Libido-Miami

Someone told me recently that people move to Gainesville from Miami in order to think. I relate to this notion, and I do write on this in the relation of Newnan's Lake & my unconscious in another post. In Gainesville there exists a formula to remove the phallus in order to look at it, but it's kinda hard to find. It is also right in front of you. Read and take notes (with page number annotations). Don't run from anxiety, utilize it to keep a rhythm of oscillation.  

When I moved up to Gainesville (for my MFA)

The Libido(lamella) is the essential organ in understanding the nature of the drive. It's unreal, not imaginary. It articulates itself on the real in a way that eludes us.p.205

The objet a is that object which is actual experience, in the operation and process sustained by the transference, and is signaled to us by a special status.p.267

Entering the Blue Hole and coming back up again

Schaulust

The pleasure of seeing-sadomasochism

in the drive

Trieb

the manifestation of inertia in the organic life. 

Thrust

the tendency to discharge, produced by the transmission of the accepted portion

Real-Ich

supported by the nervous system, and has the character of a planned, objectified subject.

Libido

effective presence of desire which governs the very mode of our approach

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Drang as it is in its origin, the surface, the rim, the source, the Quelle, the erogenous zone in the drive

The unconscious is not an ambiguity of acts, future knowledge that is already known not to be known, but LACUNA, cut, rupture inscribed in a certain lack.

When you entrust someone on a mission, the aim is not what he brings back, but the itinerary he must take. p.179

In archery, the goal is not the but(goal) either, it's not the bird you shoot, it's having scored a hit and thereby attaining your but(goal)

(in french the word "but" thanslates into "goal")

p.179

(They got it! -they think/believe)

Real Automation

"One who sets off in a boat on a small waterway feels himself to be totally in command, whereas on a large river or at sea one is more inclined to appeal to Heaven."-Jullien

     Broward County-Fl

Tuche'- The encounter with the real.

The real is beyond the automaton, the return, the coming back, the insistence of the signs by which we see ourselves governed by the pleasure principle. The Real is that which always lies behind the automaton.-Lacan

This person was on her way home from a group walk to benefit breast cancer research. For some reason she decided to walk along the train tracks and ended up stuck in this position for 30 minutes. The automated bridge control system that runs remotely from Tallahassee, Fl. had activated the raising of the bridge creating an encounter with the REAL.

She became the subject and soldier that Jullien speaks of "A soldier is brave and a subject loyal thanks not to the fine virtues they possess but simply because they have no option."

She began to draw a crowd of people. She had become a human ideogram, an automaton made through the systematic mechanism of the reality system. To the crowd, she was a mark, a stain to photograph, to many she became an object of desire=

She became a hero.
She became a criminal.
She became a star.
She became en Souffrance.
She became the Objet a.

When the bridge lowered, people rushed to participate in the spectacle, but the spectacle was a person, and the bridge sunk back, connecting to its tracks and no longer existing as a grid in the sky: it is invisible again.

"The height of the tree is irrelevant; what counts is the altitude of the mountain on which it is perched".

YARGH!

In Cinematics, I noticed how the Objet a is the lexis: the socialized unit of reading, of reception; in sculpture, the statue, in music, the piece. Also, of course what kept resonating through the book were the differences between film and photography.. Interestingly enough, certain writers were working in times when video capture devices were cumbersome, limited in quality and also difficult to view.

The street, in the extended sense of the word, is not only the arena of fleeting impressions and chance encounters but a place where the flow of life is bound to assert itself. p82

Utilizing the photographic camera as killing machine, I began to search through my past in order to find an instance where I did capture death in its tracks.

This capture would be best searched for if I were to filter through only my snapshots.

Snapshots: like death, is an instantaneous abduction of the object out of the world into another world, into another kind of time-unlike cinema which replaces the object in an unfolding of time similar to life. p126

How many snapshots have I taken throughout my life? Well, since I have had a camera phone, the snapshot has been extremely common. I filter some more, beyond the camera phone, searching for the lexis as physical gel and paper with markings, where an image is burned onto light sensitive emulsion.

To filter even further, I looked for a snapshot that had a punctum

Barthes: The only part of a photograph which entails the feeling of an off-frame space is the punctum: the point of sudden and strong emotion, of small trauma; it can only be a tiny detail. The punctum depends on the reader.

So my Emage (a charged image), this objet a is a snapshot I took as I was leaving my high school with some friends in my 1971 VW Bus. My sister had just given me a cheapo 35mm camera to experiment with. As I was turning the corner, we saw this couple on the sidewalk. For some reason, we were trying to scare people that day by screaming at them as loudly and violently as we could, following along with a “click” of the camera. What a great use of these machines; the voice box, the German van, the camera. The scream was pronounced “YAAARGH!”

Once I managed to develop the film (with my allowance), my friends and I rejoiced in the long study of this image. Every time we looked at it, something new showed itself: the woman’s hand reaching for the fence, the couple’s intense grip, the man’s defensive stance. I began to look at the sidewalk, the provisional repair.

There is something missing though, and this is special, this is the lack, the missing corner of the photograph. My mother’s dog ate the corner and I chose at the time to snip it off rather than repair it. I will never have that data. Whenever I see this image, I investigate the edge, top right, and extend out the image to fill that gap, to complete the photo.

When I see this photo now, I see death’s presence. The dog that chewed the photo is dead. Also, this place, Hialeah, is no longer my home. The clothing that was worn in 1996 is dead, my van is gone, friends gone, but I do remember the speed in which we ran past these folks, the sound of the motor, and the smell of rubber and asphalt that accompanied the street. The YARGH photo survives as a fetish object (now digitized).

“The photograph, inexhaustible reserve of strength and anxiety, shares, as we see, many properties of the fetish (as object) if not directly of fetishism as activity.”p130

50 Cent dubbed over Jehovah Witness' infomercial on ending masturbation (the Lamella workout)

The link to the phallus, to the lamella, libido, shi, and how it is passed on as a continuous flow (ideally) -or-we-attempt-to, is driven by desire in such a way that, if its interpretation gets twisted through the gaze of the Other, it can be taken all out of alignment, ensuring the propensity of someone of something else's desire but not one that may really benefit you. Developing your own metaphysics in this current state of unilateral Electrate potentiality is needed in order to be equal to the Other, which at the current moment is social media and gov't influence (probably).

In looking through Lacan's exploration into the Lamella, the ultra-flat organism ie: the libido, SHI, the thing that passes onto others, I searched for accessible video that could be used as an example of a social media Objet a, in this case this video. This mashup video/overdubb and probable speed sync work obliterates the original message stated above with a song that survives in its nature to embed itself onto many social Electrate objects. This song absorbs the imagery which results in a refined and embedded flow that belongs to the Other.