi|- urn n. tin i-tltni id.» iht tlt-li* Nu lortfci li'i . -1-1 ilk valut M niiim«ic who rcdmi-i jii.i.ty. si ai .111 at,, in nl L.irt. he il iul.it ll nl jl4r lot .my ntliti in« Im 11 tin 1 i.l pjiii.il n-uiciiiini — ■IkhhJ. ilmppllii;'. anil iflltiliiiK (lln- iuiihiiiki \n||n|,' llunua jii.» 11K1I1.111.1J lit» tin- id« mi <■ ' im.in 1 u. I ,11 nut ni-11 .limu, minii (m ||„ ■aim- —ay lhal ll« »jilniii; m* dim 11 1 ■>iiiiiui..| ,,( ,1 lli;„ „1 Mabk ..ml M.illjl — Ml «UMA. I Una., m ■ wry f.al MMC, -hal ll« Von.i.m|-..-i Ol ..K.I..11« inrtilul« u. Ihiougli ihn nt-vitolk d-«H of-mltv-hiab. a loSi. "I-"-! •'»•« lhal iMCCnw •lwic.'•■ *ny oil« r-m-.i.»» .J «Mih- mm ll« ipntral lyiicm a. ■ tm*». We .an idc ih-t ««.I» al. ammmp-IK«. i> Laied ot. ll« ■fciritli.l. (« t.tl...i»n)..(il« "OW f"ti*tH-T1 ..nry- «htn wt -JiMOWr ilui lotlii ■■! .riitiiialk miujnMop"«»»*" " '"« •*"*' in i m iple of t imi im 11 pi n h 1 IB. 'lít» n why il« wfcak IIMIII I m lite iniroilmlion .4a.1 verii.ittj on TV and «-.•«wher-c 11 »mply a moraliili« a.l-J MÜHkfa KaCIM* ""- l-toW.ni really I... al the level nl the lyilein