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A Reading of the Seminar From an Other to the other II

Hegel, Kant, Lacan

Triggering Determinants in Anorexia

Confraternity of the Faithless:
Wilde's Christianity

Fairly Orthodox Anarchist-Libertarian

To the Exhausting Nude...

From objet a to Subtraction

Kohei Yoshiyuki: The Park

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lacanian ink 30's writing is circumvallating an unfathomable object whose essential qualities, be they to discover or set forth the meaning, to fix or mark its boundaries, you won't get to grasp entirely. You can actually given in, and then objet a is objet a. For all you know your wandering took you there, will you strive to conjure up your own?

The objet a is not unseizable, says Jacques-Alain Miller in "From an Other to the other II". "It is captured especially in the phantasm, and it is denuded in perversion, there where surplus-jouir is unveiled in a naked form." Jacques Lacan would give a turn in his clinical lesson on perversion, thereby so the objet a comes to screen every flaw of the Other. Now the pervert makes himself the defender of the faith in the Other-his unfathomable object striving to fill in the actual lack.

Alain Badiou tours through the words of Hegel, Kant, Lacan. A period after each one, there isn't the whole lot. Yes the flow of influences and the actual particularity to account for each and every one. So from Logiques des mondes, "For Hegel, the immanent arising of determination-that is to say the specific negation of a being-there-provides that being-there becomes being-other... Well understood, then, that being-there is "essentially being-other" constrains a logical disposition which is going to lead, via the exemplary dialectic of being-for-another-thing and of being-in-itself, to the concept of reality.

Based on the structural difference between neurosis and psychosis, Massimo Recalcati offers a review of a variety of determinants in the triggering of anorexia. Here the anorexic's "No!," attested through spewing food, closing the mouth, refusing nourishment, will take on the paradoxical value of a subject choosing its own deprivation. Let the event reverse the relationship of dependency toward the Other; by way of the anorexic refusal the Other will find itself radically dependent on the subject.

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Simon Critchley interprets Oscar Wilde's objet a, "Christ is the supreme romantic artist, a poet who makes the inward outward... Christ makes himself into a work of art through the transfiguration of his suffering in his life and passion. Christ creates himself as a work of art by rendering articulate a voiceless world of pain...

If Richard Kostelanetz' object is liberty, it is not without an anarchistic component he tells of all the way. "I participated in the great recent anarchist communal experiment called SoHo, though it didn't advertise itself as such, which I call anarchist because it was not planned, neither by real estate developers nor by New York City itself.

With Slavoj Zizek objet a could be the vampiric object that does not bring about its image in a mirror. However the exact opposite could also provide an image of objet a "when we look at a thing directly, in reality, we don't see "it..." And then "Lacan supplemented Freud's list of partial objects (breast, faeces, penis) with two further objects: voice and gaze. Perhaps, we should add another object to this series: smell." Zizek expands the concept through Patrick Susskind's Perfume and its unfortunate hero, who is without any odors-others cannot smell him....

Jean Luc Nancy elucidates the "Exhausting Nude" to declare, "only the skin can be nude, nothing else can be removed. One does not undress the body of its skin..." And the melody goes, "Infinitely touching. To end, unending, the nude does nothing more than touch, to be touched. To touch, to be touched is the same thing...

Adam Helms, was born in Tucson, Arizona in 1974. The images on the cover and along the magazine are from his last show, in September 2007, at the Marianne Boesky Gallery in NYC.

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Florencia Gonzalez Alzaga set foot in the Zavaleta Lab in Buenos Aires, the Spring of 2006, with "Fidelidad Maldita". Her first exhibition was made up of 20 photographs in the matter of raising horses with a spell, conjuring up birds, bewitching gardens... "Por piedad" her second show, at Catena Gallery, as well in Buenos Aires, consisted of 14 photographs engaging adolescent activities, even greener gardens... The work primal material-a processed paper with a shine, which she mounts on lavish classical frames, is surprisingly effective.

Cathy Lebowitz and I discuss Kohei Yoshiyuki. Born in Hiroshima, Japan, 1946, his photographs, from 1972, were taken in a park in Shinjuku at night using infrared film. All participants inside the structure, the case is the artist voyeur photographing the voyeur in the park as well as the potential exhibitionist... Now the figure veers and it is us- the viewers-to be the voyeurs... An instrument of the artist's jouissance, the pervert makes himself be objet a. We have to distinguish the artist as objet a from the pervert as objet a.

The reference to Walter Chin's photographs is a quote of my text in his future book Nude After Shoot. Edited and designed by Wilfried Dickhoff, Julia Kim and Daniela Kim, it will be published by Schimer and Mosel in München.


Art: Florencia Gonzalez Alzaga
Untitled - C-print, 2007
Untitled - C-print, 2007
Untitled - C-print, 2007
courtesy Zavaleta Lab.

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