Re: [-empyre-] Nothing is Real?



Kia Ora

Real: the foam of physis, the chaotic becoming of the world, and the raw sensation of it
Imaginary: this is the realm, I figure, of the subject-object divide (Lacan's mirror stage). It reduces the world to space and time, distinguishing them from primal unity. Sollers refers to the Real in the sense of the quantum activity that 'worlds'. Until it is split into subjects and objects, there can be no representation. The subject attempts mastery (gender specific?), but is always also subjected in the process. Objection, abjection and identity are constellated in the Imaginary
Symbolic: has the task of suturing back the torn halves of space-time, an activity fundamentally social, in which the tools are the relations between objects (causality, logic, math . . .), the relations between subjects (law, rhetoric, argument) and the relations between objects and subjects (interpretation, address)


There are artists who attempt to recreate the Real: Lyotard sings their praises in the essay on acinema, Krauss in the Informe. There are those who ring the changes of the Imaginary: Duchamp, Beuys, warhol and the core tradition of late 20th century insitutional art. And there are those who undertake the utopian task of the Symbolic: to render open the relational, communicative zone.

Of course everything is more compelx than that; and each moment of this transition is not only subsumed,but also disinterred, worked in as dialectical antithesis, reconfigured, redeployed, most of al in the pursuit of dominance which, in this perspective, appears as the attempt to control the flows of communication by ammassing content, channelling distribution, excluding, monopolising. Information wants to be free but is everywhere in chains

s


--
Sean Cubitt * Screen and Media Studies * University of Waikato * Private Bag 3105 * Hamilton * New Zealand * seanc@waikato.ac.nz * T: +64 (0)7 838 4543 * F: +64 (0)7 838 4767


http://www.waikato.ac.nz/film




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