File spoon-archives/lyotard.archive/lyotard_2003/lyotard.0302, message 97

Date: Wed, 19 Feb 2003 18:21:06 +0000
Subject: fear and phobia (some additional notes)

It is worth thinking of  fear in its relations to phobia. To be more 
specific in relation to the phobic object.  [I hope the following 
shorthand is not to obscure...] Which takes us inevitably to the 
boundaries of the psychotic and to the strong constructive power of the 
symbolic. On both these sides, the psychotic and the symbolic, we arrive 
at a limit case where the speaking person is turned into a person who 
can only speak because they are "split". With this chain of utterences,  
that of course contains deep and surface ideologies and logical and 
rational constructs. This limit case is established not in terms of an 
overdisciplinary jail, excepting perhaps the jail of our everyday lives, 
but through the radical affects of the psychoanalytical binary structure 
of the subject/object division (which is only ever binary). The origin 
of the limit case is in either the misrecognition of the arrival of 
primary narcisscism or the chaotic mis-structuring of objects that are 
percieved as absolutely false of necessity. Here we are witnessing the 
phobic cause of "fear".

Drawn out like this we can see that the spectacles everyday use of 
"fear"  (thinking of Eric's earlier emails) is interacting directly with 
this phobic/fear case. Then finally perhaps we can follow 
Kristeva...." its symbolic complexity, of the (verbal) sign in the 
grip of drive (fear, aggressivity) and sight (projection of the ego onto 
the other). But analytic reality, mindful of what is called 
"unanalysable" seems to cause experience to arise from another sympton, 
one that emerges from the same very problematic seperation 
subject/object - but now seemingly at the opposite end of phobic 

Here then we are sitting in the midst of the  phobic hallucination that 
the spectacle constructs as "something to be scared of..." what is 
offered for us to consider this through is the analytical structure to 
deny the horror of the spectacle and smile at its desperation. For here 
we can see elements of the connection - to draw the line - between 
Kristeva and Lyotard, especially the late moments in the inhuman, 
perhaps where Lyotard refers to the infans prior to these moments...

clarity? of course not...abjectly I shrug



Driftline Main Page


Display software: ArchTracker © Malgosia Askanas, 2000-2005