Verbatim quote · from the corpus

“On the originary scene, putting forth the gesture of aborted appropriation creates the divinity informing the central object—that is producer’s desire. It is a god-making gesture. Then, the object is consumed in common, with resentful vengeance visited upon the object in the process. That is “consumer’s satisfaction.” The originary scene is iterated as ritual in the common memory of the group, “triggered,” we might say, by the imminent conflict that becomes possible whe never the conditions that generated the originary scene are reproduced. At the earliest period of human history, ritual creates a kind of ostensive ethics: everyone behaves as they are supposed to behave on the simulation of the originary scene. All members of the group participate equally in producer’s desire and consumer’s satisfaction. Ritual is modified with the emergence of the imperative out of the ostensive. The imperative emerges from an “inappropriate ostensive,” i.e., an ostensive sign made when the object is not available. The interlocutor fetches the object, thereby retroactively turning the ostensive sign into an imperative that can now be repeated in new situations. The imperative introduces a kind of “magic” into the community: rather than being the happening itself, the sign can now make things happen—it can make the imagination reality. The existence of the imperative creates the imagined possibility of issuing requests to the deity—Gans associates the famous cave paintings discovered in France with an imperative ritual culture: the images are meant to make the desired animal appear, to make itself available. At the same time, it becomes possible to imagine commands coming from the deity—implicit here is the assumption of a reciprocal relation between the subject and object: the more humans imagine themselves sending requests to their gods, the more they can imagine receiving commands from them.”

— Adam Katz, Coming to a Head · May 2016 · GABlog