The formula of the fantasme expresses the subject relating to the object of jouissance — objet a. What is this subject? This subject is the subject of the signifier, therefore symbolic. Divided by jouissance, it finds the object fusing, melting with it on a surface divisible through a cut, the fantasme. The action of the signifying cut, as much as objet a, is representing the subject: Scott is at once the beaten man, the one beating the man, and the jouissance of the one doing this — at the same time the subject identifies with the signifier, with the act of whipping itself. The function of the objet a in the fantasme takes place in the real. The subject unconsciously perceiving the object becomes it. This sort of jouissance pertains to being; as soon as the jouissance is experienced the subject fades away, reduced to a signifier.
The fantasme will not ameliorate the emptiness of the S₁, moreover it will re-introduce the interval between S₁-S₂. This is the interval between the signifying-knocks where Scott finds the desire of the Other. In this interval separating the signifiers, is metonymy: through them, running, escaping, is what we call desire. The desire of the Other is apprehended by the subject in the lacks of the Other' s discourse: objet a, between S₁-S₂.
In alienation, the original repression of S₂ makes for a barred subject —separation instead makes objet a appear.

"My mother left me in total indetermination. If only she had said something! If she had only said what she expected from me, I would have been able to respond, have my own existence. My day-dream, you know, the recurring one, appears when my girlfriend makes love to me without the desire being there. I have no existence; I'm a dead body."

The stability of the ego's specular image is maintained from its interior by objet a itself. This objet a both holds and is held. The ideal of the ego made in the form of an image is retaining this nothingness — objet a — the device through which jouissance is introduced into the subject's dimension of being.
When the signifier functions as a device of jouissance a sort of entropy occurs. When one constructs a power station, one accumulates energy; fabricated according to the same logic of the signifier, waste concerns the machines causing the turbines to operate.
Instituted along with gaps which are never extreme, knowledge set to work yields entropy . The effect of waste involves the lost object: only from this point of loss may one have access to what jouissance turns out to be. Not in concern with the word as much as with the structure, the structure will match up: the human being 'words' himself into this apparel.

... this why I have introduced it as plus-de-jouir. It's
because of it being perceived as a loss — something
should balance what at first is a negative number — that
this I don't know what which has come to knock,
resounds..." has turned into jouissance, and jouissance
to repeat. It's only the dimension of entropy that embodies
this, for there is a plus-de-jouir to recuperate.

This kind of knowledge will first relieve the trait unaire, as much as all that may be articulated of the signifier. Ambiguous in the talking being who may occasionally theorize, make religions of living in apathy, apathy being hedonism, what animates jouissance, what puts it at work, is the plus-de-jouir function as such.

"My mother died, I'm forty, old enough ? Why did she have to go? For a whole year I didn't see her. I only went back to her when I learned she was sick. A year later she's dead. I'm an orphan, maybe I always was one. But now it's a fact. Why didn't I see her for a whole year? Because she kept trying to seduce me — I was only 2 years old when she began this. I have her jewels. I had to fight for them. I had to fight my sister. My mother's jewels belong to me; they came to her through my father; these are family jewels. My sister's father is not my father, although my sister and l have the same name. I had to fight her father also."

By virtue of its structure objet a is the place where jouissance is to be captured. What kind of jouissance? There is that plus, that excess which, relative to a loss, resulting from a previous renunciation to jouissance, may be recuperated.
This hollow, this gap comes to fill a certain number of objects — oral, anal, scopic, vocal. Fitted beforehand, each of the four drive objects may work as a cork. The names designate as objet what evolves from a — a as such, originally reduced to the signifying articulation, it follows from that certain knowledge.
As plus-of-jouissance articulates with the objet a, it will alternate in two dimensions of the real: the cause of desire and the plus de jouir. These two dimensions, inherent to the analytic discourse, will in turn have their place in the function of him who teaches. A position of order, the teacher's prestige is relevant according to the student, to the public, to the context. In turn, the turn: the agent in the University discourse attempts to find his point through a public process of erring and wandering.

... the function of him who teaches is in the order of the
role, a certain place of prestige. It' s not what I ask from
you, but something which has to do with putting in order,
that would make me account for whatever is the way of
my actions... in the light of, there is something of the
psychoanalyst.

Saints also seem to depart from a certain weakness, their universal love draws the obstructing veil to what truth is. What is then the case of the analyst occupying this place on the upper left side of the structure, absolutely not being for himself?

This is where the plus-de-jouir is, the jouir of the
other who is not me: as much as I proffer the analytic act
I have to come.