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Combs and Neoism

It may be difficult for the casual reader to understand or appreciate the role of the comb as a symbol because the comb itself is the referent for this understanding. When it is no longer possible to differentiate between the sign and the signified, the structure of 'things' must begin to repair itself. The comb participates in the repairing process. The development of certain 'peculiarities' in the reader is the first step towards the joining of theory and its complimentary 'practice' and the transcendence of both.

The physical structure of the comb mirrors the longing of the individual for freedom which at least 'seems' to be real; the spokes projecting away from the central body are the 'extremes' of human activity. The broken tooth is the 'schizophrenic,' isolated isolated from the 'truth referents' of society; the 'savage' disengaged from the 'safe' body of the comb. The 'free spirit' or maniac.

Similarly, the toothless street comb is the society which has turned in on itself, violently using every available sign for reality until the majority of individuals feel 'insane.' The comb is the ark; the vehicle for the (meta)physical/spiritual travel of the deteriorated truth referent. It is the social 'hive'; invaded and destroyed by the principle of innovation: what is 'not needed' is discarded (the street comb).

For the bourgeois, the comb "symbol of totality" is inverted like all symbols in order to 'capitalize' on the 'situation.' The fragmented image inverted becomes fascist: the comb as 'personal organizer.' For the bourgeois, the comb is a 'practical' (sic) filter for the randomness of the body (hair). That hair is inherently ideological, spectacular and 'symbolic' should need no explanation. The bourgeois transplants the comb into this corrupted space - and its use becomes the negation of its 'symbolic' potentials.

Neoistically, the comb becomes its own answer, an axiom of unified logic in eternal situations. Its structure is perfect, perhaps the only perfection in man that has superceded nature. Its use, blatantly contradictory to its 'symbolic' nature: a paradox of value measured against the obsessive beauty of the object. Not unlike Monty Cantsin, 1986

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