self-consciousness

__hat color is a chameleon placed on a mirror?...The chameleon responding to its own shifting image is an apt analog of the human world of fashion. Taken as a whole, what are fads but the response of a hive mind to its own reflection?In a 21st-century society wired into instantaneous networks, marketing is the mirror; the collective consumer is the chameleon.

Presidential campaign observer Teddy White on the second Kennedy-Nixon debate in which the candidates spoke from separate television studios: "It was as if, separated by comments from his adversary, Richard Nixon was more at ease and could speak directly to the nation that lay between them.

The sum of productive forces, capital funds and social forms of intercourse, which every individual and generation finds in existence as something given, is the real basis of what the philosophers have conceived as "substance" and "essence of man," and what they have deified and attacked: a real basis which is not in the least disturbed, in its effect and influence on the development of men, by the fact that these philosophers revolt against it as "self-consciousness" and the "Unique.

[Schulz] came to see that the better part of his shyness was really vanity, or self-centeredness. "Shyness is an illusion," he would say, late in life. "If you get out and do something and talk to people, you don't have to be shy. Shyness is the overtly self-conscious thinking that you are the only person in the world; that how you look and what you do is of any importance.

A push-up bra is to a woman__ chest _ what 'breathing-in' is to a man__ stomach.

And down I went to fetch my bride:But, Alice, you were ill at ease;This dress and that by turns you tried,Too fearful that you should not please.I loved you better for your fears,I knew you could not look but well;And dews, that would have fall'n in tears,I kiss'd away before they fell.

To flatter a young man, tell him that you thought that he was older than he is. To flatter an old woman, tell her that you thought that she was younger than she is.

It was a relief to inhabit someone else's life for a while, to get her personal issues for a brief respite. In a play, she knew exactly how all her character's problems would be resolved. No matter how the cast performed, the end turned out the same. No questions, no worries, no unknowns.

Primary purposes of a mirror: (1) To help civilized men realize their imperfections, and, (2) To help the imperfect hide their imperfections.

She tries to maintain a nondescript exterior; she learns the sideways glance instead of looking at people directly. She speaks in practised, precise sentences so that she is not misunderstood. She chooses her words carefully, and if someone addresses her in Punjabi, she answers in Urdu, because an exchange in her mother tongue might be considered a promise of intimacy. She uses English for medical terms only, because she feels if she uses a word of English in her conversation she might be considered a bit forward. When she walks she walks with slightly hurried steps, as if she has an important but innocent appointment to keep. She avoids eye contact, she looks slightly over people__ heads as if looking out for somebody who might come into view at any moment. She doesn__ want anyone to think that she is alone and nobody is coming for her. She sidesteps even when she sees a boy half her age walking towards her, she walks around little puddles when she can easily leap over them; she thinks any act that involves stretching her legs might send the wrong signal. After all, this is not the kind of thing where you can leave your actions to subjective interpretations. She never eats in public. Putting something in your mouth is surely an invitation for someone to shove something horrible down your throat. If you show your hunger, you are obviously asking for something.

Once you become self-conscious, there is no end to it; once you start to doubt, there is no room for anything else.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.

If I had a reader and he had read all I have written so far of my adventures, there would be certainly no need to inform him that I am not created for any sort of society. The trouble is I don't know how to behave in company. If I go anywhere among a great many people I always have a feeling as though I were being electrified by so many eyes looking at me. It positively makes me shrivel up, physically shrivel up, even in such places as the theatre, to say nothing of private houses. I did not know how to behave with dignity in these gambling saloons and assemblies; I either was still, inwardly upbraiding myself for my excessive mildness and politeness, or I suddenly got up and did something rude. And meanwhile all sorts of worthless fellows far inferior to me knew how to behave with wonderful aplomb-- and that's what really exasperated me above everything, so that I lost my self-possession more and more. I may say frankly, even at that time, if the truth is to be told, the society there, and even winning money at cards, had become revolting and a torture to me. Positively a torture. I did, of course, derive acute enjoyment from it, but this enjoyment was at the cost of torture.

A face-lift is a woman__ attempt to lower the odds of the next person accurately guessing her age.

Self-consciousness is hell.

When you are self-conscious you are in trouble. When you are self-conscious you are really showing symptoms that you don__ know who you are. Your very self-consciousness indicates that you have not come home yet.

When you forget about your self consciousness for a moment, you forget about your true self, your real you and your true purpose for a moment

He started writing poetry again, but it didn't come as easily. It was hard now to get past the self-consciousness - the silliness, really - of being such a well-established adult applying himself, seriously, to such a youthful joy.