1 ALUMINUM MINI BLINDS

Here are some towers from the 1937 Berlin Olympics to go with these monads which are somewhat like the spirit [] of my dream about spirits of the dead receiving their glorified bodies in a kind of graduation ceremony in the Marriott Center where I had dozed off listening to [Hollans] talk on his personal preference of fire over ice if the world didn't end twice. I thought of the perfect word for in the brackets to name the soul container suggested by this picture but forgot it and I'm pretty sure the book credits some source for the cover picture but I can't find it right now.

I copied the cover because these odd monads suddenly seemed to fit in with [[when i moved away from catbird smiling Lisa Lloyd (the doubtful Savannah or Dobbie Gillis) with poison at her core, the William burroughs was the only one here, almost, now there are 8 or 10 gargoyles and one said "no" to me as I began this paragraph.]] Leibniz , Spinoza, the village rollos I copied when I was studying Our Lady of Guadalupe in Carceres, Spain and the passages in the book with which I had intended to caption my photo of in which I criticized the movie version:

Paranoia denotes a psychological tendency in individuals, but because it is fundamentally hermeneutic, identifiable only in relation to "proper" ways of understaning, it retains an irreducibly cultural dimension tied up with the experience of power. Power, for the paranoid, is understood in terms of autonomy, and autonomy with the ability to know the forces of confinement or antagonisms while minimizing one's own exposure to knowledge. This [[cough cough hmmm I think around half are Asians, both males and females so that means another beating on the bus, I guess. The William Burroughs is reading with apparent interest.]] affective saturation of the paranoid's professedly rational hermeneutic activity---the anxiety that fuels hi or her knowledge seeking, his or her "science." to borrow Freud's terms, above---results in a world view that is, to others, visibly shaped and thus undermined by the narrative structures of romance. As an epistemological rather than nosological descriptor paranoia is a term that participates in the discursive management of the individual's tendency to remythologize monernity's disenchanted cosmos; it is a wrong way to find personal meaning in a seemingly indifferent universe. Paranoia is a modern grotesque: it reveals the modern ideal of objective knowledge as shot through with desire, and the modern ideal of effective, even-handed administration as shot through with presumptions of hierarch, privilege and exclusion based on figures of gender. 24

Prior to [deducing and affirming the reality of his or her cosmos] /reaching the paranoid conclusion/ the patient often engages in a scanning maneuver (obsessive ruminations) before hitting upon the effective presumption of external fault. ,a /A/ new generalization incorporating an explanation for the [experience] /perceived threat [[woman voice with the kind of bored nope]] provid/es/ [ing] the patient with a sense of [self knowledge power virtue] /closure and /therefore/ security. 26 [ fromDr. David Swanson, The Paranoid, 1968 275-76 I think] [[ A slender, wiry student age male with dark brown hair and eyes with a matter of fact expression and a quick, two eyed response to my most recent glance had just moved to a table and with tensed arms made that up-thrusted fist with the other hand in the the crux of that elbow gesture. He had avoided eye contact and seemed to be pretending to move the gesture about with the intention of understanding something in the book he had lying open on the table.]]

In the so-called "scanning " phase, the subject seeks to minimize personal vulnerability or potential exposure to threat by subjecting his or her environment to intense hermeneutic scrutiny 26.

So, unlike hysteria, which is often mute and visceral and which manifests in sensations of ineffable panic or lack of bodily control, paranoia manifests its anxiety in narrative form, setting out the decomposed (often fragmentary and displaced) representations of its own trauma for the consciousness in a story that orients subject and world. (You have to understand "narrative" in it fuller sense as materialist dialectic, geosynthesis or self-realization.)

But, "Even at the stage of description," Freud writes, "it is not possible to avoid applying certain abstract ideas to the material in hand, ideas derived from somewhere or other but certainly not from the new observation alone. Such ideas---that will eventually become the basic concepts of the science..." 61-62

"Delusion" and "science," then. are terms that co-exist in Freud's work (with hysteria or obsessive neurosis standing as the inarticulate counterparts to both) but they are not always presented as in in the above formulation, as progressions form "historical truth" (the

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