janet jackson and the noble lineage of the ultimate


in this movie, janet jackson isn’t a body anymore. now, she is the ephemera of having been the ideal body. she has done a thing which is to define liveness, which is to have lived so intensely in the fullest expression of being a human that she no longer has to be one to exist. fame is an elixer which makes possible the ridiculous, like a homeless woman who can afford to do a full contraction in a pink hat in the middle of a doorway where there are colors and everyone is dancing and playing the trumpet. it’s all about the hair, about being surrounded by it. in art, the best bodies circulate around the ideal bodies, they are glitter, they are dirt, and the ideal, they can eat whipped cream with gloves on. this whole video feels like a celebration of celebrity. like, the you of the song is comprised of all the best bodies that aspire to her ideal, and she is throwing a party for them in the manner of a rockstarprofessor, there are new yorker posters in her stairway, she is mirror-kissed into existence. & when she comes they do their best because she has achieved perfection of body she has earned the right to voice the ultimate. it is the pleasure of the voice of the ultimate to see the best and to give word to them. this is nobility.

now she is so good at being a not-body she is such a good body she is the ultimate body she is not even on this planet anymore.

 

now of her acolytes all wear masks. they have to be identical. they aren’t even real. they are just little balls of light. they are fame all these little balls of light they are liquid.

she is explicit. now, she is the best commodity. right now. it is value.

tonight my body’s an exhibition baby/though it’s on display don’t be scared to touch it, it said so/so come and get it babe

the stylemaker must constantly prove she is the best, she must demonstrate her superiority in order that she will continue to attract light. this demonstration involves an act of currency, of making the self a currency. the ultimate body requires both perfection of form and recognition of said perfection in the form of reflection because the ultimate body desires, primarily, to be ultimate. fundamental to the ultimate is value. fundamental to value is light, which is required for adoration : see, study : see, reflection : see, ultimate –

 

of ends, designs, etc.: lying beyond all others; forming the final aim or object. coming at the end of a process, a course of action, etc. or as the last in a succession or series; arrived at as a final result or in the last resort. or resolves, etc.: Final, determinate, absolute. putting an end to further continuance, development, or action; final, decisive. Forming a final stage, point, or limit; beyond which there is no advance or progress. applied to the values of a mechanical property corresponding to fracture or breakage of the object concerned. beyond which no advance can be made by investigation or analyisis; forming a limit of final stage in respect of nature of quality; funadmental or elemental. of material things, esp. of the composed particles of matter. the final limiting ration between two variable quantities which simultaneously approach definited fixed values or limits. (correlative to prime ratio). forming a result or conclusion of a character different from the starting-point or present state; eventual, resultant. final, last; occurring in, or falling on, the last syllable of a word. most remote in space or position. rare. the final point or result; the end or conclusion; the last step, the ultimate, the best that can be achieved or imaged; the ‘last word.’ the point at which investigation or analysis stops; a final or fundamental fact or principle

 

 

in the 90s, janet jackson was ultimate.  the end is the word which is the embodiment of the ultimate, the ultimate body when it has reached maturity, as in the union of all components that constitute her quality of the ideal, which is to say she is singing with perfection of form and dancing with perfection of form and fashioning with perfection of form.

 

 

at this point, the single desire of the ultimate is to be united with a literal embodiment of itself, with its double. janet jackson is performing ultimate form in an embodiment of the image of the perfected form of the navel of humanity.

 

she has supassed the linear boundaries of desire such that what she desires is a web of parallels in which she can observe all possible variations of formal perfection at once. the nature of pure desire requires that this be either a fantasy or celebrity. in the fantasy, the ultimate herself performs all possible variations on perfection such that she might observe herself, the creation of herself, her double who is at this point of totality simultaneously predecessor and processant, which results in an ultimate embodiment of the present, which is style.

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