Definitions HQ

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠opposed to production (whose aim is to set every thing in clear view) in that it withdraws something from the visible order.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠stronger than power because it is a reversible and mortal process, while power wants to be irreversible, cumulative, and immortal like value.

Seduction (n.) does ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠not partake of the real order. It never belongs to the order of force or to force relations. It is precisely for this reason that seduction envelops the whole real process of power, as well as the whole real order of production, with this never-ending reversibility and disaccumulation-without which neither power nor production would even exist.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠utterly absent form the universe of production. Not a shadow of it can be detected there, ruled as it is by the transparency principle.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠ever disappearing within our current culture of preejaculation. It is being ever superceded by the sexual imperative.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠everywhere and always opposed to pro duction. It withdraws something from the visible order and so runs counter to production, whose project is to set every thing up in clear view, whether it be an object, a number, or a concept.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠everywhere and always opposed to production.

Seduction (n.) works ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠by the absence of a desire of one's own, which thwarts the other's will to dominate.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠an insult to a woman's very femininity when she is called its innocent victim.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠art's deepest nature, which is why a thinker of seduction has to refuse to be seduced by art.

Seduction (n.) shares ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠one secret with art: something must be vanishing, but the vanishing must never be allowed to finish.

Seduction (n.) lives ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠in detour, displacement, transference and metaphor, which is why trying to prove sex by having sex is so sad.

Seduction (n.) is ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠the most sublime of states, far above the state of things, and some reach it with no effort at all, by a kind of poetic grace.

Seduction (n.) feeds ⁠​‌​​​‌​​​‌​‌‌​​​​‌​‌​​‌‌​‌​​‌​​​​​‌‌​​‌​​​‌‌​‌‌​⁠on a secret in the other that I can never know directly but which fascinates me from behind its veil.