08.24.2014

This story that Rick entrusted to me about “Moen” [Mowen?], the man responsible//owner of both the Hotel Vitro building and the new one with the Buzz at bottom is also a motif, or rather has one; his following the line of consruction, up and down the elevator every step of the way, capped with the leering greek mask at top, gazing, impenetrable, is//was perhaps free of any hanging signifiers (save the face). His assembling of capital, literally, was without seperation, constant, continuously engaged with the totality of the project, as if he always viewed it exclusively from the outside–his gaze is the only posited abstraction (speaking etymologically: “away”).
This is the master signifier: the question that in practice always returns to envelop all aforementioned signifiers into an organic unity. The master signifier is a tool for organizing “the world” as if it were one “it,” capable of being regarded as a totality.
This is not to reduce logos or alethia to the level and status of mere fictive abstraction or (at worst) prelude to cult–but if logos or alethea are treated as substantive, or as real, objective entities unto themselves, then they could be used as master signifiers.
So, the mask is a liminal image, the minor-master signifier to the master signifier “proper,” or perhaps the ratio, and injunction to submit to whichever master signifier is most ready at hand {e.g. generative lack as mutated Amor Fati, adopted for the undecidbility of virtual (or problematic) excess}.

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