Gmail - Newslitter supplement / not for everyone
12/3/13 3:25 PM
Donald Kunze <[email protected]>
Newslitter supplement / not for everyone
1 message
Metalepsis Seminar / supplement
metalepsis seminar / WAAC / 23.2 November 2013
WHAT'S LOVE GOT TO DO WITH IT?
METALEPSIS SEMINARIANS, 9-ERS, AND AUXILIARY MEMBERS:
A few additional notes about sexuation and negation …
• I've attached the Mladen Dolar essay for you to review.
The subject can escape ideology (think "university discourse," and paranoia) through psychoanalysis (again, think
a/S2>$/S1). The formulæ for the discourses are tough going. What if we convert the standard Lacanian mathemes to a
"calculus of metaleptic predication"?
Consider the matheme for (psycho)analytic discourse:
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Gmail - Newslitter supplement / not for everyone
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Figure 1. What's happening here? Each of the "numerators" of the left and right ratios are treated as the left and right
"portals" of a series of predications beginning with the denominator in the "Truth" position and ending with the
denominator in the "production" position. Truth is delayed in the process of analysis because of a problem thrown up by
the analysand: falling in love with the analyst (transference love). Dolar analyzes this according to the "unseen hand" of
fate (-ø) co-operating with chance/appearance (ø). This creates a site of exception that delays the predication of the
signifying chains of analysis by the "master tropes," S1, of the unconscious, which "signalizes" by means of analytic
discourse. The analyst "acousmatically" listens for this signalizing, and the "message of love," ø/-ø, is hastily offered up
as a substitute.
• Try out the other discourses
University discourse looks like this:
S2 ◊ a
S2< >a
S2< … >a
S2< S1 … $ > a
[isn't it easy to see that universities, offering the subject, $, mastery, S1, are then haunted/contaminated by S2/a as
"knowledge that desires the knower"?]
><
ø/-ø
(the knower eclipsed by desire and the enigma of the "ché vuoi?")
• any benefits?
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Gmail - Newslitter supplement / not for everyone
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Seeing the discourse mathemes in the form of the calculus acts much like a ZAIRJA. You are given a number of optional
ways to read the relationships, and the progression from ◊ to < > to <…> opens up each "fantasy" (◊) as a series of
predications, where delay and sites of exception become possible. Where delay is an element, we automatically think of
two delay SYSTEMS: (1) the series of delays and reversals involved with the childhood series of oral, anal, and phallic
phases, ending with the "ché vuoi?" of the mother's reversed desire and the resulting enigmatic command of the
(m)Other … we can take this all the way to the case of the troubadours! (2) the system of triple negation ("forced
choice") where foreclosure results from renunciation and renunciation results from denial. There is a lot of territory within
these new topics that helps us think of the discourses in new ways. If one doesn't work for you, well, there are others!
Wouldn't it be exciting to consider ALL of the discourses in light of chirality, chiasmus, and Simonides' story of artificial
memory? Try some out.
• pairing lolita and annabel
You have not yet experienced my case for the innocence of Vladimir Nabokov's Lolita, an understanding of Humbert
Humbert (note the same last and first name thing — a negation of the "name of the Father") — to Poe's Annabel Lee. In
"kingdom" and "tomb" you get a hint of a possible chiasmus/chirality going on that converts the "impossible/Real"
relationship of the grieving writer to his dead beloved (variation on the theme of the Victor Hugo poem in the last
newslitter). A poem is, if anything, an echo chamber designed to set up a stochastic (polythetic) resonance (predication).
Between the "angels in heaven above" and the "demons down under the sea" we have a universe of humors, seasons,
and substances, rolling around at the scale of the cosmos (the moon never beams …) and subjective unconscious (…
without bringing me dreams).
There seems to be a "defect" in the verse structure that makes anyone trying to remember the poem stumble and fall. This is a
transfer of a bodily effect from writer to reader, an "aposiopoiesis" of doubt and negation that opens up the space of the poem.
Try it out, at least just reading it out loud.
ANNABEL LEE
Edgar Allan Poe
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of ANNABEL LEE;
And this maiden she lived with no other thought
Than to love and be loved by me.
I was a child and she was a child,
In this kingdom by the sea;
But we loved with a love that was more than loveI and my Annabel Lee;
With a love that the winged seraphs of heaven
Coveted her and me.
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And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsman came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and meYes!- that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.
But our love it was stronger by far than the love
Of those who were older than weOf many far wiser than weAnd neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee.
For the moon never beams without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling- my darling- my life and my bride,
In the sepulchre there by the sea,
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In her tomb by the sounding sea.
BIRTH< … >< … >DEATH
ø/-ø
(sounding)
Don Kunze
PhD / Prof of Architecture and Integrative Arts, Emeritus
web: art3idea.psu.edu
Dolar_BeyondInterpellation.pdf
420K
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