Susana Liberatore on camera that could see through your clothes
When talking about the masks we are now to think of something artificial, not natural, fake. We must then remove it, because in addition to it, hidden, there is the truth. But is that really so? Maybe knock it down before it is legitimate to ask the question of 'authenticity of it and its structural function.
To begin, I would take the considerations of' structuralist anthropologist Claude Levi-Strauss, who spoke masks in his study of primitive tribes. His starting point was the suggestion deep exerted on him by these masks since the days when he had been able to admire the American Museum of Natural History in New York. Their extraordinary value from the aesthetic point of view has failed to satisfy the interest of the anthropologist, that questions the meaning of those faces so unusual, sometimes frightening eyes and protruding tongues hanging, sometimes with deeply sunken eyes and mouth . 'S French anthropologist masks, like myths, are literary and artistic expression through which peoples or tribes define their worldview and their own criteria for classifying material and moral reality. It 'a play of difference and conflict, in which a person, through its use include "draw", agreeing to play a role in the symbolic coordinates of his social world, symbolic scheme which is the principle of' orientation that there can stand. "
The complex and fascinating relationship between the dress, the mask, the makeup and function of 'image in human life, as a remedy for the emptiness that pervades it, and was adopted by Eugénie Lemoine-Luccioni in his book " psychoanalysis of fashion. "[1] She cites a quotation from Jacques Lacan ..." L 'dress like the monaco, because in such a way they are. " Adding later ... "is the dress that turns out to be the form given to the cloth and it is precisely this form that weaves the fictional substance that corresponds to the 'I'. The dress looks like a skin, therefore symbolic, the 'envelope that shows the constitutive sociality of the subject. The dress can be what it contains and what it does believe that there is a feature. The human subject has found accommodation in the meshes of this net woven of desire and identification. Question why this would not be possible regardless of the forms completely.
Well, there 's need something to fill a void, in which precisely the woman has a special relationship. Jacques Derrida said that there is the essence of the woman, so it is always more inclined to change the play of masks, to 'use of veils to cover this inconsistency.
To close and as an example of this complex game of "presence-absence" for the women, let me share with you the "The monologue of Agrado" played by Antonia San Juan in the film "All About My Mother" (1999) Pedro Almodóvar. http://www.youtube.com/watch?v=hFTG1PCfk9s&playnext=1&list=PLB33930E826363ADD
The complex and fascinating relationship between the dress, the mask, the makeup and function of 'image in human life, as a remedy for the emptiness that pervades it, and was adopted by Eugénie Lemoine-Luccioni in his book " psychoanalysis of fashion. "[1] She cites a quotation from Jacques Lacan ..." L 'dress like the monaco, because in such a way they are. " Adding later ... "is the dress that turns out to be the form given to the cloth and it is precisely this form that weaves the fictional substance that corresponds to the 'I'. The dress looks like a skin, therefore symbolic, the 'envelope that shows the constitutive sociality of the subject. The dress can be what it contains and what it does believe that there is a feature. The human subject has found accommodation in the meshes of this net woven of desire and identification. Question why this would not be possible regardless of the forms completely.
Well, there 's need something to fill a void, in which precisely the woman has a special relationship. Jacques Derrida said that there is the essence of the woman, so it is always more inclined to change the play of masks, to 'use of veils to cover this inconsistency.
To close and as an example of this complex game of "presence-absence" for the women, let me share with you the "The monologue of Agrado" played by Antonia San Juan in the film "All About My Mother" (1999) Pedro Almodóvar. http://www.youtube.com/watch?v=hFTG1PCfk9s&playnext=1&list=PLB33930E826363ADD
... .. "They call me Agrado, because throughout my life I've always tried to make life more pleasant for others. In addition to pleasant, very true ... look at that body! All tailored
: almond eyes Ptas. 80,000, nose Ptas. 200,000, throw the garbage because the next year I have reduced it by another blow. I know me personally, but if I had known I did not touch him. Continuo ... tits, two, because I'm not a monster, Ptas. 70.000 each, but I have already superammortizzate; silicone lips, forehead, cheekbones, hips and ass, a liter is about Ptas. 100,000, so you do the account that I have already lost. Filing Ptas.75.000 jaw, permanent hair removal with laser-because women are from apes as much as men-Ptas. 60,000 per session, depending on how much has a beard, usually from one to four sessions, however, whether dancing the flamenco, it takes more! Light! Well. What I was saying is that it costs a lot to be authentic, my lady, and this thing is not to be stingy, because one is more authentic the more it looks like the idea that one is made of herself. "
P / S: This weekend, after I finished writing this text, I heard a joke that summed up and stressed, much better than me, what I meant. It told of 'a camera that could photograph under clothing. Only that the lens was so powerful that she could see beneath the skin.
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