I know we're all trying to ignore Valentine's Day. I, for one, know that this will be the year the tradition of watching Eternal Sunshine of the Spotless Mind alone and crynerbating will be firmly established.
I Am Whatever You Say I Am, 2008
I did not know
this word existed until two days ago.
This may or may not be your response to reading the extensive attempt to define this: I know that I have felt something like it, but my experience differs in various ways from Tennov's attributions to it. I think it's possible that people experience it in different ways, and this is the root of some things attributed to limerence. Like many psychological definitions, you try to self diagnose. Personally, I know that most meaning in my life comes from one or two limerent attachments I've had - primarily one that was, for a while, mutual. My tendency when discussing it is to not be able to articulate more than snarky soundbites.
Dorothy Tennov coined the term "limerence" to describe a kind of long-term infatuation her subjects were describing in her study of love. Limerence and love are not two different things - limerence is a kind of love. (Officially, it's the early stage of love, but I consider that limiting.) It's also a way of evading the dismissiveness of terms like "infatuation" or "crush", although the dismissiveness creeps in as a kind of attempted antidote to limerence's hightened affect. Limerence is both itself an emotion and an intensifier of emotion. It's produced a lot of good music, great literature, and probably not a lot of great art, although it is a decent motivator - or extreme demotivator. The reaction is not binary "elation or despair". Even a good interaction can induce the emotion that, like limerence, needed an English word, but which I have seen called "sangry".
Limerence attaches every intense emotion one feels, regardless of connection through anything but oneself, to the limerence object (LO, or, as I will put it in tribute to David Foster Wallace, subject). If you've resolved to cure your limerence, you will end up avoiding anything interesting or that you like.
One way of thinking about it: If you have love or affection toward a subject, you google it. If you are limerent, you avoid googling anything closely connected to the subject, because you are afraid you will run across them, and end up unable to think about anything else for weeks.
An objection I have to part of the definition is the part about how limerence can end with consummation or conclusive knowledge of reciprocation status. Even with confirmed reciprocation, terror that one's limerent subject would lose the limerence reignited the feeling. Once I'd stopped feeling that fear, the limerence was less urgent, turned into an entity supported by two bodies. Whether an asymmetrically limerent relationship should be terminated is a difference of opinion that can terminate any kind - according to Tennov, relationships with one limerent member are sustainable, though commonly maligned.
The "limerent-limerent" relationship is what I've called a "positive-feedback-based assemblage", but why most agree that that coupling (which I want to think can contain any number, including not just integers but imaginaries, etc. ) is itself inherently unsustainable is hard to define. Positive feedback exceeds the boundaries of its system within some amount of time. With limerence the result could be a "burned out" emotional sensorium. I can't tell whether being unable to become interested in anything without limerence is still limerence, or its fallout.
While it's said that different people are more inclined toward limerence or inducing limerence, I suspect it's more likely that people have
different and incompatible ways of effectively de-limerencing. I'd like to hear from anyone who hasn't ever felt limerent. I remember sustaining something from 2000 onward, which was replaced in 2006 by definite limerence - I don't think any was involved in the long-term, healthy relationship I was in starting in the middle of that time. Possibly, I always require transformation - a new subject. Which is kind of a bitch, and something I may have immunized against now, but two years of starvation haven't been cutting it.
I have resolved that next time, instead of having most interaction, with a human, mediated by the internet, I'll aim to be limerent towards a nonhuman (non-animal, probably non-carbon-based) entity. I'm not going to assume it would be an AI, partially because the determination of intelligence and whether it's required for limerence are part of what's so fascinating about this particular weird-ass fantasy. Remember,
this woman married the goddamn Berlin Wall.Possibly an element of what makes someone more limerent has to do with how much they question the communication system and what constitutes an autonomous entity capable of reciprocation. Example: I do not believe I can be objectively determined to be intelligent or autonomous. Second example: My subject may have been incapable of reciprocal feeling, only attached if returned feeling was ambiguous. There is nothing psychically sick about either of these attitudes - maybe not even with Mrs. Berliner-Mauer.
Here's a paper(pdf) that argues that limerence is problematic, different from love as seen from instances of persisting into later stages of a relationship. I haven't read the whole thing, but without a threshold in the form of an amount of time or interaction after which limerence shouldn't persist, all it really does is, well, piss me off, make me sad, various other limerence-enhanced emotions, based on feeling that my subject had set a short time after consummation it was appropriate for me to still act limerent, I had appeared to exceed it, and that I am therefore entirely responsible for my own pain, emo emo etc. Basically all this does is induce another source of fear and anxiety in the limerent, towards their own limerence and its inappropriateness. I would say that most defined psychological states, like most things, should ethically lack the presence of either "goodness" or "badness".
Another objection I have to the definition is that the limerent inflates the subject's good qualities. Part of the involuntarity of limerence is not that you think everything the subject does is great, but that everything they do is relevent to your interests. The subject is not superhuman, or uniquely qualified: they are simply what the limerent is About. In fact, the word I was using before I heard "limerence" wasn't "in-love-ness", it was "aboutness", and I felt it could apply to particularly dedicated biographers and specialists. Perceived flaws aren't transformed to virtues, they are considered more important than the flaws of other entities, and have a huge emotional impact on the limerent.
I don't know whether it seems immature and self-absorbed to be discussing what is too often stigmatized as immature absorption, but I'm sick of not talking about what I think about. What are your responses?
$25 prints on dollar bills by Reed Seifer (the artist that presented the "spray to forget" campaign last year). It looks like he has a very close relationship with the fair as a designer and marketer, and always has this little booth to present ad-art projects.
Laura Oldfield Ford is fun, either slightly scrambled or not. I'm really into word art at the moment - the only opportunity for narrative in a show sparsely populated by representative imagery.
Ron Mandos was raving about his prodigal artist Anthony Goicolea, although only this funny piece got me.
Erwin Wurm at Regina Gallery - Es, Ich, Uber-Ich (Id, Ego, Superego)
Everyone liked this series by Gustavo Artigas of pure pigment painted canvases with the health dangers of the pigment, at Mexico City's Caja Blanca. The show features galleries from a particular geographic region. Last year it was Berlin, one city. This year it was Latin America, so, pretty much a quarter of the earth. Equal wealth? Probably more. Stronger showing than Berlin, in fact - they could have limited it to one country.
Xia Xiaowan at Galerie Urs Miele - Human Body. Drawing on layers of plexi. Lovely!
Jonathan Schipper at Pierogi, which has moved into the big leagues this year after previously being sort of Brooklyn and Indie. This was a machine that was dragging these porcelain sculptures up and down, slowly breaking them apart. The mechanism was repetitive, but of course, the movements change chaotically. Liked this much. Also at Pierogi were super-detailed drawings by Daniel Zeller that must have taken infinite patience.
Untitled Gallery seems to always have an unusual setup, in this case tiles made of pennies on the floor and canvas prints with art jokes by Andrew Hahn.
Erik Thor Sandberg was in Pulse last year, but here's some gorgeous skeeve showing up at the Armory. Almost soothing, since such classicism was rare this year.
Naaaaaah na na na na na nah naa, na nah na na-na-naahhhhh. It's like everything you gather on a trip balled together. Katamari lodged itself firmly in the cultural unconscious like some self metaphor. "Cheap Magic Is Anticipated", by Ryan Garder.
, in which Simone De Beauvoir describes how women denied transcendence will defiantly, and somewhat masochistically, dedicate themselves to the material and present.
