Guðjón, sometimes one has to expand the notion of ‘following’ away from the usual, default protocols, of sense or meaning production, in order to make room for other kinds of expression.
Years ago, when playing in Oxford, there was a somewhat eccentric lady, often walking around the city centre, who would hold loud conversations with herself, whilst listening to music on headphones. I seen other similar characters, in London. Usually, these people are seen as ‘crazy’ or ‘mad’, constituting them as marginalised figures in urban life.
What was highly noticeable, was the preponderance of references to media circulation, within their verbal productions. References to celebrities, news topics, anything at all! The alleged craziness or madness was actually a mediation of media circulations, and this I found highly significant. Because there was a kind of ‘production’ going on, and that production was thoroughly determined by the encounter with mediated significances not marginalised as craziness or madness. There seemed to be a complicity at work, one which questioned the conventions of each of the elements constituting that complicity.
Apparently, there are quite a a lot of people who do talk to themselves, not in the sense of the people mentioned above, publicly and loudly, but to themselves, in private. This phenomenon, it seems to me, could suggest many things. Conventionally speaking, the obvious and sarcastically humorous implication, would be to talk about a sliding scale or slippery slope of sanity/insanity.
But I don’t think that that is what is going on.
Another anecdote: I remember being in the Marble Arch, KFC, in London. There was an Afro-Caribbean man, in his 30s or 40s, talking to himself; not loudly or too quietly, just normally. He was having quite a good self-conversation. After a while, I actually talked to him, and he instantly went into a normal mode, and we had a good conversation, though I don’t remember what it was about. I do remember that he was actually a very intelligent man, well balanced, by no means could he be classified as crazy.
The city is an urban machine, a semi-organic mechanism of intersecting forces, configured according to multiple conceptual images susceptible to topical presentation. Out of the profusion of those topical regulations, verbal production cannot help but express, at least partially, its conditions of production. It seems to me, that however such productions might be classified; whether marked as marginalised or privileged; significant or senseless; relevant or irrelevant; these markings, themselves, are merely the continuations of the productions that they attempt to categorise. I think that a lot more than this, is at play.