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Seminar XXIV Final Sessions 1 - Lacan in Ireland

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e someth<strong>in</strong>g rather enigmatic, will be someth<strong>in</strong>g of the order of the<strong>in</strong>vocatory drive and its reversal <strong>in</strong>to a listen<strong>in</strong>g drive. I mean that the wordlisten<strong>in</strong>g drive, does not, I believe, exist does not exist anywhere as such, itrema<strong>in</strong>s altogether problematic. And more precisely when I spoke aboutthese ideas to Dr <strong>Lacan</strong>, I should say that it is more specifically on thesubject of the problem of music and of try<strong>in</strong>g to locate, to locate for alistener who listens to some music that touches him, let us say that has aneffect on him, to locate the different moments because I am go<strong>in</strong>g to trytherefore to convey to you now rather succ<strong>in</strong>ctly because I did not prepare atext, nor notes? So then excuse me if it’s a little improvised.I imag<strong>in</strong>e, if you wish, that, if you listen to some music, I am talk<strong>in</strong>g about amusic that speaks to you or that ‘musics’ you, I start from the idea that, ifyou listen, the way <strong>in</strong> which you take this music, I will start from the ideathat from the outset it is as an auditor that you function; that appearsobvious, but <strong>in</strong> fact it is not so simple. Namely, that I would say that if themusic, at the very first moment – the moments that I am go<strong>in</strong>g to try todecorticate for the convenience of the presentation are not of course to betaken as chronological moments, but as moment which might be logical, andthat I necessarily disarticulate them for the convenience of the presentation– if therefore music has an effect on you as a listener, I th<strong>in</strong>k one can saythat it is because somewhere, as a listener, it is just as if it gave you ananswer. Now the problem beg<strong>in</strong>s with the fact that this answer thereforegives rise <strong>in</strong> you the antecedents of a questions which dwelt <strong>in</strong> you as Other,qua Other, qua listener who dwells <strong>in</strong> you without you know<strong>in</strong>g it; youdiscover therefore that there is here a subject somewhere which appears tohave heard a question that is <strong>in</strong> you and which, would not only have heardit, but has been <strong>in</strong>spired by it, s<strong>in</strong>ce music, the production of the ‘music<strong>in</strong>g’subject, if you wish, would be the answer to this question that is supposed todwell <strong>in</strong> you. Therefore you already see that if one wished to articulate thatto the desire of the Other: if there is <strong>in</strong> me, qua other, a desire, anunconscious lack, I have the testimony that the subject which receives thislack is not paralysed by it, it is not fad<strong>in</strong>g because of it, underneath, like thesubject which is under the <strong>in</strong>junction of the che vuoi, but on the contrary is32

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