|
Spring weekend, the post-political trope: four central blocs:
1. The exhausted—The Real World has finished, accompanied by a war-delayed
Spring Break MTV. The phenomenological possibilities of intra-roommate
mutual masturbation (exclusionary by design) have given way to new breasts,
butter, and guns (see Undercover episode 2, 3, and 4). Whereas the hyper-sexual
practice captured over six months of a timeless coed gamble (no condoms,
no daylight, no Asians) forged ahead with a clear goal in mind (a literal
miscegenatory climax), spring weekend demands (commands?) an immanent,
inclusive, metaphysical encounter: the exhausted. Spring weekend allows
for the (real world?) reunion of the rhizomatic social and political extremes—it
is the moment of absolute and complete fulfillment. It is beyond the possible
(which by definition delimits its own terrain), and confronts the infinite
totality of the sexual: lively discussion, occasional eye-contact, and
the incremental submission to an ideological-sexual imperative that calls
forth a bareback aesthetic. I am exhausted, beyond the possible—a
categorical miscegenatory climax. Vote yes on affirmative-action fucking.
2. Rarity, exteriority, accumulation—Spring weekend depends, builds,
and moves beyond an inscribed sexual identity. Pornographic fabulation—channeled
through the live musical performance—overcomes the weight of its
own post-political project: glutinous intercourse. Whereas the freshman-year
encounter perpetuates a regretful (rare) orientation toward sexual self-image
(“I’m so fat”), spring weekend rearticulates an exteriority
(flatness) that defers, displaces sexual identity: an earlier (perhaps
wiser) Beastie Boys once proclaim (in true anti-war like tradition): Don’t
Be a Faggot. Eminem adds: But Be Gay. Music, thus, trumps sexual identity
and self-image, in bursts of structural irony: the moment in which the
Beastie Boys and Eminem perform, producing an altogether thick assemblage
of divergent planes—this is the moment where depth (or “fatness,”
insofar as it is thick) is replaced by the flat, by skin itself. Accumulation
(cocks, cum, respect) is immanent.
3. Carnival messianism—Spring weekend is the plane of immanence.*
4. The abject—Girls Gone Wild machinically prefigures the post-political
breasts—a bloc of sensation. The abject, here constructed around
the materiality of the areola (spiraling outward), is immanent to the
female sexual glands (mostly pointedly characterized by the vagina dentate,
which itself consumes the breasts [body without organs—ed.]). The
abject-made-immanent (as opposed to the notion of its perception) deaths
the threshold. Release, again, is continuous, contiguous—a schizoid
abjection, if you will—not spent, but exhausted.
* Normally we talk about celebrities here. This weekend, you are Michael
Jackson.
|
