By Michel Serres
Influential thinker Michel Serres’s foundational paintings makes use of delusion to discover how human family are just like that of the parasite to the host physique. between Serres’s arguments is that by means of being pests, minor teams can turn into significant gamers in public dialogue—creating variety and complexity very important to human lifestyles and thought.
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Additional info for The Parasite (Posthumanities)
The same goes for the Sym posz"um. Or rather, the sophist and the politician (the statesman) are interceptors of every relation in general; they are the relation itself and, as I have said, the collective. The parasite is being and nonbeing, rela tion and nonrelation. This is the case with the politician, for example. Nothing exists more than he does since he is always there in our rela tions and in the system in which we live, but nothing exists less than he does since a certain noise makes him immediately disappear.
Pumpkin and carriage, char-girl and princess. Only a fable says that. Only the fable and its metempsychosis allow me to see the same third man in the nest, in the cave, at my table, and on the throne. If he is a man, he is nothing; like a neutral element, a joker, he is nothing but grimace and greasepaint. This morning, he defends the humble, justice; at noon, he is only one who can be heard; this evening, he takes all the spots; The Parasite 64 tomorrow, he is king. Or it can occur differently.
Some times, among the innumerable ants, the noise of revolt rears it head and other energies appear, different from those that accept channeling to ward their work. Then the slaves begin to struggle with the master. And sometimes, they force him to appear. Sometimes the crowd lashes out and pillages everything in its path. That, however, is rare. It seems that that is feared. Why, I don't know, but I do know that it is feared. And that many things are built up to avoid what is called an unleashing.