Why Kate Moss1 is important and at the same time beautiful
by Erik Philip Stevenson
Of course there are more beautiful women in the world. But the post capital society was waiting for her. Waiting to turn both her head and the head ruling the world. Because Kate Moss is probably not all that beautiful without make-up or the distance of the sensor of the analog of film or the analog sensor of the digital. Without both fashion and technology. Without looking at things binarily. And it is plausible that Kate Moss is only important in her mix of the archetype and her bastardization, in what is illogical about her. Which means she is no image at all without cropping.
And she has a lazy eye.
People are astonished how easily the mass mind is led. But Kate Moss has no real delusions about her own significance, which can’t be said for kabbalism, and which at once makes her magnetic and causes her trouble. She has said that she has wished her legs were longer and other things that point to her real understanding of her own edited mythology.
And why are Liebowitz’ pictures so important. Because the photographer is the antithesis of beauty but in control as editor, can shape nature in a certain way that if repeated without any conflicting natural imagery becomes accepted as something almost natural, when it is nothing of the sort. But Kracauer is not going to write about this. Because if we all possessed real beauty we wouldn’t need a camera. This is why they shuttered Eisenstein up in Russia…It’s the camera that they are obsessed with because their memories are incomplete and they want ours to be. We are falling in love with the camera not even it’s image which no one could possibly ever trust. And I think of Innis…
Kate Moss became popular at the time when capital was reaching its apex. She has said in numerous interviews that she was the opposite of ebullient. Cindy Crawford2 was dark and big bodied. Kate Moss has no breasts and no hips or buttocks. Her image was pushed because capital was coming to an end, credit was ending and they had to feed us on a form of anorexia, through images of Kate Moss and the idea of cocaine, the bastard of heroin, the bastard of opium and HSBC and the Chase my Manhattan Bank…
The image of the waif is the precursor to the recession. It is impossible to have one without the other. Jamie Dimon is nothing without the name that appeals to illegal debt calculuses as an entendric… Just like it is impossible to accept the general theory of relativity without moral relativism. This is why they at once keep her skinny, even as a mother, and sculpt her in gold3…Because if you create art like that and do coke or heroin or sell shorts or manage a sweat shop, you don’t really need to eat anything but the idea of yourself.
And Kate Moss in no uncertain way is the physical manifestation of the Libor4.
To sell their sign system they have to create this alchemy of inverted beauty and of tribal control. It is possible that she was adopted, or switched at birth to be raised as a sign of the coming recession in all of her beauty tinged with a lazy eye that the people controlling birth records and genetic history foresaw, not as evidence of their preternatural abilities but as camera men. Camera as chimera. Or the book connected to the Libor connected to Kate Moss’ birth saw her coming by reading things backwards, in a Markov solution of nothing but entendre.
And Kate Moss is really nothing and at the same time everything without a registered diet, make-up, the right clothes and the right light. But she has the bone structure and the lazy eye.
Where do the twain meet? Natural beauty and chaos through cannibalism.
If you look at Kate Moss long enough you see her less, not only through digital editing but because her eye does not allow you to see her the harder she and you look at each other, through a camera lens, the reverse image. And that is why Kate Moss is important. And if you looked carefully enough through Renaissance art you find her spitting image there. Just like you can find numerous female archetypes. I have seen both Drew Barrymore and Kate Blanchett as models in paintings by Boccaccio…of course we have never seen the originals…but who ever trusted a painter….now this is absurd… There is something really fishy about this, about this fishy lens, about the chosen archetypes, about the Warburg Institute as an idea trying to murder these capitalists, from a capital family…
There is a mathematician in Bern who has mapped Kate Moss’ facial features to the logic of the calculus and the currency markets using the hyperbolic discount rate, the Bolztman Law and Markov’s solution. If you looked into Kate Moss’ genealogy, back to say the 1500s, you would find things that were both meaningless and revelatory. Such is the logic of both the recorded word, language, and image as nature. But because Kate Moss has been granted, via the camera, some type of revelation, some type of repetitive archetypal significance, it is granted to take her image and her history seriously even as an invention of our will.
Gisele Bundchen5 represents controlled inflation while Kate Moss represents the coming depression. It’s all carefully manipulated bone structure, mapped as an economy and sold through the ohmic and transistor of pure bone. You can’t bring on the depression until you have sufficiently wasted the mass mind on a type of famine.
And every image contains it’s antithetical possibility.
Any dwarf can see that the real target of Abercrombie and Fitch6 posters are meant for the teenage mothers. The mothers of teenagers. I have started to think that the senior citizens that walk the malls are magical intelligence assets of the code, burning automatic calories to bring on the recession of thought. Markers. Miniature cellular pyramics, ahistorical…And of course without knowing it completely, they are perverts walking past Victoria’s Secret7 and Abercrombie and Fitch to get a whiff of whatever it is that drives their nose into their skull disproportionately. Because no matter how many ways you can light it, the nose knows. And what passes for intelligence, in the olfacatoral logic, is the same as perversion and perfume. Because money has a real odor and carries germs like nothing else. So while Milan may have been saved from the black death by being distanced from trade routes that struck port cities like Venice and Genoa, the dollar has no real geographical significance. Which means we are probably living inside some type of great plague, spiritual and biological, without even knowing it, because whatever the plague is has been sold as some form of choice or liberation, as preferred care, as a form of health and what we perceive as effect is actually cause. Meaning the economy isn’t the plague but the reaction to the plague of thought. In 500 years archaeologists may think we actually knew we had been contaminated by this disease they discover and will take our pirate economy, pirate ethics, immorality, abortion, drug use, the beatification of anorexia and death, miscegenation, violence and temporality, stem cell masturbation as a reaction to something we actually can not see but are immediately, even physically afflicted by and reacting to, thinking all along it was some form of choice in hell…
We are not facing the end of the human we are facing the end of the beginning of the end of the bone structure, of the sign system and logic of bone, of the economy of thought, to prove their fallacy through its eventual collapse through its profusion. And it is all conveniently cached in the idea of death but it is really about birth. Every market down turn is a choice metaphysical experience…the central bank is the germ of the thing causing the demand for impotency, which is what pornography is all about…no longer being hard was the basis of wisdom, bedouin…Which is why these peons are so infatuated with bone and marrow and stem cells…
They are using voice recognition software to at once map us and feed us. The digital is nothing but snake oil. It is of lesser physical quality being sold as progress and is the perfect metaphor for everything that is happening to us. And the technology exists today to produce the image of people in unreal settings outside place and time and soon, through the complete acceptance of artificial aesthetics we will be unable to distinguish between the natural and the unnatural, because our last line of defense is our sensation which through repetition and technology is being sold as binary, as an empirical calculus completely explained. Because Dreyer was a story teller who was honest about color and how it could effect what we took for the natural, which is why he made about five films, to be done with those that abandoned him in the first place, Mabuse… Because we have no will because we have no thought process. But of course the news is produced. But this should shock the people that believe in it…
To create a voice producing algorithm they had to monitor and listen to real human interaction, like monkeys with a passion for electronics. So this is not any type of illumination, technology, it’s pure portraiture, a camera angle and analog sensor that by being thoughtless we play with and accept.
There is a mathematical economist in Zurich, connected to systems hacks and sociologists, who sees the success of the economy based on its human emotional output. In other words, divorce rates go up when certain people are marginalized. And there is a computer manufactured by IBM that not only prints the output of this emotional turmoil via economics, in color, but has mapped things decades in advance, which I have written about in a story, so it is real, to create in real pictures and vistas what not only the forests will look like in fifteen years, but your street, your yard, your house and those living inside it. Right down to the overall look on people’s faces, to their emotions by the minute. And Microsoft was going to name their new operating system Longhorn but they chose the word Vista, because if you can be that dirty pretending to anything romantic you will take yourself as a magician…these ghouls have long term derisions…And I received that algorithm of a voice message a while back reminding me that I hadn’t voted because I wanted to be anonymous. And it wasn’t any party reminding me I had not voted, and it wasn’t even a computer voice pretending to be human interaction that was reminding me, but it was the logic reminding me that I had insulted the algorithm that dates to the year 1000 that was insulted. Because we could create a new calendar tomorrow, or they could…
Someone spread the rumor that Gisele Bundchen was dumping the dollar. Because she has big breasts and is the product of controlled inflation. And someone photographed Kate Moss snorting coke. Because she represents the depression and the cannibalization of thought. Because the image of beauty has been alchemized into money. So what. Should you take that literally like you take everything else in the midget of mentality.
In the 1500s a writer from Alsace connected to Lombardy wrote about a physical manifestation of time located in the brain. Descartes supposedly was very interested in this man’s writings which had been excluded from the hermetic canon. A forgery resurfaced in the year 2000 and was passed to a certain set in central europe, in Hungary and Romania and was transcribed by hindus living in Hyderabad. That the tower is the brain…
1 Kate Moss is a supermodel from England who ushered in heroin-chic, the look of anorexia as beauty.
2 Cindy Crawford was an American supermodel in the generation before Kate Moss, full bodied, representing the Reagan years of growth.
3 In 2008 a British artist produced a sculpture of Kate Moss in gold, using more gold than any piece of art created since the time of the invented Egyptians.
4 The Libor is the London Inter Bank Offer Rate, run by the British Banking Authority, that lends money to commercial banks at a rate independent of the control of central bank rates.
5 A Brazilian supermodel breaching the Reagan years of growth and the recession, neither as large as Cindy Crawford nor as thin as Kate Moss.
6 An American clothing store catering to teenagers famous for posters of half-nude, predominantly male models in their store windows.
7 A lingerie chain store with an aggressive sales campaign that used both Cindy Crawford and Giselle Bundchen to sell its image of growth.
E.P. Stevenson received his doctorate in Comparative Studies in 2012 and has published short stories and essays in various journals. He lives in Rochester.
RUNDELANIA 