Lady Gaga’s celebrity DNA revolves around the notion of monstrosity, an extensively and multifariously researched concept in post-modern cultural studies. This study draws on biographical and archival visual data relating to the Gaga phenomenon with a focus on the relatively underexplored live-show, with view to elucidating what is really monstrous about Lady Gaga. The argumentation that is put forward by drawing largely on Deleuze & Guattari’s notion of monstrosity, as well as on their approach to the study of sign-systems that was deployed in Thousand Plateaus, is supportive of the position that monstrosity as sign seeks to appropriate the horizon of unlimited semiosis as radical alterity and openness to signifying possibilities. In this context it is argued that Gaga is a simulacrum of herself (supreme signifier) and at the same time a (dis)simulacrum or dissimulative (feigned) simulacrum. Gaga is monstrous for her community insofar as she demands of her fans to project their semiosic horizon onto her as simulacrum of infinite semiosis, albeit a simulacrum that, in (the) reality (principle), may only be evinced dissimulatively in a feigned manner as (dis)simulacrum. Pursuant to an extensive analysis of the linguistically unarticulated, yet multimodally considerably more insightful imagery from seminal live shows during 2011-2012, Gaga’s presumed monstrosity is ultimately rendered as more akin to hyperdifferentiation.
Keywords: monstrosity, sign systems, flows of intensity, territorialization, Lady Gaga