Shades of Cogs - an essay at a hyperessay

the unconscious

Evasive and vacillating, impalpable and without ontology, such is the unconscious, if it exists at all. I can only recognise its existence by acknowledging its expression in language, in gestures, in acts, as the unconscious as understood here (in its lacanian sense) is structured like a language, but a language unrealised that lives in the dark, outside the mind’s conscious realm, yet I can sense its rhythm in language, in the body, in the speaking body.

It is a text not yet born, awaiting to be born, and it returns in our dreams or our nightmares until we give birth to the unborn. The double of our being (in the world).

Shades of Cogs shows an array a mapping a new media reading of texts published in the 'old' media print. The readings speaks about the indeterminacy and ex-stasis of signs, of mappings and structural frameworks. And music.

By happy coincidence, and despite his ambivalent relation to music, the string instrument kora resounds in Plato’s concept the chora, which he sees as a receptacle for the soul.

By happy coincidence, the string instrument kora resounds in Julia Kristeva’s rereading of the chora as the semiotic chora, a receptacle for the unconscious that embodies our being in the world. And this chora, this otherness, can be heard in the rhythms of our language, in the body’s movement…, and in the compositions we create.