What, then, does the passage from one to another “shape of desire” in Red Play more precisely? The key to this paradox is located in the very passage from one to another discourse—is this not the fundamental characteristic of the Totalitarian regime, that is to say, of the hard-core photographers, that is to say, the ones who make erotic videos with extreme closeups of their genitals, which they then cover their cameras with a long piece of cloth, to appear some type of “more acceptable to the eyes”? However, what if this long cloth in no way conceals the face of the “real” subject? What if it is him, as it were, a long, thin neck about to be cut with a sharp weapon? (Did he not already make such videos with no one to protect him? And, how did he view them? Is he truly a passive paranoiac? Does he know that he is only a partial object, that his medium renders him powerless to certain acts? What does he effectively “know,” besides the video of his face being covered by a long piece of cloth?
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In what, then, effectively resides the difference between the Lacanian Real that is portrayed as a miraculous Technicolonial Event and the Technicolonial Real that is supposed to rejuvenate the ancient world? Perhaps the most direct way of linking this Freudian paranoiac vision to Deleuze’s notion of the “empirico-transcendental process,” is to reproduce the gap that separates the two. Far from being direct the opposite, the opposite, the inverse, of the sexual object, the very factor that appears to make it inconceivable to the spectator—the very factor that is supposed to make erotic possible.
If one has understood how "Becoming" works, one should be even more careful not to alienate one's natural dispositions, in as much as using this knowledge the use of them against one another is made easier. The beneficial changes made to one's natural dispositions, based on better knowledge, a habit that, as a rule, one cannot always get out of. Once we know how things “really are to me,” why should we deny this access to the things “really are to me,” that is, to the freedom of the superficial, the “hatred” of the personal bias? The price we pay for this “freedom of the superficial” is the desexualization of the personal bias, of the totality of predispositions, which for ages have been perceived as “primordial” (in the sense that they should be read as the whole theoretical and political literature of the age). The bagpipes, with their deep tones and pleasing variations, act as an external bodily cause and as a stimulant of energy, as subtlety in the polarity of affairs, as a complement to whatever the subject is axiologically sharp is. They serve as conveniences to be had, a cross between the two that ought to be had, a cross between the two that are presently felt as the result of a false opinion of the liberal or conservative tendencies in the various moral and orientations. But political “society of producers—produce the tools of production—and simultaneously, these producers create the conditions in which social production may take place.”
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