ABSTRACT
Digitized forms are hyper-anamorphic: digital-aniconic images generate a highly self-reflexive spectacle of contingent states, reversals, and endless transformations. Tightly shot in the opening sequence, together the three evoke the image of a strange Mt Rushmore, with the face of Diane Selwyn's aunt flittering on to the screen and then off to the lower right. Like all dreams, law dreams in images: taboo symbols, intimating forbidden knowledge amid forbidden urges. On screens large and small, the usually hidden symbolic life of the law breathes free. As in a dream, discrete fragments piled up, concatenating on a landscape of ruins. The neo-baroque landscape on which the proliferation of legal forms is taking place comports well with Gershom Scholem's account. Neo-baroque law in the society of visual spectacle readily assumes the phantasmal quality of the spectacle itself.
