NOTES ON NEON
NXS WORLD Cyber Sensuality
The Neon Demon exists as a formalised picnoleptic routine. The film rests in the space of childhood, apps, trauma—the lights are on but no one is home. The imagination faculty
recreates a disease. Life passes, ADIDAS. Picnolepsy is Virilio's rapid waking, le petit mal imagined in the late 1970s for Jonathan Crary to describe in a 2009 Semiotext(e) reprint as epiphanous, still relevant—as we wait for when "the authority of electronic automatism reduces our will to zero."
It is a bad space, operated and threaded by Silicon Valley, virtual reality on mirrored steroids—the recessed clit of Blade Runner. What Hollywood tries to capture, now, in the dying format of cinema with an actor well lit in 4k, asleep reading an iPad, wishing for a lover, not present. Like: the eloquently spaced out timing in The Neon Demon's masturbation scene, a dead body. Out Of Body Sex. In Fanning's unshaped acting we are able to see not her, but only director Nicolas Winding Refn picnoleptic gauze. Fanning is also visibly ADIDAS elsewhere while waiting for lighting design—instead of living a body for theatre, a truer god.