role ii

         NORMAN: But it's no good dwelling on our 
         losses, is it.  We go right ahead 
         lighting signs and following the 
         formalities...  Would you sign, 
         please.

Norman Bates, in 'Psycho', Alfred Hitchcock.
watercolour in sketchbook, a3, 2013

watercolour in sketchbook, a3, 2013

fascinating that it is possible to imagine a person who has learnt the facility of emoting – – of bridging their ‘inner’ with ‘the’ outer – – through the tidier dialogue tropes of literature / television / film. and deliberately forged their social identity, maybe private identity – maybe conscious identity. so norman bates has developed himself a character, and then two characters, and more, each able to deal with the world according to the tropes offered by the previous ‘character’ but since identity in his case is nothing more than a series of syllogisms / syllogistic fallacies built from the slight foundations of the assumptions applied in fiction to drive storylines >or< produce a particular form of realism (or both…)

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