Fantasy Lives and Fantasie Signs

Our Fantasy Lives:
[http://youtu.be/TzlHdvoh0wQ]

It is this line starting at 3:05 that makes it worth pondering:
“A fantasy is often the best shape a wish can take.”

The rest of the video is one man’s personal fantasies of success and his ideal picture of himself. The end is a call to loosen-up our ideal images of ourselves and recognize that we all have fantasies. The narrative form of the video is a monologue that takes place inside the only character’s mind – a voice-over.

It is not enough that we acknowledge the fantasies of others or alter our fantasies to meet closer to the realities of *our* lives. The image of success that the character projects onto himself is that of a wealthy tech-businessman, an idea-generating politico, a celebrity, and a body without blemishes. These ideal images are desired not because of an individual’s aberrant thought wanderings but do to the surrounding composition of forces and dominant regimes of desire at work in human habitats. As Deleuze put it, we always desire in assemblages. [Deleuze A to Z]

A fantasy is an especially libidinous or desire-infused image that projects the limit of our thoughts onto a formed image. One never does this as ’one’ but as a body mixed with other bodies in an ever-more dizzying array of affectations and forces pushing and pulling in all manner of directions. Our desires and therefore our fantasies are not, strictly speaking, our own. “A fantasy is often the best shape a wish can take”, but a wish is also only a shape that desire can take. When individualized/personalized, the word ’fantasy’ draws a negative connotation: “Your dreams had better face up to reality you youthful idealist.” But everyone must admit that everyone else dreams as well (unless you are a solipsist), and we do so in strangely similar fashions… When taken as an adjective, something that is “fantastic” is not just good but extravagantly so.

When de-individualized, fantasy has become an entire genre and even an art style unto itself. Collective fantasies tend to take distinguishable patterns and those images of the past preserved in history as well as those today have no exemption from those patterns.  There is less to separate myths from fantasies than we think.  The demand for belief only obscures this.

A fantasy is a particularly intense form of desire, a desire that has taken form in a coherent image. A fantasy is not simply the opposite of reality – the way things really are.

Fantasie Sign:

Use this translation to follow along with the French lyrics if you do not understand it:

A walk
and the universe is me
After a cascade
It’s water is always you
an escapade
Life is in the woods
And then a ballad
It’s subject is always you
A walk
and the universe is me
After a cascade
It’s water is always you
It’s like the green of the fields and
Like a bird that flies
It’s always you
It’s always me
It’s always the rock of the excited soul
Like a child who sees
The time pass like a funny
It’s always you
It’s always me
On the wings and the songs of great love
It’s like the green of the fields and
Like a bird who flies
It’s always you
It’s always me
Always the rock of the excited soul
In this cybernetic era
Full of computer people
It’s the only fantasy here for always
It’s always me
It’s always you
Like the green of the fields and
like the bird that flies
It’s always you
it’s always me
It’s always the rock of the excited soul
Like the air it’s sweetly sharp
The blue of the sky is clearly apparent
It is the only fantasy here for always
It’s always you
It’s always me
For forever
and more days
and days
and days
It’s always you
and me
and you

*In full honesty, this was the first time I ever checked the translation of the lyrics for this song, while it had already come to be my favorite song in the great soundtrack to Cowboy Bebop without knowing them.

DELEUZE AGAINST SPONTANEITY

This is actually a very important point about organizing that Deleuze has provided us. Desire does not come spontaneously, as if “from nowhere” and emerge all by itself. The common affects of a milieu, the places frequented (territories), and shared ways of speaking all play into desire. The “where are we going with this?” question of deterritorialization always lingers between us, and is crucial for assembling a collective desire – with force. Machinic thinking helps us consider these things and not be entranced by mere words or closed-off cliques guarding the boarders of the territory.

AGENT SWARM

Philip of CIRCLING SQUARES discusses Deleuze in relation to a concept of “spontaneous self-organisation”. This is a fairly common and persistent misreading, that Deleuze has always denounced. In his ABC PRIMER Claire Parnet asks him about the misunderstandings of his concept of desire, and he has this to say:

The misunderstandings generally were connected to two points, two cases, which were more or less the same: some people thought that desire was a form of spontaneity, so there were all sorts of movements of ”spontaneity”; and others thought desire was an occasion for partying. For us, it was neither one nor
the other, but that had little importance since assemblages got created

Deleuze goes on to link the notion of assemblage with that of “discipline”. An assemblage has four components: states of things, enunciations, territories, and processes of deterritorialisation. All these are crafted together, “machined”, in the formation of assemblages…

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