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Schizoanalytic Comedians of the 21st Century

by Noise and Caroline Foley

Starting in 2020, the meme(tic hazard) “21st Century Humor” developed in rhizomes, like YouTube and Twitter. Like in A Thousand Plateaus, it is/was dated. It will/has/had an intensity. The Deleuze-Guattari abstract machine is dated 1972 and 1980, its own territory a plane of consistency like the Nietzsche abstract machine dated January 1889, Turin, Italy. Likewise, the SPIGOTTAN abstract machine is dated to the mid 2010s, its plane of consistency clouding the machine's flows, the anonymity of SPIGOTTAN. The deterritorializing of these YouTube Poop-inspired ideas developed a nomadic war machine eternally detourned and recuperated like its sources. One of these main inspirations was a node titled “SPIGOTTAN”. Their YTPs, which exist both as part of a self-degrading sequence and as individual artifacts of a destructive artistic process, are mediums or shells containing

a broken chain of effects and variable speeds, with accelerations and transformations, always in a relation with the outside.

This ultimately shows that their approach to YouTube Poop considers it as part of an indefinite process, not as a process with an end that must be attained. This investment in the indefinite process over the definite end of the process is revolutionary, while the latter is of course reactionary or conservative: see how older YTPers like Stuart K. Reilly have, while upholding past aspects of the medium, become literal conservatives. SPIGOTTAN's videos in sequence contain repeated effects applied to source material, and variable speeds which while repeated are also manipulated against the expectations of their viewers. there are innumerable connections and linkages to be made between every single video SPIGOTTAN has ever made, like the painted or drawn art of the 20th century schizophrenic who repeats motifs to further attain the desires that those motifs represent, even if the videos ultimately destroy the need for coherency, for standardized humor, for dark humor, for YTP, and even for accessibility and formality

principle of asignifying rupture: against the oversignifying breaks separating structures or cutting across a single structure. A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines.

One tangent (that will be important in a moment), let us get one thing clear; YTP is really only a secondary category. YTPs aren’t only videos.
Anyway, their videos, like "ytp summer" and "ytp pedofile'' degrade SPIGOTTAN's already existing fascination with Family Guy, and openly exhibit that degradation so as to assert this degradation over more formal, coherent and reactionary styles of YTP, as in the necessary asignifying rupture of the rhizome that splits lines into more significant lines, then into even more significant lines, and so on. they as a YTPer do not calculate their videos. These videos are spontaneously born from the desire to carry on this degradation, to hold onto the indefinite process of degrading the source material rather than choosing one specific degradation associated with the source material. if there are linkages to be made between SPIGOTTAN's videos, they are delirious, and do not rationally exist. This is what is needed to enjoy their videos. you can, of course, be a reactionary upholding Spadinner YTPs rewriting them to talk about news topics so as to assert that they have longevity and realism, and still enjoy "ytp sexer", if only on the imagined grounds that it is somehow rightfully mocking amateur YTPers, but this boils down to nothing, results in nothing of value, nothing transformative and alchemical like the work of amateur YTPers who have found their lines of flight and have become "outsider artists'' in a field already dominated by outsiders. SPIGOTTAN's videos follow an "imperceptible rupture, not signifying break" (Deleuze-Guattari).

With all blunt implications, SPIGOTTAN has indeed deterritorialized YouTube Poop, but only partially reterritorialized it: the territory is marked, then mimicked, and while SPIGOTTAN's style of comedy can be mimicked, the precision of their imprecision as it is cannot be mimicked without following a line of flight, whether through the manipulation of media for its signifiers to form the satirical body of a despot (like William Burroughs' cut-up technique to prophesize totalitarianism through the formation of the body of the despot) or simply through the stationary journey that the video editor takes through their video folder, their documents, their personal history and their friends' own stationary journeys. SPIGOTTAN remains YouTube Poop's sadist on the grounds of, like the Marquis de Sade, forming the body of the despot through the rearrangement of repulsive language, represented violence, and weightless motifs to ultimately build the prototype or blueprint to an unattainable despot with no serious implications; schizophrenic phantasy is harmless.

Finally, it is unclear as to if SPIGOTTAN has deterritorialized or reterritorialized upon YouTube Poop or in more plain terms, video editing; as a practice defined by its products in a continuum, it has always been unclear as to if YouTube Poop deterritorializes or reterritorializes the video and the joke. if "anything can serve as a reterritorialization, in other words, "stand for" the lost territory; one can reterritorialize on a being, an object, a book, an apparatus or system" (Deleuze-Guattari), then the potential for anyone to be a SPIGOTTAN for another practice, field or occupation is vast, and better yet, the potential for past SPIGOTTANs to have already existed like de Sade or Burroughs is what should warrant the liberation of SPIGOTTAN's videos from SPIGOTTAN; SPIGOTTAN as an abstract machine severed from YouTube Poop as an abstract machine, the potential for all kinds of productive art to involve "broken chains of affects and variable speeds, with accelerations and transformations" (Deleuze-Guattari); the unattainable desire of dominating and destroying the ubiquitous pyramid of media, the pyramid of comedy that threatens bodies without organs with their reduction to mere characters.

SPIGOTTAN. A Burroughsian pursuit of prophesizing through the breaking down of signifying chains. A Sadean pursuit of erotic violence through the repetition of intensities and signifiers. Erotic violence occurring not just through sex but through a very quickly falling body, through Michael Jackson jumping through the movie screen, through Peter Griffin rubbing himself. The sound of Mayor West smashing through glass replaced with the sound of Joe Swanson shooting a bird, which was, beforehand, repeated enough times to be funny by itself. The violence is the repetition, the acceleration and rupture of the clip, the clip as a little intensity, a component of a little machine (video / YTP). SPIGOTTAN and similar entities/nodes are the schizoanalytic comedians of the 21st century.

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