By André Nusselder
Cyberspace is at first a psychological house. for that reason we have to take a mental method of comprehend our studies in it. In Interface myth, André Nusselder makes use of the middle psychoanalytic proposal of fable to check our dating to pcs and electronic expertise. Lacanian psychoanalysis considers delusion to be an critical "screen" for our interplay with the surface international; Nusselder argues that, on the psychological point, computing device displays and different human-computer interfaces contain this functionality of delusion: they mediate the genuine and the digital. Interface fable illuminates our attachment to new media: why we adore our units; why we're eager about the photographs on their displays; and the way it truly is attainable that digital photographs promises actual excitement. Nusselder places such phenomena as avatars, position enjoying, cybersex, machine psychotherapy, and web habit within the context of demonstrated psychoanalytic idea. The digital identities we imagine in digital worlds, exemplified most sensible by way of avatars which include either practical and symbolic self-representations, illustrate the 3 orders that Lacan makes use of to investigate human fact: the imaginary, the symbolic, and the true. Nusselder analyzes our such a lot intimate involvement with info technology--the virtually invisible, affective facets of expertise that experience the best influence on our lives. Interface myth lays the root for a brand new mind set that recognizes the pivotal position of the monitor within the present global of knowledge. And it offers an intelligible evaluation of easy Lacanian rules (including delusion, language, the digital, the true, embodiment, and pleasure) that indicates their huge, immense relevance for realizing the present country of media technology.
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Additional info for Interface fantasy : a Lacanian cyborg ontology
They try to give a beautiful form to an object that is beyond our (human) limits. In that sense they all involve artistic sublimation. Beauty is the name for the affect that is attached to fantasy. It indicates that the screen of fantasy mediates the relation of the subject and the object of desire. Nowadays we must also consider how this sublimatory activity takes place in technology. From an anthropological point of view a major factor that connects man to the technological world, is the technological production of attractive objects.
Lacan calls the ‘lamella’ the libido, the pure force of a life that is indestructible. So it is sexual reproduction that introduces in life a real loss, namely individual death. 20 Lacan uses his myth that links life to death for his broader theory on sexuality. There is no sexual completion of desire; man does not complete woman, or vice versa. Not even love can bring salvation. 17, 51), Eros is bound up to Thanathos. 21 Lacan’s theory of desire hence continues on the fundamental insights of Freudian theory regarding the inseparability of Eros and Thanathos.
However, if one wants to have an idea of what Lacan means by enjoyment, the first thing to do is to let go of this confusion. Enjoyment is not pleasure! It can be found exactly there where the regulation of the psyche by means of the principles of pleasure and displeasure reaches its limits. The excitement that seizes someone who drives his car as fast as possible is not pleasure. The excitement of a voyeur who can be caught any moment in his act of looking is not simply pleasure. “Let us be clear: jouissance is not pleasure, but a state beyond pleasure; or to use Freud’s terms, it is an excessive tension, a maximum tension, while on the contrary, pleasure is a diminution of tension” (Nasio, 1998, 106); “Pleasure is always dependent on the coming and going of images that appear to me.
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