co-op-20th-eyes-february-112eyes1The epigraph to the second section of Lacan’s “Function and Field of Speech and Language in Psychoanalysis” reads “Advice to a young psychoanalyst: Do crossword puzzles” (Ecrits: The First Complete Edition in English, 220). If this is good advice for the psychoanalyst, then it is because formations of the unconscious– dreams, slips of the tongue, jokes, bungled actions, symptoms, etc. –are often themselves encrypted like the hints of a crossword puzzle. The hints of a crossword puzzle– roughly equivalent to formations of the unconscious in this analogy –are organized around a lacuna or the missing signifier that is to be found. These hints are traces of that signifier. However, in successfully completing a crossword puzzle it is often necessary to practice a horizontal or lateral relationship to language, an associative relationship, where one draws on equivocations, homonyms, and other figures of rhetoric to discover the missing signifier. Freud gives a nice example of how the symptom is organized around a lacuna or a missing signifier when discussing the case of a young woman during the initial stages of schizophrenia in his article “The Unconscious”:

A patient of Tausk’s, a girl who was brought to the clinic after a quarrel with her lover, complained that her eyes were not right, they were twisted. This she herself explained by bringing forward a series of reproaches against her lover in coherent language. ‘She could not understand him at all, he looked different every time; he was a hypocrite, an eye-twister, he had twisted her eyes; now she had twisted eyes; they were not her eyes any more; now she saw the world with different eyes. (SE XIV, 197 – 198)

Part of the significance of the schizophrenic from a metapsychological perspective is that processes that are ordinarily unconscious are all there on the surface. Where the neurotic might have a deep phobia of having his eyes “twisted”, this woman experiences her eyes as being literally twisted, as being unable to see the world as she would normally be able to see it. Granting that there is nothing physiologically wrong with her, the mystery then becomes why she has come to experience the world in this way. Taken literally, her words are unintelligible and have the feel of nonsense. The symptom makes no sense. But when we adopt a floating, horizontal, or lateral relationship to her speech, the lacuna or hidden signifier organizing the symptom begins to come into view. The key signifier in her speech is “eye-twister”. In German, the young woman’s language, the word for “eye-twister” is ‘Augenverdreher‘, which figuratively means “deceiver”. Through the work of the unconscious, the woman had “literalized” her relationship to her lover in a series of symptoms effecting her eyesight. Her symptom was a trace of the “desire of the Other”, a materialization of the desire of the Other– in this case the desire of her boyfriend –insofar as it was a set of symptoms embodying her lover’s desire to deceive her.

read on!

In recent discussions here and elsewhere surrounding neurology, I get the sense that many approach neurology with a highly specific set of assumptions that very much color their reaction to this field. Turn the television to the Discovery channel on any given evening and you will find documentaries dominated by the theoretical orientation of psycho- and socio-biology. Within this theoretical orientation, any particular human practice, psychological phenomenon, or form of social organization is explained in evolutionary terms as a biological adaptation that promotes reproduction and survival. As a result, this form of psycho- and socio-biology ends up naturalizing and essentializing human practices, social organizations, and forms of subjectivity in ways that can only be described as reactionary.

Those of us who have developed intellectually in the milieu of the last century’s revolution in the social sciences– whether in fields like ethnography, psychoanalysis, cultural studies, linguistics, etc –cannot but encounter this form of theoretical explanation profoundly ignorant by virtue of the way it is commonly unaware of both the findings of ethnography where we discover that if you can imagine it there is probably some group of people somewhere or somewhen that have organized their social, exchange, and kinship relations in this way, and, as a consequence, ideologically debilitating as it ends up naturalizing the contingent forms of subjectivity, social organization, amorous relations, etc., that characterize our contemporary historical and cultural moment.

read on!

In response to my post “Deleuze and Guattari avec Lacan“, Reid asks “What is the Borromean Clinic?” I confess that I am working through this myself, so I do not have a completely adequate answer. In many respects, this is the most and dense and difficult period of Lacan’s teaching, but it is also a period where he completely exceeds what he had developed in prior years, developing both an entirely new diagnostic system and new possibilities for the end of analysis.

In his Borromean period, Lacan shifts to a topology of the subject based on the borromean knot:


The first thing to notice with this curious knot is that no two of the rings are directly tied together as in the case of a Hopf chain:


Consequently, in the borromean knot, if any one of the rings are severed the other two rings fall away as well. In short, the consistence of the borromean knot arises only from the knotting of the three and the manner in which the strings pass over and under one another in the proper way. Lacan equated each of the three rings with one of his three orders– the real, the symbolic, and the imaginary (RSI) –corresponding to the order of ex-sistence (the real) or that which exists outside the symbolic, the order of the hole or lack introduced into being (the symbolic), and the order of consistency (the imaginary). However, it will be noted that each of the rings overlaps with the others forming points of intersection with the other rings like a Venn diagram:


Consequently, we can think the different orders together getting various combinations between the elements. Thus, for example, there can be a hole in the real, just as there is an ex-sistence in the symbolic (the letter as opposed to the signifier). Likewise, there can be a consistence in the symbolic (meaning), just as there can be a hole in the imaginary. And so on. As I said, I am still working through this myself, so I have not yet worked out the implications of all this.

Read on


I sometimes feel as if I go through a sort of eternal return, where I repeat things I have said before yet experience myself as having just thought them for the very first time. Hopefully, despite these repetitive iterations, despite these re-loops of loops, each iteration is nonetheless somehow producing something new or allowing some other thought to emerge that, for whatever reason, could not before emerge. As Spinoza argues, ideas can only produce ideas. Yet why is it that ideas sometimes get fixed or repetitive like a skipping record? Why is it, I wonder, that we obsess over certain themes and ideas– almost as if our life is a musical variation –such that we perpetually return to these things without realizing that we’re doing so? The Bird and the Bee song: “Again and again and again and again… Do it again! Do it again!” In his preface to Meillassoux’s After Finitude, Badiou remarks that in a true work of philosophy,

…it is possible to detect the sense of something new– texts which respond to the question: “What wound was I seeking to heal, what thorn was I seeking to draw from the flesh of existence when I became what is called ‘a philosopher’?” It may be that, as Bergson maintained, a philosopher only ever develops one idea. In any case, there is no doubt that the philosopher is born of a single question, the question which arises at the intersection of thought and life at a given moment in the philosopher’s youth; the question which one must at all costs find a way to answer. (After Finitude, vi)

This is a surprisingly Deleuzian thought for Badiou; one that almost stands in contradiction with his charges of a Deleuzian “aristocratism” in The Clamor of Being. I do not know that I follow Badiou in the thesis that the wound is unique to the philosopher, but, as I argued in Difference and Givenness, I would certainly agree that the wound– what I there called “the encounter” –is constitutive of thought. To think is to be wounded. That is to say, to think is to be out of step with the world, to not be at home in the world, to experience the world as unheimlich. We think because we are not at home and perhaps the degree of our homelessness marks the degree of our thought’s intensity… Unless we are consumed by a homelessness so profound that it ends in catatonia or mute autism. Thought then would be a way of attempting to sublate or overcome that wound, that crack that prevents any adaptation to the world.


It is this that is fundamentally missing from accounts of collective assemblages such as we find proposed in Spinoza. Conatus, the endeavor to persist in one’s being, lacks– at least on the surface –the dimension of death drive in speaking-being. While the Spinozist body is indeed excessive rather than homeostatic or adaptive in its active drive to promote its power to act, what seems to be missing is this dimension of repetition, of death drive, that is at odds with action premised on benefit or enlightened self-interest.


This can be sensed above all in Spinoza’s conception of love, where the madness of love, the willingness to destroy everything else for the sake of love, is entirely absent. Despite the fact that Spinoza asserts love can be excessive, one gets the sense that for him, the difference between a good meal (which he also characterizes in terms of love) and mad love is a difference in degree rather than kind. If, as speaking beings, we are constitutively wounded, divided by language, and therefore subjects of an irrepressible question that we cannot escape, how must we understand collective assemblages and the perils that haunt them? Clearly these assemblages will perpetually be perturbed by the repetition, the eternal return, that haunts the subjects that inhabit these assemblages. On the one hand, this will be one of the prime sources of those lethal identifications with demagogues, tyrants, and dictators where the body of these figures is encountered as an answer to the repetitive question of the wound, as that which can sublate the wound and produce the “heimlich” in the world.

On the other hand, the wound, the death drive, will be the source of our most profound creativity, political struggles, thought, love, invention, etc., as we choose the wound over adaptation. Is there a way to channel the wound, the death drive, in one way rather than another? Certainly this is one of the aims of psychoanalytic practice– to transform painful, paralyzing, and intolerable incarnations of the death drive manifested in the symptom, into productive, liveable, creative symptoms or forms of repetitive jouissance. Witness Joyce.

Or is it, as I asked months ago in another post, that the death drive, the symptom, repetition, jouissance is simply psychoanalysis’ own myth of original sin: a reactionary ideological mystification that argues that lethal and mal-adaptive repetition is natural and necessary, rather than contingent? Spinoza argues that our collective irrationality arises not from original sin, but from a set of cognitive processes that take place at the level of how our emotions function. Death drive is something quite different than the simple confusion of two things that resemble one another as in the case of an object confused with love object or object of hate that shares a quality with these objects without possessing any of the same causal properties, e.g., Hating one’s student named Tom, because one was the victim of a childhood bully named Tom, and failing to realize this completely contingent connection. Death drive is not a confusion, but a sort of ever repeating glitch in a system, that causes the perpetual return of an insistent question that places the subject out of step with the world. One might think of the people obsessed with a certain image in Close Encounters of the Third Kind (the image, ultimately, of the mountain), to such a degree that they completely neglected their bodies, families, jobs, and all the rest (viz., they were completely disjointed from the world) trying to figure out why this image would not leave their mind and what it might represent. The difference here, of course, is that for the characters in Close Encounters, they do get an answer. There is no answer to the death drive, only the repeated failure of any and all such answers– Which can be a source of a positive jouissance. “Do it again!”


From roughly June until a few weeks ago I was in the midst of a deep and black depression. The strange thing was that I did not feel sad, but simply disengaged from everything. I wasn’t, as it were, even aware that anything had changed. I had lost all desire for everything. I no longer read. I felt no inclination to respond to emails. No books, shows, movies, or ideas interested me. Whenever I got a new paper published or received some sort of praise for my book, it left me feeling cold. I had no desire to be around other people. I slept a lot and just walked through the world like a sort of zombie. There was no malice in any of this. If I didn’t respond to an email, it wasn’t because I harbored animosity towards the person. I didn’t respond to anyone unless it was a professional matter I couldn’t ignore. I simply couldn’t bring myself to care.

The worst part is that you blame yourself for this state and experience it as a moral failing. You tell yourself that perhaps your brain has hardened and you simply can’t think fluidly in the way you once did. You tell yourself that you’ve become lazy, ceased caring, etc. Somehow it is something that you’re doing that’s led to this malaise. But just as anger in the midst of a nicotine fit seems absolutely convincing and like a matter of your will, the depression is not experienced as depression, but as some set of choices you are making. Of course, from a psychoanalytic perspective this is because somehow, at some level, you have betrayed your desire and repudiated yourself as a subject. The question is how?

Perhaps now I am in a manic period– I’ve certainly been writing a lot –but something seemed to break a few weeks ago. And even if it is manic, it feels good. It feels good to care. It feels good to write. It feels good to draw connections, to find images to represent things, to read, to dance with others in thought. I began exercising and this seemed to produce significant changes. Who knew? But what was it that brought this on? Why did I fall into this pit? In her beautiful essay, Why Psychoanalysis?, Elizabeth Roudinesco argues that depression, melancholia, is the unique malady of our time, produced by our contemporary ideological conditions and conditions of production.

If neurosis– a loud, noisy, antagonistic symptom in protest of the reigning social order — is the symptom of the late nineteenth and twentieth century, argues Roudinesco, depression is the reigning symptom of an era where great causes have collapsed, where alternatives to the social organization of this world have disappeared, where there is nothing to protest as all norms have collapsed, and where all that is left is the pursuit of happiness, the improvement of one’s body and health, and the endless pursuit of ever new and novel forms of exotic enjoyment. The depressive age is an age where the Soviet Union has collapsed and China has become capitalistic, such that the only [once] credible alternatives to the world of liberal democratic capitalism and the promise of “happiness” and a life without risk, have disappeared. Likewise, with the death of God we get a world closed to transcendent possibilities, to ideals higher than those of appetite.

Insofar as all symptoms are a protest, of sorts, against the Other– a trace of the lack in the Other or the fact that the Other is a sham, a semblance, an impostor, that the Other does not provide the answer or jouissance promised –depression, the disappearance of desire, the fading of desire, is a protest against such a closure where all alternatives have disappeared. But, like so many symptoms, what a painful symptom! Perhaps depression is what occurs in the absence of being able to even articulate what is missing, what is absent. Depression would be a sort of silent speech, a mute speech, that speaks the absence of signifiers worthy of desire. Or better yet, depression would be a marker of that which falls outside of language or that for which there are no signifiers. As such, in the borromean clinic, depression would be located at the intersection between the circles of the imaginary and the real: A mute witness of the imaginary body in response to a certain real that haunts the symbolic.


Is there a way in which depression can be made active? Is there a way in which this mute withdrawal of the subject from the empty world of “bodies and pleasures”, this existence as undead, as zombie, that capitulates to the closure of possibilities, the absence of alternative, can make this silent and passive resistance an active resistance? Such a resistance would no longer be one that assaults the body of the depressive, such as in the case of the depressive subject that blames himself, but would be a subject that might find a way to reject the idea that happiness, exotic enjoyments, and bodies and pleasures are the only alternatives, the only things, we can hope and live for… Or rather, that we can hope and be dead for.

Jodi Dean has a short post up on critics who interrogate how much Zizek writes:

This is an old topic, much trodden in these parts. But, I’m finally getting around to writing a review that was due 18 months ago (it has now become a review essay) and so I’m returning to old themes. Why, why, why do ‘critics’ attack Zizek for writing too much? An essay in one book I’m reviewing treats the amount of his writing as a symptom. What amount is symptomatic?

Even the title of this post is interesting, for it speaks to the difference between pleasure (which is homeostatic in nature) and jouissance, which always walks the line between pleasure and pain. In our discussions of style we’ve so far discussed the manner in which certain forms of style can produce attachments and identification, the institutional apparatus in academia and how style can function to reinforce certain class distributions, and a number of issues pertaining to the relationship between style and content. I wonder if Jodi doesn’t implicitly raise another issue here. What is interesting in these critiques of Zizek– regardless of what one thinks about Zizek theoretically or politically –is the way in which they seem to treat the symptom in perjorative terms. A symptom, these critiques imply, is something deviant, something that we’re supposed to escape, something we’re supposed to overcome. A symptom is conceived here, in short, as a sickness.

Nothing could be further from the Freudo-Lacanian position. Within the Freudian framework, a symptom is not a sickness, a cancerous tumor to be excised, but is rather a solution or a cure on the part of the subject. Lacan will go one step further and claim that there is no subject without a symptom. The aim of analysis is thus not to excise the symptom– which would lead to a collapse of the subject as the symptom is the subject’s ontological support in being –but to redirect this site of jouissance elsewhere so that the subject might find less painful forms of jouissance. For Lacan, then, the symptom is not something that disappears in analysis. The symptom, for Lacan, is thus the singularity of the subject.

Nonetheless, there is something to this critique of Zizek. Here I am not referring to it’s moralistic tone, but rather to the jouissance and relation to jouissance that underlies this response to Zizek. In Seminar 23, The Sinthome, Lacan, in his discussion of Joyce, states that we are never interested in another subject’s symptom. Indeed, when confronted with the symptom of another, there’s often a sense of horror. In part this has to do with neurotic structurations of desire (the tale would be very different for a perverse subject), which functions as a strategy for evading jouissance through maintaining desire (the hysteric subject striving to keep the desire of the Other unsatisfied so as to escape jouissance, the obsessional subject striving to negate all desire by satisfying every demand, thereby deflating or undermining all jouissance). Neurosis is a defense against jouissance. The neurotic lives in a terror of being the object of jouissance.

Does this not add another dimension to discussions of certain forms of style. Is not, in part, the visceral reaction to certain forms of style in figures like Hegel, Lacan, Levinas, late Heidegger, Deleuze, Derrida, etc., a horror at the jouissance of the writer, and a terror that one’s status as a subject will fade and disappear in this encounter with style? That is, these texts drip jouissance in the sense that they seem to enjoy the signifier themselves. In this way, desire seems to evaporate and there seems to be nothing save disappearance in this jouissance. This would account for the experience so many have that a game is being played with them by these authors. Of course, this would speak to the common fantasy of being a masochistic puppet of enjoyment in many neurotics. The question, of course, would not be one of condemning these styles, but one of how we might devise strategies to overcome these neurotic responses.

Our Carl gives a nice analysis of the mechanisms of textual identification with respect to the issues I raised on style over at Dead Voles. There Carl writes:

At one level there’s absolutely nothing remarkable about this dynamic of text identification except the fact that all these smart people seem to think it’s remarkable. Every text from Dr. Seuss on up, difficult or not, has the charismatic potential to generate reverent reading communities that might be described as ‘priesthoods’. My own experience is with Antonio Gramsci, an Italian theorist who wrote about complex things quite clearly, all in all. There are a lot of pages of Gramsci, most of them in prison notebooks that he never had a chance to edit into a linear text, many of them on topics that very few people could care less about. This of course creates the opportunity for a mystery cult for those few who have virtuously read through all of it, sort of like the Kabbalah or the Hadith. Here are instances where the reading community in effect ADDS difficulty to the sacred text by digging out and canonizing every little detail, aside, and tangent. The characteristic assertion is that the plainish meanings of the core writings must be supplemented or even amended in light of these exclusive arcana. (Translation fetishists from the Qur’an to Weber and Foucault work the same way. Translations are not just workably second-best but unacceptable in comparison to the sacred revelation of the original.)

People choose these texts and these reading strategies for all the usual reasons they choose religions (and reject other religions). They may be born into them, or disposed toward them by cultural marking of the text. They may be seeking identity and collective effervescence in a community. The text may be culturally marked as normative or transgressive, enabling the effervescence of dominant or rebellious subculture identification. There may accordingly be a component of acceptance and/or rejection of authority, be it the father’s or the group’s. These are choices within structured fields of options and decision strategies. All of this falls under the sociology of what Weber called elective affinity and Bourdieu elaborated as the schemes of the habitus.

For some reason this makes me think of Virno’s discussion of fear in A Grammar of the Multitude. In the third chapter of A Grammar of the Multitude Virno argues that anguish/anxiety is one of the predominant affects of our time. I hope to write more on this later when I am not inundated with grading at the end of the semester and thoroughly exhausted. At any rate, as Marx and Deleuze and Guattari argued, one of the marks of capitalism is the manner in which it decodes all social relations and codes through processes of deterritorialization. By “decoding” Deleuze and Guattari do not mean the activity of finding the meaning behind some coded fragment of speech as intelligence officers and cryptographers do. Rather decoding is the process by which social codes are undone and destroyed.


There is perhaps a tendency to think the symptom as a sort of tick. You are before your symptom whenever you have a repetitive twitch, perpetually fail in some repeated endeavor, can’t help saying a particular word, and so on. Yet perhaps a better way of thinking the symptom is as a way of receiving or even welcoming the Other. As Lacan liked to emphasize, the words of the Other always carry a certain surplus. “You’re telling me this, but what is it that you really mean?” Were there words an act of seduction, an act of aggression, an act of rejection, an act of indifference? This person here is talking to me, but what is the desire behind their talk. To say the symptom is a way of receiving the Other is to say that the symptom fills out this anxiety provoking void. A friend recently pointed out to me that I often take comments addressed to me in a hostile manner, interpreting them as criticisms or attacks, rather than as elaborations of what I’ve said building on that thought and exploring it. This would be a sort of symptom, a way of welcoming the Other. Of course, in welcoming the Other in this way the Other doesn’t feel very welcome. Indeed, the symptom drives the Other off, beats them down.

The aim of analysis is a sort of fundamental re-orientation of the symptom; a transfiguration of the co-ordinates within which you experience the symptom. The symptom allows for infinite variation, but it produces the monotony of the same. Like an algebraic function– F(x) = 2x –we plug in the values of x (all the Others we encounter), and we get an infinite series, but they are all variations of the same pattern: for 2 we get 4, for 3 we get 6, for 4 we get eight. Always the same welcome of the Other fit into the function without the Other ever arriving.

What would it really mean to welcome the Other? Lacan says that the analyst’s desire is an impure desire: that it desires absolute difference… That difference that composes the analysand. Of course, judging by the case studies we hear at Clinical Days and psychoanalytic interpretations in the world of theory, this is seldom achieved. But all the same… What would it mean to truly welcome the Other? What would it mean to hear beyond the symptom or the frame? I think of all the voices that have fallen silent in the last two years. Bloggers that grew quiet. Conversations that fell off. Blogs that went cold. All of these encounters gone. Did I not welcome beyond my symptom? Did I murder the difference of alterity? What would it mean to encounter in such a way that your difference is not effaced or absorbed, while truly welcoming the stranger, the Nebensmensch? What would it mean to escape the logic of Territory.

« Previous PageNext Page »


Get every new post delivered to your Inbox.

Join 1,060 other followers