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Seminar XXIV Final Sessions 1 - Lacan in Ireland

Seminar XXIV Final Sessions 1 - Lacan in Ireland

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- X: You can’t hear me because precisely I don’t have a microphone. Th<strong>in</strong>gs aredesigned technically so that there should be microphones. Why don’t you useone? Is it to give a greater value to what you’re say<strong>in</strong>g?- <strong>Lacan</strong>: Certa<strong>in</strong>ly not. I apologise for hav<strong>in</strong>g had to go to the board more thanonce.- X: So then, if the speak<strong>in</strong>g function isolates man, what about a preverbalmanifestation, namely, of the possible open<strong>in</strong>g up of the Real – I am re-read<strong>in</strong>g:the Real <strong>in</strong> cont<strong>in</strong>uity with the Imag<strong>in</strong>ary – how do you see for example preverbalmanifestations like all those of art for example:- <strong>Lacan</strong>: Those of...- X: Art, music, <strong>in</strong>deed all the arts which are, which do not go by way of thetalk<strong>in</strong>g cure that do not pass through speak<strong>in</strong>g? So then if you put the Real <strong>in</strong>cont<strong>in</strong>uity with the Imag<strong>in</strong>ary by an open<strong>in</strong>g here, I believe, from the experiencewhich I have of pa<strong>in</strong>t<strong>in</strong>g that the cont<strong>in</strong>uity here drawn by you on the board by anopen<strong>in</strong>g is <strong>in</strong> act – I am say<strong>in</strong>g <strong>in</strong>deed <strong>in</strong> act – this time by the body, which is asyou have def<strong>in</strong>ed it and as Freud def<strong>in</strong>ed it by the germen, like the body be<strong>in</strong>ghere an appendix, I th<strong>in</strong>k that at the level of pa<strong>in</strong>t<strong>in</strong>g someth<strong>in</strong>g happens which isa preverbal appendix operation, namely, and there, I would ask you to l<strong>in</strong>k upprecisely not that I do not know what follows but I am wait<strong>in</strong>g for your riposte.- <strong>Lacan</strong>: Yes- X: I see <strong>in</strong> this graph, which is the representation of a cut, but where there is apossibility of an open<strong>in</strong>g, <strong>in</strong> the act which is the act of pa<strong>in</strong>t<strong>in</strong>g, which is preciselythere the fact of an open<strong>in</strong>g, but by a cont<strong>in</strong>uity which would be, excuse me, likewhen you take a piece of toffee, it makes threads; so then this time there is no cutbetween the subject and the locus of the Other, there is not this alienation thatwas described for us <strong>in</strong> music, the last time, where the small o vanishes, let us saybetween the subject and the locus of the Other that makes threads. It is likewhen one is mak<strong>in</strong>g toffee. Start<strong>in</strong>g from the compulsionality of the Subject tothe locus of the Other, me, for my part i see a curious possibility from thelanguage of pa<strong>in</strong>t<strong>in</strong>g, which is m<strong>in</strong>e, and which is a language where at the level ofwhat is denoted, namely, at the level of what is <strong>in</strong> the dictionary and of what isplunged <strong>in</strong>to an abyss and which is <strong>in</strong> function of time <strong>in</strong> your study on languagestart<strong>in</strong>g from the treatment. Here <strong>in</strong> the pictorial fact there is a sort of <strong>in</strong>sistenceand s<strong>in</strong>ce <strong>Lacan</strong> says that sense does not consist <strong>in</strong> what it signifies at that very57

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