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lacanian ink events

lacanian ink 30, Two locations: starting - 11/16/07
lacanian ink 28, Three locations: starting - 11/16/06
lacanian ink 27, Tilton Gallery, 05/01/06
lacanian ink 26, Tilton Gallery: 03/08/06
lacanian ink 24/25, Deitch Projects: 04/01/05
lacanian ink 23, Deitch Projects: 11/23/04
lacanian ink 22, Drawing Center: 12/04/03
lacanian ink 21, Deitch Projects: 03/10/03
lacanian ink 19, Jack Tilton Gallery: 11/14/01
lacanian ink 18, The Drawing Center: 03/20/01
lacanian ink 17, Deitch Projects: 11/30/00
lacanian ink 16, Drawing Center: 04/25/00
lacanian ink 15, New Museum: 10/14/99





Badiou invitation



blurbs


 

The Tilton Gallery
LACANIAN INK 26 - Autumn issue - on Anxiety
ALAIN BADIOU lecture
March 7, 2006


Wednesday, March 7, 2006, 7 pm, The Tilton Gallery hosted the presentation of the Autumn issue - number 26 - on Anxiety - of the journal lacanian ink.

Josefina Ayerza, the editor of lacanian ink, read a short introduction to the current issue and welcomed Alain Badiou, whose assertion that ontology is mathematics makes for decisive engagements with poetry, psychoanalysis and radical politics.

Badiou's lecture at the ocassion, SPEAKING THE UNSPEAKABLE, dealt with his theory of the emergence of truths from the singular relationship between a subject and an event. His paper was followed by questions from the audience.



Josefina Ayerza and Alain Badiou Introduction:

I am Josefina Ayerza, the editor of Lacanian Ink. Let me thank you all for being here tonight, and a very special thanks to Jack Tilton for hosting the event. Certainly signaled by the word of Jacques Lacan, we can say that Lacanian Ink's major premise lies in interpreting the very word. And this is how we've had few writers along the years - 16 consecutive years - and each one is so much each one...in that they know what they are talking about, in that they are most productive...the best writers if I may say so.

Issue 26 is taking up on Anxiety as it breaks in with the notion that lacanian anxiety is an access route to the real. What real? Lacan calls it objet a, and he calls it a left-over. The objet a is what in anxiety has fallen from the subject, precisely the cause-of-the-desire. Again, anxiety as such is not signifier. Says Jacques-Alain Miller in his Reading of Lacan's Seminar X, "as access route to the left over which is not signifier Lacan chose an equivocal route...which is that of an affect." And this is an affect of the subject..." a "subject that talks," set up and determined as an effect of the signifier.

Of affects and effects... How soon, asks Lacan, is this subject affected by anxiety? In the event of anxiety, the subject is affected by the desire of the Other: d(A), in a direct manner - in a non-dialectical way. And this shows how, relative to the affect of the subject, anxiety doesn't lie. What doesn't lie is the radical point at which anxiety functions in the guise of a sign, actually, how it gets written. Little Hans, for example, talks about anxiety-producing horses, Angstpferde. And Lacan corrects him: "No, not at all, they are not anxiety-producing horses. What he experiences with horses is fear."

Those who remember the story know that there was a fugitive moment in which Little Hans signals that, in front of the horse's mouth, in front of the muzzle, there was a kind of stain. It is not the construct of phobia which interested Lacan, not the removal of anxiety by the phobia, but rather the reprise of this stain, of this singular residue which is also a blur to make an object of it, to make the objet a of it.


Badiou graph

Lacan opposes traditional psychology where fear is distinguished from anxiety. Fear and anxiety are one and the same thing. Again, anxiety is not without an object. With Alain Badiou, our guest tonight, he comments Seminar X in this same issue, 26: Lacan tells us, Anxiety has a proper object, it is vor etwas, confronting something."

This Seminar demonstrates that in the structure of language, there is something that cannot be reduced to a signifier. With art we have that it reaches "beyond the symbolic" that is, visual art makes use of the structure of language without, in most cases, making use of signifiers - words.

To draw the distinction between seeing and looking, Lacan began with the statement that I see from a single point - but that I am looked at from everywhere. Indeed, your subjectivity does not simply depend on what you see, but also on how you are looked at.

Let's say you look at at a work-of-art when you do not see exactly what it is about, or when something seems to escape your sight. You look you are searching. Now you say "I see," Badiou and Josephinait means you have stopped looking.

With you Alain Badiou on "The arts: Appearing in the service of Being"

Watch the video at the Tilton Gallery - a fragment

photo credits: Jack Tilton


The Drawing Center
LACANIAN INK 26 - Autumn issue - on Anxiety
ALAIN BADIOU lecture
March 8, 2006

The lecture webcast live by the August Sound Coalition was recorded the following night at The Drawing Center in New York City:
Part 1 - Part 2.

 

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