Notkin spills — "that Infinite Jest (V) or (VI)’s…"
that Infinite Jest (V) or (VI)’s had been fitted with an extremely strange and extrusive kind of lens, and lay during filming on either the floor or like a cot or bed, the camera, with Madame Psychosis as the Death-Mother figure inclined over it, parturient and nude, talking down to it—in both senses of the word, which from a critical perspective would introduce into the film a kind of synesthetic double-entendre involving both the aural and visual perspectives of the subjective camera—explaining to the camera as audience-synecdoche that this was why mothers were so obsessively, consumingly, drivenly, and yet somehow narcissistically loving of you, their kid
Context
The crib-lens core, the plan's "lens upon lens": the camera lies on the floor or a cot like an infant, the strange extrusive lens looks up, and the nude parturient Death-Mother inclines over it "talking down to it—in both senses". The viewer's seat in the lethal film is the crib; "the camera as audience-synecdoche" makes every eventual viewer the baby being apologized to. Notkin can't resist doing criticism mid-confession ("a kind of synesthetic double-entendre involving both the aural and visual perspectives of the subjective camera") — the mechanism of the deadliest object in the book, articulated as a film-theory seminar point.