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S1 → S2
To accept a given nodal point is to retroactively
confer meaning and significance on a cross-
section of previously existing ‘free-floating’
signifiers’.
Being ‘framed’
In the US television show ‘Boston Legal’, an
older, seasoned attorney gives advice to a
younger lawyer he has just defeated at trial:
‘Never let your opponent frame your
argument’.
This means that I can make a perfectly
coherent and compelling argument, but still
be defeated by someone able to frame the
articulation between the component parts of
my discourse.
Because I do
If one is to interrogate one’s own deepest
values, and to press on with question
after question as to ‘why?’, as to what
lies behind, what justifies the single most
important belief we claim to have –
whether it is a spiritual, an emotional, a
political commitment – this chain of
values will ultimately lead to an empty
‘because I do’, ‘because it is’.
Because I say so
The potentially endless succession of
words seemingly stops here, with a
master-signifier, an “idiotic” signifier
which can never be fully explained.
This is a signifier which must not be
relativized, and – as in the mother’s
response to the disobedient &
questioning child: ‘because I say so’ –
must obeyed.
Descending from above
In the 3rd movement of Mozart’s
Serenade No. 10 a beautiful introductory
melody, played by the winds, is joined by
another, played by oboe and clarinet.
At first this 2nd melody seems to be an
accompaniment to the 1st, but after a
while we realize that this first is in fact
the accompaniment to the 2nd which
‘descends from above’ (Zizek).
Descending from above
What we have here is a seemingly
dominant element – a ‘what comes
before’ - that becomes articulated within
a broader, as of yet unseen frame, which
retrospectively determines its meaning.
It is not simply that the 2nd motif
retrospectively converts the 1st into a
variant of it, but that both are ultimately
variants of another, as of yet ungiven
theme.
A 2nd reframing motiff
In Hitchcock’s ‘The Birds’ we have a
similar procedure: a ‘bird’s eye’ view of a
the burning town. Initially this appears as
an unclaimed point of view, but gradually
one then another bird enters the scene.
The birds which originally appeared to be
the subject of the shot now provide its
point of view.
The making of the ‘off-screen’