In the first session, we addressed the introspective questions of the subject, namely, how to get into the subject, how to become a subject, including the Lacanian question of "other than the subject, man or what?". The first session of the seminar has already set the stage for the second, when it was said that we would leave behind two possible approaches to the subject.
I. MAINITY INSTITUTIONS
Psychoanalytic and Transversalism is the rare, very clear and rigid work of Qatar, which, in its late years, tried very hard to reject it, but at least from the mid- to the 1970s, he wrote it in this learning manner. Allow me to present a large quotation
The imagination of "organization" is not at all captured and described in the interpretation of analyst practice. The illusion of "organization" is essentially symbolic, even if it may give rise to imaginary effects. It has an inert pattern that returns endlessly to an unsolved dilemma... the illusion of an individual never takes precedence over a specific symbolic plane. Rather, it always tries to absorb the plane and to cover itself with the indicators of its structural circulation in that plane - the selection of which is always a natural process.
An organized trajectories that express the imagination of the device... make the crystallization of the structure general, conceal the possibility of change, decide to impose its characteristics and its elements to limit, to the greatest extent possible, any challenge to its rules of the game - in simple terms, it produces a "dependent body organization". [1]
The subject of territorialization, which is usually considered rigid and static, is passively subject to external changes, ignoring those changes that may even matter to it, and maintaining its own blind stability. This is precisely not the subject matter: dependent territorialization subjects are inert, but inert, "in order to maintain their inertia without stopping at all". This begins with the formulation of the assembly act, the prescriptive act of "spoken", which would mean the imposition of an object or the removal of the effects from a particular chain of socialization. Each of these links means directly the production of transmigration, a complex intellectual labour.
Imagine such a classic sarcastic image of mother like Darry Vernon's mother, Penny, and Aunt Maggie: When teachers complain about Darryn's violent bullying in school, they only pick a little bit of marginal information from it. "How could he hurt people?" He couldn't even hurt an ant!" At this point in time, should we consider Aunt Penny to be a complete fool without distinction? Or a poor man who has no basic logic so that he can only express himself in daily language communication with the wrong mouth? This is not the case, and we are well aware at this time that we should call it "preference", which can only be the action of the subject of territorialization, with proactive direction and call. In favouritism, closed territorialized subjects use their own language, which is a tool to tame their own subject's stability - In the eyes of parents such as Penny, the moral integrity and excellence of their children are clearly an important part of their peaceful survival. The listeners who are familiar with Harry Potter recall the negative assessment of Darius in the face of Hagrid and Dumbledore, which can be seen in the violent reactions of a man and wife who fear magic.
Many of the listeners have missed the first speech, and it would be useful to state once again that I am far removed from my father's - the dominant Lacanian language - and moving towards the act of representation and language. And we find that every subject, even the most extreme, territorialized and rigid subject, distorts the language and creates a "private" language according to its needs. - Through the transfer, replacement, and deviance they can change the face of their socialization chain to speak of themselves - what they say - assembly is exactly what they put together themselves, and for that. When Freud first spoke of error, what gave him the first guarantee of reason? Isn't the everyday language used by each person the same "misused" and variable presentation as the introspective face of a chain of fingers - it transposes, metaphoric standard models? At the very least, it can be ascertained that territorialized and conciliatory subjects share the same introspective structure, which has absolutely no unbreakable borders.
"It is precisely this possibility that is homogenous in itself, and that what may happen is heterogeneity." I think that's something we've always had to notice when we read Gattali. Instead of being content with the introspective approach, it is always focused on the practical nature of mental analysis, which is always directed towards living individuals. There's a difference between what she said and what Aunt Penny said in front of her teacher. The difference may be that, by mistake, there is always a diversion, and Aunt Penny's madness is the movement itself. Here we finally have a chance to talk about migration. According to my usual writing style or preface
This original process, this identity, transposition, part-object, this phantom extension, all these similar concepts of psychoanalytic analysis call into question the pervasiveness of the person and the entity's expectation-retroactive movement. [Laughing ]
The concept of migration is combined here with that of identity. Migration, now more widely translated by the psychoanalytic community, has been established in psychoanalytic practice. The concept was originally used to describe some kind of encounter between analysts and analysts: analysts have inexhaustible fantasies about symptoms in his analysts. - Based on his personal history and trauma, some imagination of the location of the saviours, the perpetrators and the analysts, sometimes even the imagination of love. The shift of analysts to analysts is to say that analysts transfer their own traumatic object-identity to analysts, which is often helpful and often resistant to traditional techniques of psychoanalysis. Lacan stressed that there was no way to avoid such a transfer, and that analysts were always confronted with the patient ' s first situation before they discovered certain facts about the subject in the split of the transfer. Imagine an analyst asking the analyst about his personal relationship this week, and the problem is, in fact, a direct transfer of the patient to his private personal history. I'm sorry. More than a decade ago, he was asked by his mother, "How was his day with his classmates?" So he took this historic phrase -- the interface was "transferred" to real-life conversations with analysts, and then began to select things for analysts conditionally, just like childhood excitement telling mom interesting stories about what happened in class. Believe me, there is nothing to exclude this possibility that, in this route of transfer, analysts spend a week collating and compiling interesting stories for analysts to hear over the weekend.
It is here that Lacan develops the concept of migration, extending it from a technical element to one of the "four basic concepts" of psychoanalysis. What, as Lacan sees it, is that people tend to choose their symptoms-like vision-attitudes in the face of analysts, a subject that is completely unknown and who refuses to reveal more information about their own individuals, a subject whose private purpose and good and evil are invisible to the subject of the analyst? Why do encounters with analysts inspire symptoms? Lacan has already mentioned that the symptoms are division - the word of the subject is the path of self-preservation that the subject must choose in the face of its own division, that is to say, the death of its very existence. This is when the subject chooses a way to explain the division to himself so that he does not fall directly into a meaningless network. Therefore, the phenomenon of transmigration is precisely related to the integrity and closedness of the subject's self-identification - - It is precisely in the face of such a completely anonymous, completely different analyst's personality that the subject of the analyst does not know how to find his own place, and the anonymity of the subject of the analyst, like a mirror, reflects the order in which the subject of the analyst acts - the arbitrariness and the invisibility of the principle, so that the subject of the analyst can only come from me in the form of symptoms.
In this way, transmigration is extended to the level of introspective theory: it is the stability of the subject itself - the technological operation of the same nature, and it is the acquisition of the ability to point, create illusions and do everything in its power to bridge the belief that the subject is stable. The chain of argument has been too long, with Darryn Vernon and his mother Penny, who chose to support herself as a housewife with child-rearing success, and when the teacher's words reveal the arbitrary nature of this choice of value (i.e. it is a technical operation, not an objective fact), Penny demonstrates the folly and short-sightedness of a role that goes beyond the level of education and the quality of thinking - This stupidity and short-sightedness is her move-action.
In this way, we can say that the subject of territorialization is the subject of transposition, i.e., one that confirms the belief in the stability of its existence and chooses the type of subject that is committed to the cycle of faith-action. But what remains to be deepened is that this faith is ultimately the belief in the words of dialogue, the belief in words to exclude words, which is interpreted in the light of the real focus of this discussion and the discussion of the subject of demarches.
II. Demilitarization body
It would be very difficult to sit here and discuss the subject of localization, but given that there are many artists here, it would certainly be easier. However, as the core concept of Qatar, there is too much content and relevance to it, and in this context we will only be able to address some of the surface features of the decoding body, leaving the power and action of the decoding subject to the next " organless body ".
The "domain" removed by the "departure" should be considered, in the context of the psychoanalytic analysis, the domain of the language, the domain of the speech. This is not to say that future decoding subjects can only make meaningless noises, but rather that such subjects go beyond the full power of a coded grammatical norm. The case of Penny still needs to be revisited, and all the hostility towards Harry stems from the fact that: He was the child of Penny's most jealous, magically gifted sister, who also inherited it. More profoundly, it was Penny who, at the beginning of the day, was afraid to admit her desire for magic and jealousy for her sister's gift - something that she could hardly imagine. Traditional psychoanalysis say that she is afraid to admit to herself this devious, traumatic view so that she needs some distortion - interpretation - that is correct, but the deeper element is that she always holds herself responsible for the consistency of the dominant order. First, she had locked herself in a traditional and conservative image of sisterly women, and second, she had triggered the need for healing and deception. She had to see magic as dangerous and evil, and had to imagine her son, Dalí, as a great man with little ground.
The consistency of the main order is directly manifested in the consistency of the language, i.e., the composition of the main body is completely legible. This involves a very detailed conceptual analysis of desires and driving forces, which is not our task now, but we can simply state that the shift in the stability of the subject, which has been described above, is characterized by the "encapsulation" of the subject - the expression of the "encapsulation" of the assembly, the material = the opacity of the assembly of the subject, all of which are encapsulated in the current body structure and the desire, impulse of the subject to self-perception, and can be pointed at, the subject has the language of his action. And those events that are excluded from the stability of the subject, those ideas and the physical fluctuations that they entail are excluded from the language, which is considered inconceivable and incomprehensible. It's not that the subject has never been informed about these events. - Artists are also faced with new things, and people always experience the first time watching a commercial movie, first time taking pictures, first time having sex with a partner, and very few of them have these moments in trauma. It depends only on one action, one choice, one that considers these new things as threats to its stability, and one that chooses not to take responsibility for these new things themselves, but to use other means to avoid the impact of this new thing.
Therefore, the key to becoming the subject of a territorialization is to leave it to its own words, freeing it from a web of meanings and order. The first guarantee it needs is, naturally, to abandon the illusion of the stability of the subject itself - an idea that is revolutionary, but that is already included in Lacan's judgment of ethics
Ethical judgment... represents a question of final value: "Have you acted in accordance with the desire to live in your midst?"
In the final analysis, it seeks to lay down an order based on the things on which it is based as an order of power, which is an order of humanity and too human. [Chuckles ]
Lacan has deliberately quoted Nietzsche here. Can he not see that Nietzsche's power is not a monist, centralist power, but always a relationship of power, countless insubordinations of running and conflict, and the power of wolves? In this sense, acting on the basis of my desire-power, is precisely the rejection of the individuality of "me", which puts "me" into the self-organisation of the powerful pluralism. And at this point, I realized that I was equal to this multiplicity, and that I had exceeded the vision of a stable individual.
It is in this context that words become words of "self". "I think in my own place, and I don't think in my own mind," a kind of Lacanian point game that has shown the traditional migration of territorialization that it is not self-evident, but rather that it betrays its own individualized appearance, that it is always a self-fulfilling certainty that it is "deprivation" when it manifests itself not within the domain of the subject, but in an unknown "other" place, precisely because the subject itself is wrong - the subject has not been able to reach the machine, the power of the machine. "There are no individual words, only the machine of production." [5] Words have always been the words of the machine that the demarcating subject removes the transvestite-fingermap and succeeds in reaching its location.
Demolition subjects identify themselves as a pack of wolves-machines and as organs-free bodies. This means an open attitude, one that maintains its own physical feelings, awareness and all its judgments - norms that are open to the outside world. Here we will not be able to tell the full extent of Catally's expectations of the decryption of the subject, but only from the point of view of art as an example to end
"The style of a writer is the color of a painter, not a technical question, but a visual question: It is a revelation that cannot be achieved by direct and unconscious methods, it is a question of difference in nature, it is the singularity of the means in which the world presents to each and every one of us, and it is a difference, which, without art, will forever remain the secret of every individual." (ProustIII; 931-932) Each individual expresses the world from his or her own particular perspective, "the point of view is the difference itself, the absolute difference inherent in it" (PS55; 42)... The subject does not produce the absolute difference between the world and what is inherent in it; the subject and the world appear together through the display of differences.
Every work of art is the beginning of the world, "a fundamental and absolute beginning". [6]
The way the artist works is exactly the way that Gattali talks about the existence of the demarcating subject - and it is no wonder that Gattali directly refers to it as sometimes the artist. The key to an artist's localization is "new", "new!", behind the slogan "new!" is the speed of flight from any known structural framework to create a whole new world that never existed. But rather than being created in a material sense, it is created subjectively and spiritually. This creation comes from a shift in vision and the resulting reorganization of the whole world. The point of view, which is the constitutive point of a world in which Qatar has always been concerned, is linked to and goes beyond the concept of Lacan's "suture point", "sharp point". Imagine city photography, with cameras hanging at 20-30 centimeters above the ground, filming the corner and sunset of the building through a puddle at the edge of the road. Artists have opened a whole new field that integrates water pits on the ground, sunsets, ordinary corners of buildings, flying birds into the same space
But it is only when he describes two different objects and shows the connection between them - a connection in the work of art similar to the unique link provided for by the laws of cause and effect in the scientific world - and encapsulates them in the inevitable connection of a kind of craftsmanship - truth - and life. [7]
Just as the laws of physics have built the bonds and intensity of our world, the artist-demarcating subjects have always created the links that were once unimaginable and unconnected in everyday life. According to Qatar, this is a "extracting" connection in everyday life, which he uses a good word. This connection, the creation of relationships and the increase in the intensity of the feeling of certain peaceful things is the way in which artists shape the world subjectively. And what really makes this unique connection -- the intensity world that we see -- is the artist's action, his demarcating words -- his action. Who says it can only be said by finger, by mouth? The physical movement is also a saying that literature, fine arts, photography say that, unlike the inevitable trust of territorialized subjects in the chain of fingerings, de-dating artists do not necessarily require themselves to speak out of their mouths in a rational and central way, but rather leave themselves free to choose any way that is appropriate to express their own feelings at the moment - the intensity of contact - - Theatrical performances, dances and behavioural arts may be a more straightforward illustration of this, in that artists tease their own bodies and make a whole new outfit for the physical-stage, physical-street.
Finally, in today's discussion, it is important to note that the artist-demarcating subject is not really "making itself" and that there is not a closed individual subject who sits high on some sort of art's dragon chair and directs the assembly of all things - it is already a habit of thinking in the day-to-day world of the territorial subject. It can be said that everything is created itself through artists and by deconstructing the subject. After a few pages of paper, Qatar added the word "unnamed" before the word "vision point"
Who chooses? It's not a choice, it's not a choice, it doesn't have to be an unnamed choice... and then we wake up from those deep sleeps at dawn... and we're no one, as if we're newborn... we're lying down, we don't have any ideas, we're empty. [8]
Artists are not trying to capture the strangeness of the connection in the world, but are always open to the strangeness, allowing life itself to be exposed in repetition and difference. The artist's organless body can only be elaborated in the next speech, and it ends with a phrase from a friend who spoke yesterday: "If you live at a `I come to the world to appreciate art', then the artistic nature of life is enough for you."
[1] Guattari, Félix, et al. Psychoanalysis and Transversality: Texts and Interviews 1955-1971. Semiotext(e), 2015. pp.108-109
[2] Felix Guattari. Confusion and infiltration. Nanjing University Press 2020.pp.154
[3] Guattari, Félix. Schizoanalytic Cartographies. Bloomsbury, 2013. pp.41
[4] Lacan, eds. Jacques-Alain Miller, Lu Yuen. Jacques Lacan Seminar 7 Ethics of Psychoanalytic. Business Print Library Ltd. 2021. pp. 216
[5] Deleuze, Gatali. Capitalism and schizophrenia 2 1000 Plateau. Shanghai Bookshop Press 2010. pp. 49
[6] Ronald Bogue, Stone Painting, Deleuze Thesis. Nanjing University Press 2022. pp. 41
[7] Ibid. pp.48
[8] Ibid. pp.61-62