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lyrics

Behind the screen of an ecstatic refraction
there is no longer any play—
no stakes, illusions, no representations
simply a matter of modulating the code
playing with it as one plays
with the tonalities and timbres of a stereo system—
No more Transgression, no more Transcendence—
Seduction in its radical sense: as dual, ritual, agonistic,
replaced by the seduction of an ambience,
the playful eroticism of a world without stakes
the cybernetic absorption of play into the Ludic
the polemic that organizes the space of the Law
the digitality of the signal, the polarity of the sign—
that we are living in a supple, curved universe
that no longer has any vanishing points—
The lion’s face outside the domain of pointless science
The lion’s face swallowing islands like pennies
The lion’s face formed of the play of a ritual
The lion’s face formed of that past, cruel order,
where the risks were never ending and the stakes absolute—
The Ludic formed of sheer aimlessness
The Ludic formed of the play of the Model
against the demand for the Game—
but even as transgression, spontaneity, or aesthetic distance,
play remains only a sublimated form of the old pedagogy
that gives it a meaning, assigns it an end,
and thereby purges it of its power to seduce—
one can no longer speak of a sphere of enchantment
one no longer speaks of seduction
instead, an era of fascination begins—
The lion’s face an amnesiac
the amnesia consummated
in retrogressive fashion
raised to mass dimensions
The lion’s face of forgetfulness, liquidation,
an annihilation of memory and history,
the same recessive irradiation, the same
echoless absorption, the same black hole
as Auschwitz—
an extermination that would then be deployed,
dissuaded by death, dissuaded unto death—
The lion’s face a postmortem emotion
a tactile shudder that will enable them
to let the catastrophe slip into oblivion

credits

from The Lion's Face, released November 10, 2012
Words: Tim Van Dyke // Music: Brian Howe

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