\nby Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in Le Nouvel \u00c2ne, September 2008 \u2013 n\u00ba 9 )” font_container=”tag:h3|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Tilton Gallery \u2013 December 2007<\/b><\/h4>\n
Ashley Hope’s\u00a0oil paintings are based on crime scene photos. On large canvases, 4 by 6 feet, they recreate images of murdered women in visceral yet pristine detail. Forensic, her photographs range from the 1910\u2019s to the 1990\u2019s.\u00a0<\/span><\/b><\/h4>\n Featuring actual victims of Lustmord, or lust murder, inside the nature of a universe that allows such things to happen, the images recuperate a larger story than the narrative at hand, The pretty pattern on the wallpaper or the victim\u2019s very bright attire, belong in a world wherein the tragic and the passion co-exist. Ultimately, it is not the gory elements of a specific death that Hope offers her viewer, but rather the epiphany of life and her own gesture of inquire.\u00a0<\/span><\/b><\/h4>\nHope\u2019s women retain much of their beauty. Reduced to a body, the images, always women, underscore the actual dichotomy. Smaller works based on ladies\u2019 panty advertisements function as close-ups of vaginal mounds. The veiled in the Panties<\/i> series replaces the knowable-yet-unknowable nature of the universe as represented in her crime scene images. The Panties<\/i> series could be Hope\u2019s humorous approach.<\/b><\/h4>\n<\/h4>\nThe Glint<\/i>, was a quality of vision, a quality of reality itself, when minute details were abundantly apparent. Indeed, we coined the name \u201cglint\u201d from the sharp tiny highlight the sun would create on the fenders of the cars on our suburban street. \u00a0 <\/span>Aside from the pervasive clarity, the Glint always brought on a feeling of having seen the truth, the fabric of our existence, even if only fleetingly. The Real is a tear in the screen, and while you can see there is something essential there\u2014as if true nature is almost revealing itself\u2014you can\u2019t make it out, can never make it out\u2026 So although we could never state what the truth was, for my sister and me, one thing did seem clear:\u00a0 <\/span>it was amoral, we were incidental, and our stories meaningless<\/b>. \u00a0<\/span><\/h4>\nIn fact, this sensation of the Glint<\/i>, is common at moments of tragedy and trauma. Both terrified and mesmerized, in the case of human tragedy the ordinary setting of my ordinary narrative takes on that scary majesty.\u00a0 <\/span>Emily Dickinson:<\/b><\/h4>\nThe last night that she lived<\/i><\/b><\/h4>\nIt was a common night\u2014<\/i><\/b><\/h4>\nExcept the dying\u2014this to us<\/i><\/b><\/h4>\nMade nature different.<\/i><\/b><\/h4>\nWe noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n![\"\"](\"https:\/\/www.lacan.com\/symptom\/wp-content\/uploads\/2019\/10\/Fedora-300x239.jpg\")
<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\n![\"\"](\"https:\/\/www.lacan.com\/symptom\/wp-content\/uploads\/2019\/10\/HopeSlip-300x197.jpg\")
You are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\n![\"\"](\"https:\/\/www.lacan.com\/symptom\/wp-content\/uploads\/2019\/10\/Texas-300x197.jpg\")
Lastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n![\"\"](\"https:\/\/www.lacan.com\/symptom\/wp-content\/uploads\/2019\/10\/hope.horsehair-300x175.jpg\")
<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Hope\u2019s women retain much of their beauty. Reduced to a body, the images, always women, underscore the actual dichotomy. Smaller works based on ladies\u2019 panty advertisements function as close-ups of vaginal mounds. The veiled in the Panties<\/i> series replaces the knowable-yet-unknowable nature of the universe as represented in her crime scene images. The Panties<\/i> series could be Hope\u2019s humorous approach.<\/b><\/h4>\n<\/h4>\nThe Glint<\/i>, was a quality of vision, a quality of reality itself, when minute details were abundantly apparent. Indeed, we coined the name \u201cglint\u201d from the sharp tiny highlight the sun would create on the fenders of the cars on our suburban street. \u00a0 <\/span>Aside from the pervasive clarity, the Glint always brought on a feeling of having seen the truth, the fabric of our existence, even if only fleetingly. The Real is a tear in the screen, and while you can see there is something essential there\u2014as if true nature is almost revealing itself\u2014you can\u2019t make it out, can never make it out\u2026 So although we could never state what the truth was, for my sister and me, one thing did seem clear:\u00a0 <\/span>it was amoral, we were incidental, and our stories meaningless<\/b>. \u00a0<\/span><\/h4>\nIn fact, this sensation of the Glint<\/i>, is common at moments of tragedy and trauma. Both terrified and mesmerized, in the case of human tragedy the ordinary setting of my ordinary narrative takes on that scary majesty.\u00a0 <\/span>Emily Dickinson:<\/b><\/h4>\nThe last night that she lived<\/i><\/b><\/h4>\nIt was a common night\u2014<\/i><\/b><\/h4>\nExcept the dying\u2014this to us<\/i><\/b><\/h4>\nMade nature different.<\/i><\/b><\/h4>\nWe noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The Glint<\/i>, was a quality of vision, a quality of reality itself, when minute details were abundantly apparent. Indeed, we coined the name \u201cglint\u201d from the sharp tiny highlight the sun would create on the fenders of the cars on our suburban street. \u00a0 <\/span>Aside from the pervasive clarity, the Glint always brought on a feeling of having seen the truth, the fabric of our existence, even if only fleetingly. The Real is a tear in the screen, and while you can see there is something essential there\u2014as if true nature is almost revealing itself\u2014you can\u2019t make it out, can never make it out\u2026 So although we could never state what the truth was, for my sister and me, one thing did seem clear:\u00a0 <\/span>it was amoral, we were incidental, and our stories meaningless<\/b>. \u00a0<\/span><\/h4>\nIn fact, this sensation of the Glint<\/i>, is common at moments of tragedy and trauma. Both terrified and mesmerized, in the case of human tragedy the ordinary setting of my ordinary narrative takes on that scary majesty.\u00a0 <\/span>Emily Dickinson:<\/b><\/h4>\nThe last night that she lived<\/i><\/b><\/h4>\nIt was a common night\u2014<\/i><\/b><\/h4>\nExcept the dying\u2014this to us<\/i><\/b><\/h4>\nMade nature different.<\/i><\/b><\/h4>\nWe noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The last night that she lived<\/i><\/b><\/h4>\nIt was a common night\u2014<\/i><\/b><\/h4>\nExcept the dying\u2014this to us<\/i><\/b><\/h4>\nMade nature different.<\/i><\/b><\/h4>\nWe noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Except the dying\u2014this to us<\/i><\/b><\/h4>\nMade nature different.<\/i><\/b><\/h4>\nWe noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
We noticed smallest things\u2014<\/i><\/b><\/h4>\nThings overlooked before<\/i><\/b><\/h4>\nBy this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
By this great light upon our minds\u2014<\/i><\/b><\/h4>\nItalicized, as ’twere.<\/i> \u00a0<\/span><\/b><\/h4>\nAs if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
As if normal things were italicized, stressed somehow in her vision.<\/b><\/h4>\nAt the moment of trauma, and shortly thereafter, the world appears as somewhat flat, hard-edged and exceedingly clear.\u00a0 <\/span>It loses continuous perspective and seems void of space or movement or causal relations. Reality as a stained glass window, or a \u201cseries of wafer thin planes\u201d, the most painful in regards to this art, is the absence of Cathexis (the phenomenon of attributing emotional value to inanimate objects).\u00a0<\/b><\/h4>\n<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/b><\/h4>\nAnd for people who have no god, no well-written story, the feeling of meaninglessness does not lift with it.\u00a0 <\/span>It\u2019s there for good. Like Adam and Eve, we know can never return to the Garden.\u00a0 <\/span>From here on out, we are always a little resentful and not at home.<\/b><\/h4>\nIt was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
It was a great mistake– my being born a man.\u00a0<\/span><\/i><\/b><\/h4>\nI would have been much more successful as a seagull or a fish.\u00a0<\/span><\/i><\/b><\/h4>\nAs it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
As it is, I will always be a stranger\u00a0<\/span><\/i><\/b><\/h4>\nWho never feels at home,\u00a0<\/span><\/i><\/b><\/h4>\nWho does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Who does not really want, is not really wanted,\u00a0<\/span><\/i><\/b><\/h4>\nWho can never belong\u2014<\/i><\/b><\/h4>\nWho must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Who must always, therefore, be a little in love with death.<\/i><\/b><\/h4>\n –Eugene O\u2019Neill<\/i><\/b><\/h4>\nThe crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The crime scene photograph is a religious image: random matter collides fortunately or unfortunately with other random matter.\u00a0 One empathizes with the victim who did not deserve her fate\u2014more complex is the empathy for the perpetrator.\u00a0 <\/span>Committing a random act of lust murder, for the serial killer, is like striking a match in the dark\u2014in the sudden flash, for a brief spell, the killer sees the perfect alignment of his two major premises:\u00a0 A) The world is random and amoral; life is sans meaning, and B) A man has free will.\u00a0 We see the world as the killer saw it.\u00a0 Premise A and B come together and, in their brutal way, make sense. \u00a0<\/span><\/b><\/h4>\nYou are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
You are mulling over a photograph of a lust murder \u2014they are gazing through four layers of vision:<\/b><\/h4>\n\u00a01.)<\/span>Through the victim\u2019s eyes. Through the anguish and shock experienced by the victim. \u00a0<\/span><\/b><\/h4>\n2.)Through the killer\u2019s eyes.\u00a0 <\/span>Through the crime scene as the perpetrator left it. \u00a0<\/span><\/b><\/h4>\n3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
3.)Through objectifying documentary eye.<\/b><\/h4>\n4.)Through scrutinizing the photo and experiencing shock \u2014 through learning that\u2019s what death looks like.<\/b><\/h4>\nThe crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
The crime scenes depicted, those of lust murder, best capture an element of betrayal.\u00a0 Her beauty made her a target.\u00a0 That wallpaper is just so inappropriate.\u00a0 Things like this aren’t supposed to happen.<\/i> \u00a0In these crimes, there are no exterior motives that make sense\u2014these deaths are not the by-products of war, drugs, revenge or robbery\u2026 They are void of a practical motive the average person can relate to.\u00a0 <\/span>They exemplify a reality that betrays our expectations; a reality that so often takes us outside of our understanding.\u00a0\u00a0<\/span><\/b><\/h4>\nLastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Lastly, the lust murder photograph has both an instinctual and political motivation.\u00a0 <\/span>Crime scene photos have an attract\/repel quality.\u00a0 <\/span>Wherein the beautiful and the hideous exist side by side the victims were objects of beauty. They weren\u2019t just life to be snuffed, they were beautiful life. \u00a0<\/span><\/b><\/h4>\nWomen are bodies with tangible value as pleasure objects, as workers and as breeders. It is man\u2019s assumption that a woman\u2019s inner life is somehow lesser than his, that makes these crimes so horrific\u2014the victim has been made into the thing expected of her: a body sans any interior experience.\u00a0 <\/span>Not conceptually, not culturally, but actually. \u00a0<\/span><\/b><\/h4>\n<\/h4>\nAshley Hope showed work the summer of 2019 at Ildiko Butler Gallery<\/span><\/a>\u00a0in New York.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text] [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”815″ alignment=”center” onclick=”custom_link” link=”https:\/\/www.lacan.com\/lacan1.htm”][vc_single_image image=”440″ img_size=”full” onclick=”custom_link” link=”http:\/\/www.lacan.com\/symptom”][vc_empty_space][vc_custom_heading text=”Ashley Hope’s Lustmord by Josefina Ayerza” font_container=”tag:h2|text_align:center|color:%2311004f” google_fonts=”font_family:Forum%3Aregular|font_style:400%20regular%3A400%3Anormal”][vc_single_image image=”458″ img_size=”550×716″ alignment=”center” onclick=”link_image”][vc_custom_heading text=”( First published in [\u2026]<\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-463","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/comments?post=463"}],"version-history":[{"count":16,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions"}],"predecessor-version":[{"id":954,"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/pages\/463\/revisions\/954"}],"wp:attachment":[{"href":"https:\/\/www.lacan.com\/symptom\/wp-json\/wp\/v2\/media?parent=463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/h4>\n