Notes Towards an Object-Oriented Psychoanalysis -3

For Lacan there is this solipsistic period of life at the beginning. The subject becomes capable of making a distinction between himself and others after the Narcissistic period of the mirror stage. The subject’s ability to interpret and adapt shows signs of progress. Once the mirror stage is passed through and the fantasy is traversed, the subject becomes capable of controlling the unconscious drives and touching reality. The child learns to postpone gratification and finds other ways of satisfying himself. The function of the I shows itself when the child feels the need to act upon the external world and change things in the way of attaining pleasure and satisfaction of desires. When the child gives up desiring his mother and realizes that he has to identify with his father the foundations of the super-ego formation are laid. It is the fear of castration that leads the male child to give up the mother. The sexual desire turns away from the forbidden object and moves towards finding ways of expressing itself in and through metaphors supplied by the predominant culture.

            According to Klein the formation of the super-ego begins in the first year of life. For Klein the “early Oedipus conflict” is at the root of child psychoanalysis. Klein says that Oedipal tendencies of the child start with oral frustrations and this is when the super-ego takes its course of formation. 

These analyses have shown that oral frustrations release the Oedipus impulses and that the super-ego begins to be formed at the same time. […] This is the beginning of that developmental period which is characterized by the distinct demarcation of genital trends and which is known as the early flowering of sexuality and the phase of the Oedipus conflict.[1]    

            It is Klein’s legacy to have taken the beginning of development to a stage earlier than the appearance of the Name of the Father. In this world the castrating father figure doesn’t yet exist. And the child has at least three years ahead to become capable of using language. Klein’s journey into a zone before language, a zone before the child finds itself in the signifying chain, is valuable especially for showing the lack of the role of fantasy and phantasmatic production in Lacan’s story of the formation of the subject. And Gilles Deleuze uses Klein’s insight to make the necessary connections between literature and the unconscious. But before moving on to Deleuze I would like to show from where Klein is coming and hint at the direction she could possibly be heading towards.

            Klein attributes as much importance to the death drive as she does to the life drive. For Klein, already in the first year of life there are object relations and these relations involve expression of libidinal and aggressive impulses.

[…] unfavourable feeding conditions which we may regard as external frustrations, do not seem to be the only cause for the child’s lack of pleasure at the sucking stage. This is seen from the fact that some children have no desire to suck—are ‘lazy feeders’—although they receive sufficient nourishment. Their inability to obtain satisfaction from sucking is, I think, the consequence of an internal frustration and is derived, in my experience, from an abnormally increased oral sadism. To all appearances these phenomena of early development are already the expression of the polarity between the life-instincts and the death-instincts. We may regard the force of the child’s fixation at the oral sucking level as an expression of the force of its libido, and, similarly, the early and powerful emergence of its oral sadism is a sign that its destructive instinctual components tip the balance.[2]

            The child projects his aggressive impulses onto the external world and sees the object (the mother’s breast) as an enemy trying to destroy him. The frustrations that take place in the first year of life cause anxiety and lead the child to express his aggressive impulses through oral sadism (biting the breast). The fantasy that the mother contains the father’s penis leads the child to want to tear apart the mother’s body and introject the object hidden in it through oral sadism. After oral frustration the attention of the child shifts from the mother’s breast to the father’s penis. The aggression against the father’s penis and the response this aggression gets plays a dominant role in the formation of the super-ego. As it develops the super-ego becomes more and more important in the way the subject handles his relation to the world.

[…] by projecting his terrifying super-ego on to his objects, the individual increases his hatred of those objects and thus also his fear of them, with the result that, if his aggression and anxiety are excessive, his external world is changed into a place of terror and his objects into enemies and he is threatened with persecution both from the external world and from his introjected enemies.[3]

             An aggressive attitude towards the external world damages the relationship with the external world; the external world is regarded as hostile, which leads to aggression, and this aggression in turn provokes hostility against the child. It is this kind of a vicious cycle in which many psychotics and neurotics find themselves. Klein describes schizophrenia as the “attempt to ward of, master or contend with an internal enemy.”[4] For Klein, the force of aggression as a result of oral frustrations can reach to such levels that the subject feels obliged to project the super-ego ideal onto the external world. The super-ego is terribly ruthless and aggressive. The projection of the super-ego onto the external world turns reality into an enemy. The subject becomes ill and shuts himself up into his fantasy world and, detached from reality, suffers inordinately. Lacan sees schizophrenia in a similar way; for Lacan what produces schizophrenia is the exclusion of the Name of the Father.                        

            With Klein we learn that the sense of reality is gained through oral frustrations. Lacan, too, thinks that frustrations have a role to play in the constitution of the reality principle. But according to Lacan what’s important is not the natural frustrations themselves, but how they are symbolized, how they are represented in and through language, how they manifest themselves in the form of cultural products. Lacan finds Klein’s theories too biological.

            To explicate where Lacan and Klein disagree I would like to give their opinions on Dick who is a four years old boy suffering from “psychosis.” Dick, who hardly ever talks, is permanently indifferent towards the external world. In Dick’s world there is no good and bad, there is nothing to be afraid of and nothing to love. It is as though Dick lives in a world apart, in another reality. Dick’s world is not structured like language, there is no differentiation, and where there is indifference there can be no difference, in Dick’s world all objects and subjects are one.    

            Dick has a toy train which he repetitively moves to and fro on the floor. Klein says, “I took the big train and put it beside a smaller one and called them ‘Daddy train’ and ‘Dick train.’ Thereupon he picked up the train I called Dick and made it roll [toward the station]… I explained: ‘The station is mummy; Dick is going into mummy.’[5] At the end of this first session of therapy Dick begins to express his feelings. It is after Dick becomes capable of situating himself within the symbolic order in relation to his mother and father that he becomes a human. He begins to play his role given to him by Klein.

            Human reality is a mediated reality. We can see in Dick’s case that the biological turns into cultural through Oedipalisation. Lacan thinks Klein’s therapeutic technique is correct but her theory wrong. What Lacan thinks Klein’s theory lacks is the castrating father figure who says “No.” Lacan complains that the castrating father figure is not given a role in Klein’s scenario. It is true that father is not given a role in the process of subject formation, but Lacan’s assumption that Klein is Oedipalizing the child is wrong. For if the father is excluded from the scene how can the Oedipal triangle be formed. All Klein does is to tell Dick that mummy and daddy copulate. Klein’s world is entirely biological, whereas Lacan is talking about the subjectivation of the individual in and through symbols. For Lacan the unconscious is nothing other than a chain of signifiers. There is nothing before the symptoms manifest themselves in and through metaphors. So metaphors are the products of repression which splits the subject into two separate but contiguous sides; the biological self and the cultural self. Psychoanalysis is about a regressive process which goes back in time through a chain of signifiers and tries to reach the Real of the subject’s desire. A symptom is the manifestation of the Real of the subject’s desire in the form of metaphors.

In advancing this proposition, I find myself in a problematic position—for what have I taught about the unconscious? The unconscious is constituted by the effects of speech on the subject, it is the dimension in which the subject is determined in the development of the effects of speech, consequently the unconscious is structured like a language. Such a direction seems well fitted to snatch any apprehension of the unconscious from an orientation to reality, other than that of the constitution of the subject.[6]

            When Lacan says that “the unconscious is structured like a language,” what he wants to say is that if the unconscious is a web of metaphors the signifiers behind the metaphors are interacting with one another just like the signifiers in language.   

            In psychosis the subject’s fantasy of unmediated omnipresence resists symbolization. The subject cannot turn his feelings and thoughts into symbolic acts, he cannot make a distinction between the me and the not me, cannot engage in intersubjectivity. Introversion dominates the psychotic and he finds himself in a world where nothing matters for nothing is differentiated. The psychotic experiences his inner reality as though it is the reality of all, he cannot separate the inner from the outer. The psychotic’s reality escapes cultural codes. The psychotic doesn’t know the symbolic meaning of the father’s law. The law of the father establishes the order of culture, but the psychotic refuses to come to terms with the father’s law and eventually cannot overcome his frustrations. The mother’s role is determinant in the formation of psychosis. If the mother doesn’t recognize the role of the father the child remains locked in the imaginary world, outside signification.   

            Psychosis appears when all the signifiers refer to the same signified. Language and meaning dissolve. Locked in the mirror stage the subject identifies everything as me, and the me as the phallus. But the reality is that the “I” is not the phallus inside the mother’s body. The psychotic is deprived of nostalgia, of the feeling of loss which is constitutive of the subject. Lacking lack the psychotic subject lacks what Lacan calls “lack in being.” And lacking lack in being the subject cannot identify his natural self as being separate from the cultural objects of identification. By entering the symbolic order the narcissistic sense of oneness, “the oceanic feeling,” is lost. And this loss opens a gap within the subject, which the subject tries to fill with the objects of identification presented to it by the predominant culture. Identification is a way of compensating for the emptiness within the subject caused by the loss of sense of oneness. But the unconscious desires can never be satisfied by metaphors. To overcome the frustration caused by the loss of his fantasy world, the subject turns towards symbolic acts in the way of climbing up the social ladder. The subject becomes a doctor, pilot, teacher; all to endure the pain of not being able to satisfy one’s unconscious desires, or the Real of one’s desire. It is in this context that Lacan sees repression as productive of the subject as a split subject. Because the psychotic has lost nothing, lacks nothing, he has no motivations for such pursuits as becoming a doctor, pilot, or teacher. The psychotic has no sense of nostalgia and he is therefore extremely indifferent to the external world. Experiencing no frustrations in the face of the harsh reality of not being one, the psychotic desires nothingness.


[1] Melanie Klein, The Psychoanalysis of Children, 123

[2] Melanie Klein, The Psychoanalysis of Children, 124

[3] Klein, 143-4

[4] Klein, 144

[5] Melanie Klein, quoted from Deleuze and Guattari’s Anti-Oedipus, 45

[6] Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, ed. Jacques-Alain Miller, trans. Alan Sheridan (London: Hogarth Press, 1977), 149

Cronenberg, Burroughs, Deleuze (1) – Naked Lunch and The Body Without Organs

 organ without a body

The Naked Lunch I am concerned with here is David Cronenberg’s film about William Burroughs’ writing process of Naked Lunch. The film, rather than being a direct adaptation of the novel, is a distillation of Burroughs’s life as he strives to write himself out of the past. We see Burroughs progressively deteriorating to the level of a dumb beast as he tries to make sense of his sufferings in and through writing. In the introduction he wrote for the 1985 edition of his earlier novel Queer, the writing of which dates back to 1953 following the two years period of depression, guilt, and anxiety ridden self-hatred after his accidental shooting of his wife Joan in September 1951, Burroughs, in an almost confessional manner, explicates the sources of his compulsion to write. Writing, for Burroughs, represents his lifelong pursuit of getting out of consciousness and reaching the area between fantasy and reality.

I am forced to the appalling conclusion that I would never have become a writer but for Joan’s death, and to a realization of the extent to which this event has motivated and formulated my writing. I live with the constant threat of possession, and a constant need to escape from possession, from Control. So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a lifelong struggle, in which I have had no choice except to write my way out.[1]

The death of Joan creates a space within Burroughs into which he escapes, and attempts to fill with his writings. Cronenberg explicates what Burroughs had already implied in his introduction to Queer. In the film writing in particular and creativity in general is shown to be a response to a traumatic incident, that is, production of fantasies to compensate for the horrors of life. As the film proceeds so does the mental deterioration of Bill Lee who represents Burroughs in the movie. The first signs of Lee’s split come when he is arrested by two policemen for “the possession of dangerous substances.” What they are talking about is the bug-powder which, Lee, who has given up writing to become a bug exterminator, uses to kill insects. The two policemen ask him to demonstrate his profession. One of them puts an insect the size of a hand on a pile of bug powder to see if the insect will die. As the insect begins moving its wings, arms, and legs they leave the room and Lee with the insect. As soon as they leave the room the insect tells Lee through a mouth-anus at its back that it has instructions for him, that it comes from the Interzone, that his wife Joan is not actually human and that he has to kill her. The insect asks Lee if he could put some bug powder on its mouth-anus upon the application of which it starts to make noises and movements as if in an orgy. In the next scene we are in reality and Joan is asking Lee to put some bug powder on her lips. As wee see a few scenes later that the mouth-anus turns out to be the abyss, the bottomless depth, or the space in-between fantasy and reality in which Lee loses himself and shoots his wife.

This presentation of fantasy and reality side by side occurs throughout the film. It is when the gap between fantasy and reality disappears that the Unconscious manifests itself. In the case of Bill Lee the undesired event is pushed back into the unconscious in turn causing an accumulation of sadistic impulses in him. These sadistic impulses are then externalized in and through writing. For Burroughs writing was cathartic in that it liberated the untamed drives and prevented the manifestation of aggression in the external world. In Cronenberg what we see is almost the opposite of this attitude to writing. As we know from Dead Ringers, Videodrome, and eXistenZ, for Cronenberg writing and creativity have destructive rather than therapeutic effects on the writer. In the film Bill Lee emerges as the culmination of these two opposing views on not only the creative process but also the relationship between the creator and the creation, the subject and the object, mind and body. As the arena of this conflict Bill Lee’s world is that of the one in-between the internal and the external worlds, the Interzone, or in psychoanalytic terms the Unconscious, the Real, where there is no self or not self.

interzone

Interzone is Tangiers on the North African coast where Burroughs wrote Naked Lunch in 1953. In those days it was a place of escape for the self-exiled artists and artisans. At Interzone everyone has their own particular universality in one big universal cesspool and that cesspool is Lee’s fantasy world. The Real, or the Unconscious, is impossible to represent and all those monsters, bug-typewriters, and disgusting images are only the creations of Lee’s hallucinating mind. In it every universality is surrounded by many other universalities and each universality is a body without organs. Upon arrival at the Interzone Lee starts to see his typewriter as an insect resembling the one which he had first encountered in the interrogation room at the police station. The bug-typewriter becomes the mouth-anus mechanism, the partial object opening a gap through language in-between the body without organs and the organ without a body.

Orality is naturally prolonged in cannibalism and anality in the case of which partial objects are excreta, capable of exploding the mother’s body, as well as the body of the infant. The bits of one are always the persecutors of the other, and, in this abominable mixture which constitutes the Passion of the nursing infant, persecutor and persecuted are always the same. In this system of mouth-anus or aliment-excrement, bodies burst and cause other bodies to burst in a universal cesspool.[2]

Here Deleuze is referring to Melanie Klein’s Psychoanalysis of Children. The state of being which Deleuze summarizes is the paranoid-schizoid position of the child, the world of simulacra. At this stage, which preceeds Lacan’s mirror stage, the child is not yet capable of identification. There is an introjection-projection mechanism going on but the objects, internal and external, are experienced as bad objects. The conception of goodness has not yet developed in the child. Since there is no good object for the child to identify with there is no condition of possibility for the identificatory process with a good or a bad object, there is no self or not self.

The paranoid-schizoid position is followed by the manic-depressive position in which identification with a good object takes place. The passage from paranoid-schizoid introjection-projection to manic-depressive identification is the process of passing through the Interzone, or in Lacan’s words “traversing the fantasy.” In Deleuze’s terms this process is the hovering of an impersonal consciousness over the transcendental field of partial objects. The bug-typewriter is Lee’s impersonal consciousness manifesting itself in the form of a paranoid fantasy, a body without organs which is pretending to be an organ without a body. In fact it is neither a body without organs nor an organ without a body and yet it is both at the same time. It is a becoming in between being and non-being.

tumblr_ldpu2aYvh41qaun36o1_500

Cronenberg’s move is away from Burroughs’s Kafkaesque understanding of the body as metaphor and towards a Deleuzean narrative of the metamorphosis of the body in a literal sense. All those self-destructive creators are inverted into the spotlight in and through Croneberg’s films and this enables Cronenberg to contemplate on the creative process as an inversion of destructive process and fill the film with this contemplation. What we see in Naked Lunch is the death drive in conflict with the life drive.

In Deleuze the body without organs is the metaphor of the death drive. And since the death drive is a response to the fragmentation of the self, it can only take the form of a paranoid fantasy projected onto the Real. The body without organs is the partial objects brought together in a totalizing way, in a way that deprives them of their partialities.

What the schizoid position opposes to bad partial objects—introjected and projected, toxic and excremental, oral and anal—is not a good object, even if it were partial. What is opposed is rather an organism without parts, a body without organs, with neither mouth nor anus, having given up all introjection or projection, and being complete, at this price.[3]

The body without organs, then, is the absence of a connection between the subject’s inside and outside. The subject, in a state of total negation, neither eats nor excretes. It eats nothingness itself and becomes the catatonic (w)hole. It is not out of the body without organs that the subject is born but from the paranoid-schizoid position which consists of a not yet formed consciousness, an impersonal consciousness violently attacking the external world and splitting the given unities. As opposed to the body without organs it consists of projection and introjection of the partial objects surrounding the subject to create fantasies such as an illusionary ego, and learns to keep the body without organs, or the Real at bay. The paranoid-schizoid position is followed by the manic-depressive position which corresponds to the formation of the super-ego and the sustenance of a balance between id, ego, and super-ego.

cronenberg

Burroughs’s cut-up and fold-in techniques appear to be the two constituent parts of his defense mechanism against the spectre of Joan haunting him. To escape from the paralyzing state of being haunted by the spectre, that is, not to turn into a body without organs, he carries the projection-introjection mechanism to its furthest and literally and unconsciously puts words and sentences, partial objects, next to and within each other to make up discontinuities, cause ruptures and keep the Real at bay. Through giving a voice to the Real as it is before symbolization, Burroughs’s intends to prevent it from becoming real, from being actualized  hence submitting the governance of his actions to an external force. It is this mechanism of repression inherent in the cut-up technique that causes what it tries to cure. The cut-up technique involves literally cutting-up passages and putting them together as a new text which would be neither the one nor the other, hence deforming the syntax. The fold-in technique involves folding into each other the different parts of the same text, hence distorting the order of time. In both states what is at stake is a total negation of the external world as a result of its being considered as hostile. In Burroughs the paranoid fantasy projected on the real replaces reality with its inverted version, that is, Burroughs turns what he imagines the external world to be against itself by creating a paranoid fantasy involving a scenario in which the subject believes itself to be governed by an internally constituted external and evil force. Burroughs discovered cut-up and fold-in techniques as a defense mechanism against the paranoid fantasy he constructed around himself. To get out of this mad symbolic world, he decided to slash it into pieces and connect it with other texts that are themselves torn apart.

Burroughs’s cut-up technique is a result of his search for a way of desymbolizing the paranoid symbolic world he had constructed and projected onto the external world. Burroughs thought resymbolization was therapeutic in that it gave voice to the evil within in the way of expelling it. Cut-up technique aims at desymbolizing the totalitarian system surrounding the subject and was a defense against the totalitarian nature of this resymbolization. Burroughs himself admits in a letter written to Kerouac shortly after beginning to use the cut-up and fold-in techniques that “writing now causes me an almost unendurable pain.”[4] In Naked Lunch the movie, the theme of the materiality of language recurs through the encounters between the bug-typewriter and Bill Lee. Bill Lee creates an insect within, projects it onto his typewriter, and talks with it.  His creations have taken on lives of their own and are doing and saying things mostly against him.

(via silent-musings) In Nova Express, Burroughs’s 1964 text, The Invisible Man says, “These colourless sheets are what flesh is made from—Becomes flesh when it has colour and writing—That is Word and Image write the message that is you on colourless sheets determine all flesh.”[5] Burroughs had a strong sense of the materiality of language. When he has The Invisible Man say “becomes flesh when it has colour and writing” he is in a way referring to the Unconscious as the invisible man who is striving to become visible to himself and to others in and through language.

 Foucault’s interpretation of Bentham’s Panoptic mechanism becomes relevant here. In Discipline and Punish Michel Foucault presents the Panopticon as a metaphor of how power operates within modern western society. A revolutionary apparatus for its time (19th century), the Panopticon was more than just a model of prison for Foucault, it was a mechanism to keep an absent eye on the prisoner, to keep them under control at all times.

The Panopticon functions as a kind of laboratory of power. Thanks to its mechanisms of observation, it gains in efficiency and in the ability to penetrate into men’s behaviour; knowledge follows the advances of power, discovering new objects of knowledge over all the surfaces on which power is exercised.[6]

The formulation of the concept of the Panopticon involves not only seeing without being seen, but also a mechanism that imposes both their differences and their resemblances upon the subjects. So the subject’s difference from other subjects is itself externally constituted, but is also internal to the subject. The subject is the product of the mechanism in which the subject finds/loses itself, and participates in the setting of the trap. Some subjects are produced in such a way as to act on an illusory sense of consciousness, that they are in control of their lives and events surrounding them, that they are freely choosing their destiny, when in fact all the rules and possibilities of action are always already set. In a panoptic mechanism taking on passive and submissive roles brings wealth, love, health, and even happiness. In a panoptic mechanism everyone is a slave, but some are less so than the others. In a panoptic mechanism submissiveness brings power. The system is such that the subject, to feel secure, takes on a passive role. In return the subject is recognized as worthy of a higher step on the social ladder, which brings an illusionary sense of security. The efficiency of the panoptic mechanism depends on its ability to produce submissive/adaptive/rational subjects.

Panopticomania

Burroughs’s mind works exactly like a panoptic mechanism. And I think this has been one of the major concerns of Cronenberg throughout the shooting of the Naked Lunch. What we have in the movie is a man who has been caught up in a trap that he himself set. Bill Lee projects the construct of his psyche onto the external world and it is by doing this that he finds/loses himself in the trap, dismembered. The paranoid fantasy he constructs becomes so powerful that it engulfs him causing his detachment from the external world and leading to the eventual loss of the gap between fantasy and reality. It as this point that the Real slips through and tears him apart. He, in his mind, literally becomes a slashed monster, sees himself thus, as he is not, and becomes other than himself. His becoming-other, however, is in the wrong direction, or rather results in a confusion concerning the relationship between the subject and the object.

Burroughs believed that literature gives birth to action. He also saw writing itself as an action. At the end of the film we see Bill Lee at the border on his way back to Annexia from the Interzone. Two guards ask him what his occupation is. He says he is a writer. They want him to demonstrate. He takes out the gun from his pocket. Joan is at the back of the car. It’s time for their William Tell routine. Joan puts a glass on her head. Lee misses the glass and shoots Joan on the head. The guards are satisfied. The spectator witnesses this crime and remembers the person irrelevantly looking out of the window when they were slaughtering Kafka’s K. at the end of The Trial. Who was that person? Was it God? Was it a single man? Was it all of humanity?


[1] William Burroughs, Queer (New York: Penguin, 1985)

[2] Gilles Deleuze, The Logic of Sense, trans. Mark Lester (London: Athlone, 1990), 187

[3] Deleuze, The Logic of Sense, 188

[4] William Burroughs, Letters (New York: Penguin, 1994), 286

[5] William Burroughs, Nova Express, (London: Panther, 1982), 30

[6] Michel Foucault, Discipline and Punish, trans. Alan Sheridan (New York: Pantheon Books, 1977), 204

Cronenberg, Burroughs, Deleuze (3) – From Metaphor and Towards Metamorphosis

From Metaphor and Towards Metamorphosis 

With Deleuze the Cartesian mind-body dualism has been replaced by body-language dualism. Without being too insistent about it at this stage I would like to hint at where the relationship between these dualisms is heading. I propose, therefore, what Deleuze has already pointed out, namely a new possibility of analysing the nature of dialectics in the context of the relationship between language and its affective quality, what he calls the sense-event. As he puts it in his Time-Image, Deleuze thinks that neither the grounds of mind-body dualism nor those of body-language dualism are sufficient to theorize a progressive movement towards a new mode of signification. 

These are no longer grounds for talking about a real or possible extension capable of constituting an external world: we have ceased to believe in it, and the image is cut off from the external world. But the internalisation or integration in a whole as consciousness of self has no less disappeared.[1] 

Lothar Osterburg, Trailer Park, 2009

 There is no longer any movement of internalisation or externalization, integration or differentiation, but a confrontation of outside and an inside independent of distance, this thought outside itself and this un-thought within thought.[2] 

Deleuze invites exploration of a text in the way of explicating a progressive potential within the text which had hitherto been consciously or unconsciously ignored or neglected, or even repressed. This theme is linked to Deleuze’s life-long concern with Nietzsche’s thought of eternal recurrence and difference qua repetition. The emergence of the unthought within thought requires an encounter with the already thought in such a way as to expose its inner dynamics and hence show what’s inside it as its outside. That is, what the thought seems to be excluding as its other constitutes its subject as self-identical. It is through the exclusion of the other that the subject becomes itself. If we apply this to subject-object relations it becomes obvious that the split between the subject and the object is itself a construct, but nevertheless a necessary construct for the subject’s subsistence. In-between the subject and the object, then, there is an unfillable gap that is constitutive of both the subject and the object. 

[…]thought, as power which has not always existed, is born from an outside more distant than any external world, and, as power which does not yet exist, confronts an inside, an unthinkable or un-thought, deeper than any internal world […][3] 

For Deleuze new thought can only emerge as a curious absurdity, as in the Beckett case. That is because the new thought, although it comes from within the old thought, is beyond the interiority and the exteriority to a context in its primary emergence. This means that new thought always appears to be a non-sense, for no thought can be meaningful without a context. But non-sense is not the absence of sense. It is, rather, sense with its own particular context which it creates in the process of emergence from out of the old context. Being without the predominant context makes the thought seem absurd, non-sense, but not meaningless, for meaningless means absence of thought. 

What is a transcendental field? It can be distinguished from experience in that it doesn’t refer to an object or belong to a subject (empirical representation). It appears therefore as stream of a-subjective consciousness, a pre-reflexive impersonal consciousness, a qualitative duration of consciousness without a self. It may seem curious that the transcendental be defined by such immediate givens: we will speak of a transcendental empiricism in contrast to everything that makes up the world of the subject and the object.[4] 

Joe Bosquet must be called Stoic. He apprehends the wound that he bears deep within his body in its eternal truth as a pure event. To the extent that events are actualised in us, they wait for us and invite us in. They signal us: “My wound existed before me, I was born to embody it.” It is a question of attaining this will that the event creates in us; of becoming the quasi-cause of what is produced within us, the Operator: of producing surfaces and linings in which the event is reflected, finds itself again in incorporeal and manifests in us the neutral splendour which it possesses in itself in its impersonal and pre-individual nature, beyond the general and the particular, the collective and the private. It is a question of becoming a citizen of the world.[5] 

In this light we now see more clearly what Deleuze is aiming at with his disjunctive synthesis of transcendence and immanence leading to his transcendental empiricism. Empiricism starts from the material world rather than from the metaphysical world which it sees only as a product of the representations of experience through language. In fact, it knows no world other than the material world, and even if it does it prioritizes the physical world over the metaphysical world. Experience of the world before subjectivation is what Deleuze is trying to access. Since reaching the pre-subjective field of partial objects is possible only through language, and he knows that, he says that we have to produce that pre-subjective field which is called the transcendental field of immanence. 

The event considered as non-actualized (indefinite) is lacking in nothing. It suffices to put it in relation to its concomitants: a transcendental field, a plane of immanence, a life, singularities.[6] 

What we encounter with Deleuze is therefore a replacement not only of body-mind dualism with body-language dualism, but also a beyond of both, a triplicity; body-language-event. The event is the sense-event. It is the emergence of new sense not out of non-sense but out of the old sense, that is, a simultaneous explication of a new sense within the old sense. The new sense always appears in the form of an absurdity at first, but in time, through repetition and persistence this absurdity starts to appear in a new light and becomes new sense. Absurd is not the same as non-sense or absence of sense, but explicates the non-sense inherent in sense, and hence is in-between non-sense and sense. Through the absurd the unconscious manifests itself revealing another realm of consciousness which goes beyond the subject and the object and yet that is at the same time in-between them. This consciousness is the becoming of being. Being is a whole in process, that is, being is its own becoming whole, therefore it is always incomplete and yet whole. Being is an incomplete idea of wholeness which is in the process of becoming present. Since presence can only be at present, and since time is only at present, the pre-subjective impersonal consciousness is in between past and present, that is, in-between non-being and being. The event is the emergence of being out of becoming, what Deleuze calls a static genesis. This emergence, however, has neither a beginning nor an end, and therefore being is the becoming of an impersonal consciousness; “I am all the names in history,” says Nietzsche. 

This indefinite life does not itself have moments, close as they may be one to another, but only between-times, between-moments; it doesn’t just come about or come after but offers the immensity of an empty time where one sees the event yet to come and already happened, in the absolute of an immediate consciousness.[7] 

At this moment in time, and in this place all the wounds of humanity of the past are incarnated.  One has to feel the pain of all the past times, empathize with all those sufferings and learn from them for progress to take place. It is not the individual sufferings of a single person that Hegel, Nietzsche, or Deleuze talk about. Theory, cinema, and literature are not personal affairs. What is at stake is the “presence” of all the already dead bodies that have to be turned into fertilizers. How to make use of the already dead bodies in the service of progress as opposed to the ones who kill in the service of  progress? Suffering and pain indeed weaken the subject and yet there is no way other than turning this weakness, this impoverishment of thought into an affirmative will to power beyond the life/death drive. Perhaps a more than banal accident of life but just like Bosquet “my wound existed before me.” I am always already injured and if there are many more wounds awaiting to be embodied by me, well then, this indeed signifies that it has always been, still is, and will never cease becoming a time of passage from homo sapiens across homo historia and it appears to be towards homo tantum. 

 


 

[1] Gilles Deleuze, Time-Image, (London: Athlone Press, 1989),  277 

[2] Deleuze,, 363 

[3] Deleuze, 273 

[4] Gilles Deleuze, Pure Immanence: A Life, trans. Anne Boyman (New York: Zone Books, 2001), 25 

[5] Deleuze, The Logic of Sense, trans. Mark Lester (London: Athlone, 1990), 148 

[6] Deleuze, 31-2 

[7] Deleuze, The Logic of Sense, 29

Artaud, Deleuze and The Will to Nothingness

Catrin Welz-Stein – Unborn Ideas

I close the eyes of my intelligence, and giving voice to the unformulated within me,

I offer myself the sense of having wrested from the unknown something real.

I believe in spontaneous conjurations.

On the paths along which my blood draws me, it cannot be that one day I will not discover a truth.[1]                     

Antonin Artaud does not call for destruction of reason through the imaginary but an affirmation of reason’s self-destruction on the way to self-creation. There is a knowledge which Artaud is in pursuit of without knowing what that knowledge is and what purpose it serves. Artaud is always in pursuit of this unattainable and ungraspable knowledge and he knows that, as he is trying to give it a voice, he is moving away from and towards it at the same time. This movement of the action and the intention in opposite directions, that is, this turning against itself of desire, is a thought that Artaud feels with his body but cannot express through articulable forms. Artaud makes the inarticulable visible through costume, lighting, etc., and tries to create a psychic materiality.

When you will have made him a body without organs,

then you will have delivered him from all his automatic reactions and restored him to his true freedom,

then you will teach him again to dance wrong side out,

as in the frenzy of dancehalls,

and this wrong side out will be his real place.[2]

Artaud feels the body as an externally organized structure and experiences existence as pain because he feels his body to be restricted and subjected to forms it is not willing to take at all times. By disorganizing the body through putting its organs to different uses, to uses other than they have come to be put, within the organizing structures, Artaud induces agony in himself. Desiring to become inorganic, and this is a desire for an impersonal death, an “ungraspable” knowledge, this striving for infinity within the finite, is, paradoxically, at once the product and the producer of his affirmation of life as it is, that is, as “a process of breaking down…” as the American novelist F. Scott Fitzgerald puts it in his The Crack Up. In The Logic of Sense Deleuze reads Fitzgerald’s The Crack Up with Kleinian eyes and says that identification is peculiar to manic-depressive states. In The Crack Up Fitzgerald says,

I only wanted absolute quiet to think about why I had developed a sad attitude toward tragedy—why I had become identified with the objects of my horror or compassion… Identification such as this spells the death of accomplishment. It is something like this that keeps insane people from working. Lenin did not willingly endure the sufferings of his proletariat, nor Washington of his troops, nor Dickens of his London poor. And when Tolstoy tried some such merging of himself with the objects of his attention, it was a fake and a failure…[3]

Deleuze affirms Fitzgerald’s manic-depressive attitude towards the relationship between life and death in the Porcelain and Volcano chapter of his The Logic of Sense.

If one asks why health does not suffice, why the crack is desirable, it is perhaps because only by means of the crack and at its edges thought occurs, that anything that is good and great in humanity enters and exits through it, in people ready to destroy themselves—better death than the health which we are given. Is there some other health, like a body surviving as long as possible its scar, like Lowry dreaming of rewriting a “Crack Up” which would end happily, and never giving up the idea of a new vital conquest?[4]

In a world ruled by fools full of ill-will war becomes inescapable. Since war, conflict, violence and destruction are interior as much as they are exterior affairs, it is hardly a matter of bad luck that we will be wounded at some point if we haven’t been already, not that I wish it to be that way. An injury either creates a possibility of relating to the world as it is, or turns into an obsession with the self, into a delusional and rigid vision of existence projected onto the real, giving birth to neurosis or psychosis.

We do not write with our neuroses. Neuroses or psychoses are not passages of life, but states into which we fall when the process is interrupted, blocked, or plugged up. Illness is not a process but a stopping of the process, as in “the Nietzsche case.” Moreover, the writer as such is not a patient but rather a physician, the physician of himself and of the world. The world is a set of symptoms whose illness merges with man. Literature then appears as an enterprise of health.[5]

If we have a look at “the Nietzsche case” once again with Kleinian eyes through a Deleuzean looking glass we see that the mechanism of projection-introjection is itself the illness of which resentment and bad conscience are the causes and the symptoms at the same time. In the case of projection the subject’s illness is manifested as aggressiveness and hostility towards the external world, always accusing the others for his weaknesses. This is the paranoiac who is afraid of being persecuted and sees the external world as a threat to his unity. Afraid of the external world, he himself becomes hostile towards it in turn provoking hostility against himself, thus giving birth to the actualisation of what he was afraid of. And in the case of introjection the subject internalises the fault and turns against itself. This is the psychotic who identifies with everything and everyone, and who has too many points of view together with a divergent coherency of thought and action. Intending to take a spoon from the drawer he might break a plate on the floor. In the first case there is a detached hostility and in the second case there is an immersed attachment. In both cases the subject becomes the victim of his own actions against and toward himself and others.

Nietzsche says that the will to nothingness eventually turns against itself and becomes creative and revalues all values to survive death.[6] It is through writing as the patient and the physician, as the analyst and the analysand at the same time that Nietzsche is able to turn resentment, bad conscience, fear, and guilt against themselves and produce desire as affirmation of the world as it is after a conflict that is interior as much as it is exterior to the self. This conflict is the crack up that happens to the body of the organism. It is neither interior nor exterior, but a “surface event.”

There was a silent, imperceptible crack, at the surface, a unique surface Event. It is as if it were suspended or hovering over itself, flying over its own field. The real difference is not between the inside and the outside, for the crack is neither internal nor external, but is rather at the frontier.[7]

It was on and through his disorganized body, or body without organs, that Artaud traversed the realm of affective intensities and the field of partial objects and produced desire without an object. For Deleuze the process of traversing the affective intensities felt through body rather than grasped by the mind may be the returning of a “great health.” Here objects are related to in such a way as to produce desire not as lack but as production. For Deleuze it is the production of fantastic visions of the world that are the causes and effects of certain pathological conditions. Bombarded with unattainable objects of desire the subject becomes mad.

In both Freud and Lacan the attitude toward the object of desire is Platonic in that the object of desire is the object of desire as long it remains unattainable. To put it in Lacanian terms, with the acquisition of language the subject starts to enter the symbolic order and loses touch with the Real which is the unconscious. His desires and drives are shaped and organized according to the Symbolic order of the language game in which he finds himself. So the direction the subject’s becoming will take depends not only on the way in which the subject relates to language but also how he relates the unconscious to language, since it is one’s production of a sense of oneness for oneself in and through language that determines one’s way of being in relation to language. Language is neither internal nor external to the subject and yet it is equally internal and external to the subject since language is the surface in-between. Beyond language there is nothing. Deleuze observes a movement of language towards its outside, not to reach the outside of language, but to create an outside language within language in writers such as Kafka, Beckett, and later Kerouac(The Subterraneans, Big Sur). For Deleuze, their subversions of syntax become their passage through the fleshy transparency of signification unless the process of production through the unconscious forces of the outside is blocked.

All writing involves an athleticism, but far from reconciling literature with sports, or turning writing into an Olympic event, this athleticism is exercised in flight and in the breakdown of the organic body—an athlete in bed, as Michaux put it.[8]

Deleuze sees the goal of literature as giving a voice to those unconscious forces that belong to a realm outside of language and those forces can only be given a voice by creating an impersonal consciousness through a new language within language – an outside language inside the language – that traverses the field of partial representations of the human condition and produces an other sign that is itself at once internally exterior and externally interior to the major order of signification. The outside of language is the realm which Deleuze calls “the transcendental field of immanence.” It is through this synthesis of transcendence and immanence that Deleuze is theoretically able to touch the material through the psychic, and the real through the fantasy. But the problem persists, for the question remains: how are we going to practice this theory? Is it practical enough to be applied to the banalities of ordinary life?

In his book, On Deleuze and Consequences, Zizek bases his critique of Deleuze on his use of Artaud’s concept of the body without organs. As is clearly understood from the subtitle of his book, Organs Without Bodies, Zizek’s aim is to reverse the Deleuzean order of things. With his well known 180 degrees reversals, Zizek uses Deleuze’s idea of a resistance to Oedipalization against him, and that way shows that Deleuze’s assumption that Oedipalization is something to be resisted is based on false premises. For Zizek, Oedipalization takes place when and if there is a failure in the system. Zizek considers Anti-Oedipus to be a book in which Deleuze and Guattari situate a psychotic and an Oedipalized subject on the opposite poles of one another. For Zizek a psychotic is the Oedipalized subject par excellence, rather than being an anti-Oedipe who escapes the codes of capitalist axiomatics.

[…] far from tying us down to our bodily reality, “symbolic castration” sustains our very ability to “transcend” this reality and enter the space of immaterial becoming. Does the autonomous smile that survives on its own when the cat’s body disappears in Alice in Wonderland also not stand for an organ “castrated,” cut off from the body? What if, then, phallus itself, as the signifier of castration, stands for such an organ without a body?[9]

What for Deleuze is traversing the symbolic becomes traversing the fantasy in Lacan as Zizek pointed out first in The Sublime Object of Ideology and later in The Ticklish Subject. Traversing the fantasy is a stage in the process of progress and it is only upon entry into the symbolic that the subject becomes capable of initiating change in the symbolic order. In Lacan’s mirror stage where a series of imaginary Narcissistic identifications prepares the subject for the symbolic order, the child has an illusory sense of oneness and yet this illusion is necessary only in so far as the child will traverse this fantasy and will have learned to look at the world without identification.

A detachment from identification is common to both Deleuze and Zizek and in this sense they are both Lacanians. Lacan is the one that unites them as he splits them. For Deleuze the Lacanian symbolic is that in which the subject finds itself upon birth, so to initiate change the subject should try to introduce an exterior inside, a new language within language. Deleuze tries to put language in touch with a pre-verbal, if not pre-linguistic stage. It is to Klein’s paranoid-schizoid position that Deleuze attributes importance. Deleuze takes the schizoid part of the paranoid-schizoid position and extracts from schizophrenia all apart from introjection and splitting processes. Following Klein Deleuze makes a distinction between introjection and identification. According to Deleuze introjection and splitting are useful tools for creating difference, whereas identification not only preserves but also serves the system. Zizek agrees with him on the usefulness of introjection and splitting. In both cases the revolutionary-becoming is associated with the death drive. But Zizek disagrees with Deleuze’s association of introjection and splitting with schizophrenia.

For Zizek there must be a distance between reason and non-reason. One should not try to name the unnamable, but rather one must show the nothingness outside everything, to do this one must introduce a split into the symbolic continuity of things. An interruption of the system from within is the aim of both Zizek and Deleuze, and yet while Zizek affirms non-representability of the unconscious, Deleuze sees the unconscious as the producer of difference and initiator of change. For Deleuze the unconscious is dynamic, but for Zizek it is static and it is this static state outside time that manifests itself in the form of gaps within the symbolic order; it splits and interrupts the flow of things, rather than participate in it.

What does Oedipalisation mean? It means the production of a subject who would willingly blind himself to the social reality. Who would rather see nothing rather than see the truth. An Oedipalised subject is he who blinds himself to the symbolic meaning of things and chooses to see the nothingness before or after the symbolic. It is the symbolic that Oedipus represses by blinding himself to it. That he has engaged in sexual intercourse with his mother and killed his father, induces such guilt in Oedipus that he punishes himself by cutting himself off from the external world. This Oedipal introversion of the subject leads to a weakening rather than a strengthening of the subject’s fantasy world. With the exclusion of reality, fantasy has nothing to mediate. Unconscious drives cannot attach themselves to external objects so as to turn into desire. Left hanging in the air the unconscious drives turn against the subject and the subject becomes self-destructive, blinding himself to the symbolic, thus opening himself up to the nothingness behind it by choosing to see nothing. An Oedipal subject closes his eyes and seeing the nothingness inside says there is nothing outside. He is Nietzsche’s man, as he puts at the beginning and the end of On The Genealogy of Morality, who “would much rather will nothingness than not will.” For he still wills, otherwise he wouldn’t want to blind himself to it all. It is because he cannot help willing although he doesn’t want to will that his will turns against itself and wills nothingness rather than something to stand in for it.

It is Nietzsche’s legacy to have made a distinction between the subject and the signifier, knowledge and truth. By exposing the absence of an origin of knowledge he exposed the absence of truth in knowledge. Nietzsche inverted into the spotlight the nothingness inherent in knowledge which is constitutive of a truth outside scientific knowledge. Truth can take many forms and one of these is poetic truth, which Nietzsche considers to be closer to the absolute truth, which is the truth of the absence of truth at the center of scientific knowledge.

For Nietzsche there is no relation whatsoever between the object of knowledge and the truth of experience. Perhaps what Deleuze would years later call transcendental empiricism explains the production of truths alternative to the scientific truth which claims to be objective and absolute. For Deleuze literary activity involves creation of impersonal consciousnesses within the subject of writing. The subject of writing should detach himself/herself from the object of writing; that is, the writer should make a distinction between the enunciated and the subject of enunciation. As Deleuze puts it in his essay, Life and Literature, “literature is not a personal affair.”  Literature is not about writing down one’s personal experiences as they actually took place, which is impossible anyway. Literature involves selecting from experience and giving form to formless experience which is yet to take the shape of new forms of experience. Out of the old experience one creates new experience.

The writer turns unnameable drives into new symbolic meanings and new objects of desire. With Deleuze the unconscious is given a very important role to play in the process of cultural production. The non-symbolizable drives interacting with one another and forming what is called the unconscious are turned into comprehensible and desirable forms through literature. Literature contributes to the symbolic order by producing not only new symbolic meanings of the already existing objects but also new objects which didn’t previously exist within the symbolic order.  Literature, therefore, turns the unconscious drive into the symbolic desire. So Deleuze could say the unconscious produces desire. Literature is about turning the pre-verbal — if not pre-linguistic — objects into verbal objects with symbolic meanings attached to them. Literature constructs a world in which the objects gain new significance.


David Pearson, a plastic surgeon, has a fun hobby: photoshopping Escher/Droste-style remixes of watch-faces, combination-lock dials, and other round readouts and twiddles.

Droste/Escher (Thanks, Teresa!)

(Image: Antique Time Spiral, used by permission)


[1] Antonin Artaud, Selected Writings, ed. Susan Sontag (Berkeley: University of California, 1975), 92

[2] Antonin Artaud, Selected Writings, ed. Susan Sontag (University of California: Berkeley, 1975), 570-1

[3] F. Scott Fitzgerald, The Crack Up (New York: New Directions, 1945), 69

[4] Gilles Deleuze, The Logic of Sense, trans. Mark Lester with Charles Stivale, (London: Continuum, 2003),

[5] Gilles Deleuze, Essays Critical and Clinical, transl.Daniel W. Smith and Michale A. Greco (London and New York: Verso, 1998), 3

[6] Friedrich Nietzsche, On The Genealogy of Morality, trans. Maudemarie Clark and Alan J. Swensen (Indianapolis: Hackett, 1998), 116-8

[7] Gilles Deleuze, The Logic of Sense, trans. Mark Lester with Charles Stivale, (London: Continuum, 2003), 155

[8] Gilles Deleuze, Essays: Critical and Clinical, transl. Daniel W. Smith and Michael A. Greco (Verso: London and New York, 1998), 2

[9] Slavoj Žižek, Organs Without Bodies: On Deleuze and Consequences (New York and London: Routledge, 2004), 83

Alain Badiou – The Subject of Art

My Father was accustomed to say, “we must begin by the beginning.” So, I must begin this lecture about the subject of art by its beginning. But, what is this beginning? I think we have to begin with the oldest question—the question of being, the question of being as being, of being qua being. What is being? What are we saying when we say something is, something of art is…? Something of art is a joy forever, for example. What are we saying? I begin by a fundamental distinction between three levels of the signification of being.

First, when I say something is, I just say something is a pure multiplicity. ‘Something is’ and ‘something is a multiplicity’ is the same sentence. So, it’s a level of being qua being. Being as such is pure multiplicity. And the thinking of a pure multiplicity is finally mathematics.

The second level is when we are saying something exists. It is the question of existence as a distinct question of the question of being as such. When we are saying something exists we are not speaking of a pure multiplicity. We are speaking of something which is here, which is in a world. So existence is being in a world, being here or, if you want, appearing, really appearing in a concrete situation. That is ‘something exists.’

And finally, the third level is when we are saying that something happens. When something happens we are not only saying that it is a multiplicity—a pure multiplicity, and we are not only saying that it is something in a world—something which exists here and now. ‘Something happens’ is something like a cut in the continuum of the world, something which is new, something also which disappears—which appears, but also which disappears. Because happening is when appearing is the same thing as disappearing.

And so we have to understand the relation between the three levels, the relation between being qua being (pure multiplicity), existence (multiplicity but in a world, here and now), and happening or event. And so we can see that in a concrete situation we have, finally, two terms: first, a world, a world situation—something where all things exist; and after that, an event, sometimes, an event—which is something which happens for this world, not in this world, but for this world. And I call a subject ‘a relation between an event and the world.’ Subject is exactly what happens when as the consequence of an event in a world we have a creation, a new process, the event of something. And so we have something like that. It’s something like in a protest…

The point is that the relation, the subjective relation between an event and the world cannot be a direct relation. Why? Because an event disappears on one side, and on the other side we never have a relation with the totality of the world. So when I say that the subject is a relation between an event and the world we have to understand that as an indirect relation between something of the event and something of the world. The relation, finally, is between a trace and the body. I call trace ‘what subsists in the world when the event disappears.’ It’s something of the event, but not the event as such; it is the trace, a mark, a symptom. And on the other side, the support of the subject—the reality of the subject in the world—I call ‘a new body.’ So we can say that the subject is always a new relation between a trace and a body. It is the construction in a world, of a new body, and jurisdiction—the commitment of a trace; and the process of the relationship between the trace and the body is, properly, the new subject.

So when you have to speak of the subject of art you have to speak about a lot of things. First, what is a world of art? What is a world for artistic creation? It’s not the world in general. It is a specific world for the artistic creation… ah! the police. So this is the first question. The second question is—what is an artistic event? What is the new singularity in the development of the art world? Third, what is a trace? What is the trace of an event in the art field? And after all that—what is the construction of the new art body?

But before all that, I want to clarify by some examples the question of the subject as a relation between trace of an event and construction of the body in a concrete world. And I want to refer to our situation today—to our world today—because I think that there are today two subjective paradigms. I can propose that the concrete situation of our world today is something like a war between two subjective paradigms, two norms of what is a subject. The first one is a strictly materialist and monist philosophy of the subject. And what is, finally, a monist philosophy of the subject? It is the affirmation that there is no distinction, no real distinction between the subject and the body. If you want, in the first paradigm, I show… (drawing figure). The first paradigm… the subject is something which is finally identified to the body as such. So the subjective creation as a sort of paradigm is only experimentation of the limits of the body. The subject is something like an experience of its proper limits, an experience of finitude, an experience of the limits of the concrete unity of the body. But finally, what is a limit of the body, a limit of the living body? The strongest limit of the living body is death. So we can say that in the form of the subjective paradigm the subject is experimentation of death as final limit of the body. And I think, for example, that there is something like that in the extremist form of body art. Body art is experimentation, direct experimentation of the limits of the body as exposition of itself. But, in fact, the absolute limit of something like body art is experimentation of death as such; and the real and final experimentation in the field of body art can be to commit suicide in public. And it’s a philosophical determination, because a long time ago Heidegger said that finally Dasein or subject is a subject for death. I can name, in general, the subjective paradigm which is experimentation of the limits of the body something like enjoyment because enjoyment is the name of experimentation of death in life, experimentation of the big thing (das Ding) as death in life itself. So we can say that the first paradigm of subjectivity in our world is the paradigm of subjectivity as enjoyment. But in enjoyment we have to hear the French jouissance—that is exactly the same word. And the definition of enjoyment is experimentation of death in life with experimentation of the limits of the body. And naturally enjoyment is beyond pleasure. Pleasure is something like experimentation of life in life, but enjoyment is beyond pleasure because it’s experimentation of the limit of the body as death. So we can say that the sort of subjectivity, the paradigm of subjectivity is a subject for enjoyment. And I think it is the Western paradigm today; it is, in fact, our paradigm—subject for enjoyment and the experimentation of the limits of the body.

The second one, the second paradigm is an idealistic, theological, metaphysical philosophy of the subject. The subject can be completely separated from its body. In the first paradigm the subject is finally the body itself. In the second paradigm, the subject is completely separated from its body; it is against the subject as subject for enjoyment, the revival of a profound desire of separation, the desire of existence of the subject as separated of its body. The goal is to find—in life, in action—the point where the body is only the instrument of the new separation. And you see, it is not experimentation of death in life as in enjoyment, but it’s assumption of a new subjective life by the mean of death itself. So we can say that that sort of subjective paradigm is experience of life in death, which is opposed to the experience of death in life. And we can name sacrifice that sort of subjective experience of life in death.

And the contemporary world is a war between enjoyment and sacrifice. And the war against terrorism is, finally the war between enjoyment and sacrifice. But in this war there is something in common. There is something in common between the two paradigms. What is common to enjoyment and to sacrifice, finally, what is common is the power of death, the power of death as experimentation of the limits of the body on one side but experimentation of death as the means for a new life on the other side. So with the war between enjoyment and sacrifice, we have finally confronted the power of death. And there is no real place for artistic creation in that sort of war—I am convinced of this point—neither on the side of the power of death as enjoyment neither on the side of the power of death as sacrifice. There is no real opening for new artistic creation. So we have to find a third possibility, a third paradigm. We have to propose something as a new subjective paradigm which is outside the power of death—which is neither enjoyment (that is pleasure beyond pleasure and limits of the body) nor satisfaction in the sacrifice (that is enjoyment in another world, of pleasure beyond suffering). We can say that—neither pleasure beyond pleasure nor pleasure beyond suffering, neither enjoyment nor sacrifice. In a much more theoretical framework we can say something like that.

We have three possibilities of relation between a subject and its body. Three possibilities. And so, we have three possibilities for a subjective paradigm. The first one—reducibility. Reducibility. The subject can be reduced to its body. We can say that we have, in that case, an immanent identity of the subject, immanent identity because there is no separation at all, but complete identification between the process of the subject and the becoming of its body. In that case the norm—the final norm is enjoyment, the experimentation of death in life. The second is separability. Separability… The subject can be separated completely from its body. There is, in that case, transcendent difference, transcendent difference because the subject experiments itself in the transcendent world and not in the sacrifice of its proper world. The third possibility that I propose is something like immanent difference, not immanent identity, not transcendent difference, but immanent difference. In that case, the subject is not reducible to its body, so there is something like an independent subjective process. There really is a creation, which is not reducible to the experimentation of the limits of the body. But it’s impossible that there exists some separation between the subject and its body. So there is neither separation nor reducibility. And that is the situation of the subject when we can understand it as a process of creation, a process of production, a process, which really organizes the relation between the trace of an event and the construction of a new body in the world. And so we have to find something which is not in the field of the contemporary war between enjoyment and sacrifice. And I think the question of the subject of art is today this question—to find something like a new subjective paradigm, which is outside the contemporary war between enjoyment and sacrifice. And we have a lot of problems to organize in this new paradigm—a new paradigm, which has to understand completely how a new body can be oriented by a subjective process without separation and without identification. So we have to maintain the distance between the trace of an event and the construction of the body.

I show you once more my revendication which is, you can understand now, is a revendification of a new subjective paradigm. Give me a new subjective paradigm. And so you can see that if the subject is completely an identity with the body there is no real difference between the trace and the body. And so, finally, the subject is completely in the world. If you have a complete separation between the subject and the body, the subject is completely on the side of the trace, and so it is completely dependent on the event as an absolute event, an event which is outside the world. So on one side, the subject is completely in the world and it is an experimentation of the limit of the world, and on the other side, it is completely outside the world and so it is on the side of something like an absolute event, and so something as god, like god. Can you understand? So in the two subjective paradigms of the contemporary war we find the subjective process as a complete immanent situation and in distinction with the world, or complete separation and in distinction with the radical absolute event. We can see in the two paradigms that we cannot have something like a real process of production without experimentation of the limits, finally, of death in the life of the world, or you have something like transcendency and religious determination. So the question of the subject of art is really to maintain the distinction between the body on one side and the trace of the event on the other side. And so we have, I think, to solve something like five problems. So it’s a criterium of size that I give to you to solve five problems.

First one, first problem—if really the subjective process as a process of creation is in the field of a distance (but an un-separated distance) between the trace and the body we have to interpret the event as an affirmative one and not as a purely disappearing or transcendent thing. If really the trace of the event is in the constitution of the subject, but not reducible to the body, we have to understand that an event, a real event is something affirmative. And it’s a complex question because certainly there is a sort of disappearing of the event, and event is a split, a break of the law of the world. So what is the relation in a real event between the negative dimension—rupture, break, split, as you want—and the affirmative necessity if really an event is not absolute and real event? So we have to think of an event, and for example, of an artistic event, as something like an affirmative split. It’s the first problem.

The second problem is the very nature of the trace—the trace of an event if an event is something like an affirmative split. What is a trace? And it is a very complex distinction because a trace has to be in the world. The event is not exactly in the world, but the trace has to be in the world. And so, what is the trace? What is the real trace, which is in the world but which is in relation with the event as affirmative split? It’s the second big problem.

The third problem is—what is the constitution of the new body? Because naturally we have in the case of the subjective process something like the new body. Only a new body is in the possible disposition to have something new in the creation in relation to the trace of the event. The trace of the event is not reducible to the body, but the body is not reducible to the world. Once more, once more. (showing figure) You can see that if the subjective process is really in the distance of the trace and the body, we have to interpret the construction of the body as the new body because if the body is not the new body it is completely in the world and it’s not in relation, in complete relation to the trace of the event as an affirmative split in direction of the world. So the third problem is—what is a new body in the world? What is a new composition of multiplicities? What is really something, which is the support of the subjective process, the support of a trace? That is the third problem.

The fourth problem is the question of consequences. We have a new body. We have a relation to the trace of an event, so we have something which is materialist creation, the process of materialist creation of something new. What are the consequences of all that and how can we be in the discipline of the consequences? Because naturally, if there is something new in the subjective process we have to accept the incorporation in the new body and so the discipline of the consequences, of the practical consequences of the new body.

And the final problem is to find something like an immanent infinity because if the subjective process is something like a new creation in the world we have an infinity of consequences. We cannot have an experimentation of the limits, precisely. We are not in the first paradigm which is experimentation of the limits. In fact, there are no limits. There are potentially—virtually (to speak as Deleuze)—we have virtually an infinity of consequences. But this infinity is not a transcendent one; it’s an immanent infinity. It is the infinity of the body itself in relation to the trace. So we have to understand what is an immanent infinity and not a transcendent infinity.

So our five problems are: event as an affirmative split. What is exactly the trace of an event? What does the constitution in the world of the new body mean? How can we accept the discipline of consequences? And what is an immanent infinity? And that is the questions we have to solve to say something about the artistic subject.

So I have to solve the five problems. Or I have to say something about the possibility of solving the five problems, but in the artistic field, not in general—not in general since the problem is absolute… It concerns all types of subjective processes. But what is the question in the artistic field? (drawing diagram)…

First, we have to say what is an artistic world. What is a world of art? Something like that is our first question, our preliminary question. I propose to say that a world is an artistic one, a situation of art, a world of art when it proposes to us a relation between chaotic disposition of sensibility and what is acceptable as a form. So an artistic situation, in general, is always something like relation between a chaotic disposition of sensibility in general (what is in the physical, what is in the audible, and in general) and what is a form. So it’s a relation (an artistic world) between sensibility and form. And it’s finally a proposition between the split of sensibility, between what is formalism—what can be formalized of the sensibility—and what cannot. So, it’s something like that. (drawing diagram) ‘S’ is sensibility, ‘F’ is form, so the general formula for an artistic world is sensibility in the disposition of relation between what is a form and what is not a form. So something like that, very simple. So when we have something like an experimentation of relation of that type between sensibility and form we have something like general artistic situation. It’s a completely abstract definition, but you can see the nature of the definition. So, if you want, the state of affairs in the artistic world is always a relation between something like our experimentation of chaotic sensibility in general, and the distinction, which is a moving distinction, between form and inform, or something like that. And so we experiment with an artistic situation when we experiment with something which is in the relation between sensibility, form, and inform.

But if this is true, what is an artistic event? What is the general formula for an artistic event? We can say that, generally speaking, an artistic event, a real artistic event is a change in the formula of the world. So it’s a fundamental transformation of that sort of formula. So it’s something like the becoming formal of something which was not. It’s the emergence of a new possibility of formalization, or if you want, it’s an acceptance like form of something which was inform. It’s the becoming form of something which was not a form. And so it’s a new current in the chaotic sensibility. It’s a new disposition of the immanent relation between chaotic sensibility and formalization. And we can have something like that, which is, if you want, the event—the artistic event as an affirmative split. (drawing figure) This time, ‘S’ is always sensibility, ‘F’ is form and ‘F1’ is the new disponibilité of the formalization. And so you have something like that when you have an artistic event. Sensibility is organized in a new way because something which was inform—that is, a symbol of negation, we have negation (drawing) yeah?—something which was inform, or no formalization is accepted as a new form. So we have here the becoming of inform in something which is formalism and the split is with the new negation of form, which is the negation of F1. So that is exactly the general form of an artistic event as an affirmative split.

Why is it an affirmative split? It’s a split because we always have relation between affirmative form and negative one. What is formalist—what is accepted as a form and what is not accepted as a form. So it’s a split in the chaotic sensibility between form and inform, but it’s a new determination of the split, affirmative split, because something which was in negation is in affirmation. Something which was not a form becomes something like a form. So we are really in an artistic event. Something (showing diagram)… so we can see the affirmative idea of the split is when something which was in the negation, part of the formalist impossibility, becomes affirmative possibility. So we can say that in the field of artistic creation the affirmative split is finally something like a new disposition between what is a form and what is not. And the becoming in a positive form of something which was not a form is the affirmative dimension of an artistic event.

What is a body? What is the construction of a new body? A new body in the artistic field is something like a real concrete creation—a work of art, performances, all that you want—but which are in relation with the trace of the event. The trace of the event is something like that—the declaration always that something really is a form, that something new of the dignity of the work of art—and that is the trace. The trace is something like a manifesto, if you want, something like a new declaration, something which says, “this was not a form and it’s really now a form.” That is the declaration, so the trace of the event. And a new body is something like a work of art, which is in relation with that sort of trace. And often in the field of artistic creation is a new school, a new tendency. There is, generally speaking, some names—names of a school, names of a tendency, names of a new fashion as a dimension of artistic creation—and that is a new body. It’s a new body, which is in the world, in the artistic world, in the new artistic world. It’s the creation of something new in the artistic world in correlation to the trace. And we understand what is the discipline of consequences in the artistic field—discipline of consequences is a new subjective process, is something like really a new experimentation, a new experimentation of the forms, a new experimentation of the relation between the forms and chaotic sensibility. And so it’s the same of the new school, of the new tendency, of the new forms of creation, of artistic creation.

And the very interesting problem is the final problem: what is, in all that, the immanent infinity? What is the creation, in an artistic subjective field, of a new existence of infinite? I think in the artistic field the immanent infinity is finally something like the infinity of the form itself. And what is infinity of the form itself? It’s the possibility that the new form—the new possibility of the form—is in relation, in direct relation with the chaotic sensibility. And a new form is always a new access, a new manner, a new entry, a new access in the chaotic of sensibility. And so we can say that in the artistic field the creation of forms is really the movement of immanent infinity, is really an access of the infinity of the world as such. And so we are really in the development of a new tendency, so, of a new body in the artistic field, something like a new development of immanent infinity. It’s not only something else; it’s a new manner of thinking of the infinite itself. And it is why it is very important today to have something like new artistic experimentation because I think that the political question today is very obscure. I was saying that our problem is to find something which is not in the field of the war between enjoyment and sacrifice, to find something which is really a third subjective paradigm. I think that is the specific responsibility of artistic creation—this search—because often when political determination are obscure artistic determinations clarify the situation. And so as a philosopher, I can say to you (and I think a number of you have a relation to the artistic world, the artistic field) there really is today a specific responsibility of artistic creation, which is to help humanity to find the new subjective paradigm. So the subject of art is not only the creation of a new process in its proper field, but it’s also a question of war and peace, because if we don’t find the new paradigm—the new subjective paradigm—the war will be endless. And if we want peace—real peace—we have to find the possibility that subjectivity is really in infinite creation, infinite development, and not in the terrible choice between one form of the power of death (experimentation of the limits of pleasure) and another form of the power of death (which is sacrifice for an idea, for an abstract idea). That is I think, the contemporary responsibility of artistic creation. Thank you.

– Alain Badiou