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Or should we say things differently? It is not exactly the face that constitutes the wall of the signifier or the hole of subjectivity. The face, at least the concrete face, vaguely begins to take shape on the white wall. It vaguely begins to appear in the black hole. In film, the close-up of the face can be said to have two poles: make the face reflect light or, on the contrary, emphasize its shadows to the point of engulfing it “in pitiless darkness.”1

A psychologist once said that the face is a visual percept that crystallizes out of “different varieties of vague luminosity without form or dimension.” According to this account, the dimensionless black hole and formless white wall are already there to begin with. And there are already a number of possible combinations in the system: either black holes distribute themselves on the white wall,