[-empyre-] queer cooptation and cooptation loops

[Christina McPhee]

Judith quoting Gramsci's Prison Notebooks,'
>The passage continues:
> 
>"Š.. Once the process of adaptation has been completed, what really happens
>is that the brain of the worker, far from being mummified, reaches a state
>of complete freedom. The only thing that is completely mechanised is the
>physical gesture; the memory of the trade, reduced to simple gestures
>repeated at an intense rhythm, Œnestles¹ in the muscular and nervous centres
>and leaves the brain free and unencumbered for other occupationsŠ."

 Could only be true if you could deter the needs of the brain-body--
I mean the whole system of energy-- cold comfort.

iIn Judith's ref I read about Barbara Rubin as you and Micha mention-- "Christmas on Earth
that Rubin struggled with weight and  self medicated then exploded her sense of the body, her body as superexpanded cinema

quote Art in America, Dec, 2005 by Daniel Belasco

 In Barbara, movies and life seem to have changed places. 'It's backward living,' she says. 'We watch it rather than live it. When I shoot I'm just emanating feeling all over--it's like it's someone else shooting, not me."' (43) Rubin's curious quotation expresses the experience of dislocation, where sensation and technology work together to reverse the flow of meaning

it's the rebellion o the worker bee
she reverses the flow, she refuses to leave the brain free (=gorking out on drugs)
goes into cinema as if cutting herself 
skin-neurons montage


Jonas Mekas:  "bursting and burning with hallucinations, shooting her first movie, with the excitement of a holy nun, feverishly engaged to rip fragments of veiled revelations from her subconscious and the world, the sensory experiences and visions of the sad loveless century, pouring her heart out."  http://findarticles.com/p/articles/mi_m1248/is_11_93/ai_n15979875/pg_7/?tag=content;col1

>