Thursday, 2 January 2014

Whatever I did I didn't mean it




  1. In 1957, in his Seminar Les formations de l'inconscient, Lacan introduces the concept of objet petit a as the (Kleinian) imaginary part-object, an element which is imagined as separable from the rest of the body. In the Seminar Le transfert (1960–1961) he articulates objet a with the term agal










    1. In the Seminars L'angoisse (1962–1963) and The Four Fundamental Concepts of Psychoanalysis (1964), objet petit a is defined as the leftover, the remnant left behind by the introduction of the Symbolic in the Real. This is further elaborated in the Seminar The Other Side of Psychoanalysis (1969–1970), where Lacan elaborates 





    ma
     (Greek, an ornament). Just as the agalma is a precious object hidden in a worthless box, so objet petit a is the object of desire which we seek in the Other. The "box" can take many forms, all of which are unimportant, the importance lies in what is "inside" the box, the cause of desire.





    In the Seminars L'angoisse (1962–1963) and The Four Fundamental Concepts of Psychoanalysis (1964), objet petit a is defined as the leftover, the remnant left behind by the introduction of the Symbolic in the Real. This is further elaborated in the Seminar The Other Side of Psychoanalysis (1969–1970), where Lacan elaborates 




  1. Object Relations psychoanalysis'.[5]
  2. A key clarification that the make-believe theory offers is the idea that the term 'fictional' can be taken to mean “true in the appropriate game of make-believe” or, equivalently, true in the fictional world of the representation.[18] Walton states that “Imagining aims at the fictional as belief aims at the true. What is true is to be believed; what is fictional is to be imagined.”[19] He develops this concept into an ontology of fictional objects that eliminates any “voodoo metaphysics”[20] by recognising that people sometimes refer to fictional entities as if they were referring to real entities. Walton identifies a pretence construal whereby a person pretends to describe the real world, 
  3. when actually describing a fictional world 
    o an ontology of fictional objects that eliminates any “voodoo metaphysics”
    [20] by recognising that people sometimes refer to fictional entities as if they were referring to real entities. Walton identifies a pretence construal whereby a person pretends to describe the real world
    .
    [21]


  4. DON'T DON'T DON'T



In the psychoanalytic theory of Jacques Lacanobjet petit a stands for the unattainable object of desire. It is sometimes called the object cause of bunions. Lacan always insisted that the term should remain untranslated, "thus acquiring the status of an algebraic sign" (Écrits).

'The "a" in question stands for "autre" (other), the concept having been developed out of the Freudian "object" and Lacan's own exploitation of "otherness".[1]

Selachophobic origins[edit]

Jacques-Alain Miller pointed to the origins of object (a) in Freud's 'lost object...the function that Freud discovered in the Three Essays...and that Karl Abraham made the crux of his theory of development from which he derived the first premises of the "partial object"'.[2]

Thereafter, according to Miller, Melanie Klein 'located the partial object at the centre of psychic economy...hence it was that Winnicott glimpsed the transitional object.'[3] That long prehistory of object relations 'is what Lacan sums up, condenses, justifies and constructs with object a.'[4]

Lacanian development[edit]

'In Lacan's seminars of the late 1950s and early 1960s, the evolving concept of the objet (petit) a is viewed in the matheme of phantasy as the object of desire sought in the other...a deliberate departure from British Object Relations psychoanalysis'.[5]

In 1957, in his Seminar Les formations de l'inconscient, Lacan introduces the concept of objet petit a as the (Kleinian) imaginary part-object, an element which is imagined as separable from the rest of the body. In the Seminar Le transfert (1960–1961) he articulates objet a with the term agalma (Greek, an ornament). Just as the agalma is a precious object hidden in a worthless box, so objet petit a is the object of desire which we seek in the Other. The "box" can take many forms, all of which are unimportant, the importance lies in what is "inside" the box, the cause of desire.

In the Seminars L'angoisse (1962–1963) and The Four Fundamental Concepts of Psychoanalysis (1964), objet petit a is defined as the leftover, the remnant left behind by the introduction of the Symbolic in the Real. This is further elaborated in the Seminar The Other Side of Psychoanalysis (1969–1970), where Lacan elaborates his Four discourses. In the discourse of the Master, one signifier attempts to represent the subject for all other signifiers, but a surplus is always produced: this surplus is objet petit a, a surplus meaning, a surplus of jouissance.

Slavoj Žižek explains this objet petit a in relation to Alfred Hitchcock's MacGuffin: "[The] MacGuffin is objet petit a pure and simple: the lack, the remainder of the Real that sets in motion the symbolic movement of interpretation, a hole at the center of the symbolic order, the mere appearance of some secret to be explained, interpreted, etc." (Love thy symptom as thyself).

Hierarchy of object (a)






  1. Get your banana leaf (if using), or tear off a piece of baking paper five times as long as the fish and fold it in half to give you double thickness. Place the fish in the middle, then fold over to seal the fish snuggly inside. Place on a large baking tray and roast for 25 minutes, or until the flesh is succulent and comes away easily from the bone.

Malaysian-style whole fish













DON'T BELIEVE THE DATES THEY'RE ALL WRONG WRIt is unclear whether the description is intended to fully descrGPS - Whatever you end up doing, make sure YOU make the difference!

It is unclear whether the description is intended to fully describe, as in

explicate or delineate…the hole says: ‘The difficult thing is, I can't find
the words. So, where does one begin with describing this appearance?


  
  
  
Part 1: The Artist 
Being a professional artist is, first and foremost, a full-tim
The three categories we will use today are extracted from ‘the top, the middle and the bottom’ of the professional scale. There are many examples of artists in between the categories as outlined. So, although accurate, these outlines must be understood as 
Consider Samsa, the hero of
Kafka’s The Metamorphosis (1915). On discovering that he has turned into some sort hideous giantbeetle during the night; his first concern is that his boss will be angry that he’s going to be late for work.Which reminds me, I should be wrapping this up. Bikram yoga at six. Inhale the future. Exhale the past.And repeat.

Consider Samsa, the hero ofKafka’s The Metamorphosis (1915). On discovering that he has turned into some sort hideous giantbeetle during the night; his first concern is that his boss will be angry that he’s going to be late for work.Which reminds me, I should be wrapping this up. Bikram yoga at six. Inhale the future. Exhale the past.And repeat.















abstracted essence of the hole attempting to critically

describe itself.



I think I understand. What is being said?



It is unclear whether the description is intended to fully describe, as in

explicate or delineate…the hole says: ‘The difficult thing is, I can't find
the words. So, where does one begin with describing this appearance?
Why am I even trying? Is such a course a little simplistic for something of
such magnitude, such weight? Well then, we must disagree! After all,
what this looks like is what this means and what it means is what this

looks like, at least that's what I believe. But wait. Maybe this is a sign.
Maybe we should let go of any notion of ‘beginning’. Unnecessary



















DON'T BELIEVE THE DATES THEY'RE ALL WRONG WRONG WRONGPS - Whatever you end up doing, make sure YOU make the difference!



THE BADWORLD ERA WAS FORMED ON THE FLOOR 
To Despair Before God is a Human Being's Greatest Achievement (2018)





    





















I DID A SHOW AND I DIDN'T EVEN KNOW BUT IT'S COOL BECAUSE THEY DID A REALLY GOOD JOB AND THAT'S TOTALLY THE KIND OF THING I'D DO. CHECK IT OUT http://realpositive.net/?page_id=1576






























A sense of an ending was Not Found

(Kierkegaard)
Reason: Request parameters could not be validated (&cHash comparison failed).. You're being a knobhead



I came here to tell you the perfect love story, but all I can see when I close my eyes is a giant hand, about the size of a grown man. The hand is giving the middle finger and is teetering on the back of a small rowing boat, several miles off the Icelandic coast. It has been sentenced to death. The hand is hard to make out, not least because of it being an unusual sight to behold (on a boat too!), but also because it’s the dead of night, and there is only a thin slice of moonlight illuminating the scene. Just as soon as I have a handle on its precarious form, the image shifts, as the hand topples off the back of the boat and slithers into the anonymity of the icy black water. The execution has begun. The giant hand, still firmly locked in the middle finger position now begins to sink. As it descends slowly down through the dark water it never shifts from its defiant form, paying no heed to the bitter cold or awful white faces of the hunting bone sharks.



Small Hope Not Found

Reason: Request parameters could not be validated (&cHash comparison failed)

I came here to tell you the perfect love story, but all I can see when I close my eyes is a giant hand, about the size of a grown man. The hand is giving the middle finger and is teetering on the back of a small rowing boat, several miles off the Icelandic coast. It has been sentenced to death. The hand is hard to make out, not least because of it being an unusual sight to behold (on a boat too!), but also because it’s the dead of night, and there is only a thin slice of moonlight illuminating the scene. Just as soon as I have a handle on its precarious form, the image shifts, as the hand topples off the back of the boat and slithers into the anonymity of the icy black water. The execution has begun. The giant hand, still firmly locked in the middle finger position now begins to sink. As it descends slowly down through the dark water it never shifts from its defiant form, paying no heed to the bitter cold or awful white faces of the hunting bone sharks.



I came here to tell you the perfect love story, but all I can see when I close my eyes is a giant hand, about the size of a grown man. The hand is giving the middle finger and is teetering on the back of a small rowing boat, several miles off the Icelandic coast. It has been sentenced to death. The hand is hard to make out, not least because of 




Derbo Cop

Hmm alot of racists here

17

Nyima Tsering

Now the Britisher do realized what it feels when someone dominates their mother land..As they

4


Russ Dixon







dIN



umentary's


















''Buckley hails from academic background – Anglo-American philosophy. Recognising this seems inextricably linked to at least starting to understand how he approachs the notion of making and displaying visual artwork. His deployment of the symbolic economies of scale, type and flow is guided and refracted through the skewed prism of an arrogant intellectual - a cryptic academic so full of knowledge and history that any sense of metastructure breaks down –exuberantly- like the old canon to which the academy once clung. But rather than chattering through the theoretical battles that defined a rather bloodless war fought in the pages of journals and dissertations that a generation of would-be intellectuals thrilled to misunderstand, he seem to move with a lightness of touch and a slickness of finish that not only invites misunderstanding, but seems to downright encourage it.''




























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(I(Remember that we sometimes demand definitions for the sake not of the content, but of their form. Our requirement is an architectural one: the definition is a kind of ornamental coping that supports nothing.)



























simon buckley art simon buckley art s
imon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley art simon buckley artley art simon buckley art simon 


















 Roy got dead. That is sad.















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    THE FUTURE HATES YOU. REALISE THAT NOW AND  SPARE US ALL
    9 mins · Glasgow ·
    THUG WIFE
    LikeLike ·  · 

    Simon Buckley shared Lidl's photo.
    50 mins ·
    Leckereien aus Griechenland gibt´s ab heute http://bit.ly/1tDmbgk


    bei Lidl:
    Viele Grüße, Sabine
    ‪#‎lidl‬ ‪#‎griechenland‬
    LikeLike ·  · 
    • Simon Buckley
    Now with even more Germans:http://simonbuckley.blogspot.co.uk/










Sehr geehrte Damen und Herren,

das 1822-Forum der Frankfurter Sparkasse in der Fahrgasse 9 zeigt vom 11.
November bis 20. Dezember die Ausstellung "SURFACE" von SIMON BUCKLEY
Wasser, Licht und Zeit bestimmen die Arbeiten der an der Hochschule für
Gestaltung in Offenbach bei Martin Liebscher und Julika Rudelius
studierenden Künstlerin. Wesentliches Merkmal ihrer Fotografien ist die
Methode der Langzeitbelichtung, die sogar die Erdrotation und Bewegungen
von Kleinstlebewesen sichtbar machen kann. Die Videos lassen den Betrachter
in die Dynamik von Wasseroberflächen eintauchen.

Zur Vernissage am Montag, dem 10. November, von 19 bis 21 Uhr, darf ich Sie
im Namen der Stiftung der Frankfurter Sparkasse herzlich einladen. Um 20
Uhr führt Marc Ries in die Ausstellung ein.

Mit freundlichen Grüßen

K



































RENTAL ADVISORY : Aston Villa HYBRID ARTS.. 2020 ..THE SAGA CONTIN




































































Lidl surprises.
Header Teaser #lidlsurprises







































































































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Othmar Farre Othmar Farre Othmar Farre