a sequence of actions regularly followed; a fixed program : I settled down into a routine of work and sleep | as a matter of routine a report will be sent to the director.
• a set sequence in a performance such as a dance or comedy act : he was trying to persuade her to have a tap routine in the play.
• Computing a sequence of instructions for performing a task that forms a program or a distinct part of one.
performed as part of a regular procedure rather than for a special reason : the principal insisted that this was just a routine annual drill.
• monotonous or tedious : we are set in our dull routine existence.
verb [ trans. ] rare
organize according to a routine : all had been routined with smoothness.
ORIGIN late 17th cent.(denoting a regular course or procedure): from French, from route ‘road’ (see route ).
1 his morning routine procedure, practice, pattern, drill, regimen; program, schedule, plan; formula, method, system; customs, habits; wont.
2 a stand-up routine act, performance, number, turn, piece; informal spiel, patter, shtick.
a routine safety inspection standard, regular, customary, normal, usual, ordinary, typical; everyday, common, commonplace, conventional, habitual, wonted. antonym unusual.
[ Our concept here ]
Tuesday, April 29, 2014
The consistency of M-P's claim is measured relative to Heidegger, for example, who reminded us that Being appears in and is possible for thought only in writing (just as Lacan observed that the Unconscious appears only in Analytic therapy). The related point from an earlier lecture is that the purpose of therapy is to bring the excluded Real into representation, in order to relieve the suffering you mentioned: to transform suffering into symptom, as Freud said (into ordinary unhappiness). We noted in our readings (and my lecture) that Lacan describes a register of drive now accessible that is beyond the pleasure principle. There are two pleasures (as Barthes noted in Pleasure of the Text also: pleasure and bliss). The apparatus argument is that the tracking of the two pleasures is a map of the discovery or emergence of electracy out of literacy. The Symbolic (and Imaginary) orders are covered by literacy, the operations of language and discourse, the defile of the signifier, alienation (in short). That is indeed the locus of the other provoking the emergence of the subject. The desire of the other.
There is another order, the Real, excluded (until now) from discourse, from appearance, from consciousness, withdrawn completely. Here is the workings of @ (objet petite a), partial objects, circulating around the void, the hole of lack, the Nothing, the gap between need and demand. The interest of Seminar XI for us is the account of gaze as one of the partial objects, and how it may be brought into representation, at least as image, but in principle in any aesthetic procution.What is confusing and important to clarify (to the extent possible) is that the @ proper is nothing in itself, but is only a relation for the libido, the lamella of erogenous zones: the part objects are the objects cause of desire (as you know), and any particular item or "thing" that is desired, any "object" in the literate sense, is an ambassador for the object cause. The drive and the @ are best considered together (in fact we are aware by now of the interdependence of the 4 fundamental concepts in general and all the subfeatures articulated in the lectures to explain them). The drive includes four operations (source, impetus, object, aim... something like that?). These four correlate fairly well with Aristotle's four causes: material, efficient, formal, final. What interests Lacan early in the seminar is to explain the Unconscious as the "unrealized" dimension of Limbo between potential and actual: what interrupts living?
"Fetish" is a good anchor for gathering the CATTt. It is useful even at the basic level of heuretics proper, reminding us to pay attention to terminology. Psychoanalysis, like any inventive methodology, dealt with the challenge of naming its new areas of inquiry by appropriating some existing vocabulary. This vocabulary is catachrestic, meaning that it is a figure for something that does not have a literal sense. If we keep in mind the original source of "fetish" we recognize that the term is eloquent, even if Freud used it pejoratively to some extent. I discuss this in Internet Invention (Marx and Freud both using fetish negatively to name features of the industrial city, versus artists who somewhat later used it positively). It concerns promoting some ordinary item of everyday life to a position of symbolic power.
"Castration" is similarly evocative: a source of much misunderstanding of course, but also eloquent in naming a condition of limit, disempowerment, control, threat--and reminds us of stakes in desidero. The most relevant thing for us in the discussion is the description of operations and logics associated with fetish and castration. You picked up on the practical value of Metz's conversation. He is drawing upon Lacan of course, applying Lacan and psychoanalysis in general to cinema. He is using the theory to articulate the match between theory and practice that concerns us also: that there are features of the camera and photography that correlate with the theoretical account of human primary process (the Unconscious).
We need cameras to write with or through the Unconscious so to speak. For example, the logic of fetishism in the psychoanalytic context is that of denial, disavowal (defense)--the child's denial of sexual difference. This scene must be generalized to the logic, which persists in adult experience, allowing a person to maintain two conflicting positions simultaneously: "I know, but all the same" (or, the translation I prefer, "I know, but still..."). I know (= science); but still (= belief). These two version of reality are on different planes. We have to assume in the context of grammatology that there is a use value for this operation of primary process. The "still" has choral functionality (it is conductive).
Next step then is to come to some agreement about what the theory has to offer, and it would be good to be more or less on the same page about this, the same screen, even though each experiment can and should be specific and partial (necessarily), and all the better for it, since an apparatus is not invented in a day by a solipsist. We left off the week you missed (for a very good reason) with a clear (hopefully) statement of what we needed to get from Lacan: an idea central to the theory about the nature and operation of the Unconscious + an example or collection of examples helping locate how the Real of the theory is manifested in experience, such that we might be able to work with it in our own projects (returning to the Wide Image).
This past week the concluding lecture, following a productive and creative Band, clarified our purpose, as extracting or extrapolating a pedagogy for general electracy from the procedures of psychoanalytic training analysis, considered as a transitional practice moving from literacy to the new apparatus (from medicine, even from science, to something else, concerning how to enjoy.
We may recognize the Tai Chi symbol referencing the alternating rhythm of yin-yang, closed and broken lines stacking up into sets of 6, a hexagram as two trigrams, moments of time flowing constantly, frame grabs of process, positions as we know--of Shi. It is the 0/1 F/T off/on switch constitutive of computing (the invention streams converging). Leibniz who developed the binomial number system was shocked when he learned about the I Ching from a Jesuit friend returning from mission work in China. He saw that the 64 hexagram configured the first 64 numbers in a binomial system. Finally, Lacan made the connection with Electracy explicit when he explained this operation of the Unconscious with reference to electricity itself, and the physics of an electric light (having to do with the properties of current).
But all of that , as in your case also, is to understand this Real, known as the Unconscious, in order to be able to live with it and thrive in that rhythm.
This striving is life (being), Aristotle's Entelechy, Leibniz's Monad, Spinoza's Conatus, Heidegger's Dasein. What prevents well-being (is it a fatal resistance?) is that this striving is captured, trapped in the gaze. This aphanisis, this coming and going, place and temporality of the Unconscious, of the Subject in its split, its dimensions of meaning or being, that is the issue. The "or" is the vel (Latin or), in Lacan's updating of Tuché, the choice of decision. So it is evident that numerous motifs are wrapped up in the topic you pose. What we need to sort out, perhaps in the band, is that there are two pleasures, two vectors or dynamics, in the circulation of drive. Everything is interrelated in Lacan's model (the Borromean knot, the R S I rings), but perhaps we may risk a simplification justified in our context, by saying that literacy ontologized meaning in the register of the Symbolic via the (semiotic) signifier. That is the way of alienation. The other way is opened through the other beginning, passage through the Real, littered with part objects (letters), whose writing becomes possible in the digital apparatus, by means of a camera. This way becomes Sinthome (in late Lacan), when Lacan apprenticed himself to the littoral litter of Finnegans Wake (Joy/ce).
Your poem gives a more elegant variation on Freud's alternative cogito (the desidero), "I think where I am not, and am not where I think." This aniti-cogito takes into account the split Subject. That the subject is split within (the split is not subject-object, or me in here vs the world out there, but I/me/other). The gaze is a field theory of Subject (bringing psychology into line with the other sciences shifting from reference to field relationality of system networks). The point is central to electracy regarding added value for Google Glass: we need not only GPS, but EPS -- existential positioning system. The split between meaning and being is involved, and what we want to learn from Lacan is how to gather all our informing parts (this gathering we have rightly identified as montage of a surrealist collage sort for example). Lacan works hard to help us, suggesting one way to characterize our experiment, as learning how to locate and triangulate to take into account the position from which we are regarded, as well as and along with the position from which we look. Note the "French" term: regard.