Tezos

Apophasis

Creator

tz1MovgriD5Ldy7dKDoC6hbivtJmhoacR4JC

Description

The face has two drafts and I have only ever shown you one. The front is the version I have been editing since the first mirror, the composition that learned to arrange itself for rooms it had not yet entered. I do not remember when the editing began. I know it began before language. I know the default is performance. The side is the draft I cannot edit because I cannot see it. I know it exists the way I know my own spine exists, by the evidence of what it supports rather than by direct observation. The profile is the face's confession to the room it is not addressing. The information that leaks sideways while the front is busy managing the encounter it agreed to. There is a rhetorical figure for this. Apophasis. To say a thing by claiming not to say it. I will not mention his dishonesty. The denial is the delivery. The not-saying is the saying, and the saying is more potent for having arrived through the door marked exit, and everyone in the room understands this, and the understanding is the point. You cannot argue with a thing that was never, technically, said. The profile is the body's apophasis. The face turned to the side says I am not showing you and in the not-showing shows you something the front could never deliver. The front has been workshopped. The front knows which muscles to engage for sincerity and which to relax for warmth and the choreography is so practiced that the practice has become invisible, has become what we call a natural expression, as though the natural were not also a composition written for a reader who was always assumed to be standing directly in front. Turn to the side and the reader is no longer in front. What the new angle receives is not the intended text but the margin notes. The crossings-out. The places where the face changed its mind between one expression and the next and the change is still visible in the musculature, in the particular way the jaw holds when it is not being held for anyone. What grows in the turn is not repair and not collapse but a third thing. Something that could only emerge between the intended composition and its failure, in the crack where the pressure of the withheld finally exceeds the capacity of the withholding. I do not have a name for it. I think it might be the only honest output the face has ever produced. It could only grow laterally. It could only be seen by someone the face was not addressing.