Could this same gap be said to be the same gap between object and notion which drives the education of conciousness in the phenomenology?

I know Foucault and Historicism more broadly aren't straw-men because these positions are so popular but it does make Copjec's book a little weird only because, yes, she's arguing quite effectively but this is in part because its quite difficult to understand the traction the other side has gotten. It seems like her book almost calls out for a sequel or supplement which reads the desire of historicism itself. From a pedagogical perspective Foucault is also just a useful foil for understanding a theory of the subject through what that theory is not. I do wonder what the history of lacanian-inflected thought would be absent its marginalization within the american academy. It seems like being able to be polemical in this way has actually been highly useful for the theory and Copjec's book is a testament to that. Likewise I think Foucault might retain a kernel of radicality if power was taken as a kind of thought experiment: what happens if one subtracts fantasy from theory? another failur

Is this true: Through seeing everything except the eyes, we can see nothing but the eyes, because the eyes necessarily have to be there in the first place for there to being any seeing at all? Except replace eyes with Gaze

not anti-deleuzian, since deleuze address this in his commentary on foucault's history of sexuality

FYI: modern computing DOES read your desire. Online ads do not just display the products you browsed in the past; it predicts what else you might want. I'm surprised you haven't seen it. It happens all the time, and it's quite accurate.  They achieve it by using "machine learning" (ML) tools like Google's TensorFlow. ML works by inverting the traditional way computer programming works. Instead of figuring out the logic of how something works (in order to predict the results), you feed a whole bunch of correct (and also incorrect) answers to ML to produce the algorithm.  However, this algorithm is not human-readable. That is, we cannot read it in a way that we humans can understand, so even though we have the algorithm of "desire," we still cannot explain how desire works.

actually lacan says "the picture is in my eye but I am not in the picture."

Ryan, you have mentioned The Great Gatsby a number of times. Can you point me to a theoretical reading of it? Thanks.

Dimitri and Khalid discuss the recent deluge of mainstream media coverage about the imminent disclosure of secret UFO knowledge and possibility of ET contact, terrifying rumblings of a “Project Blue Beam” fake ET event on the horizon, the recent New Yorker UAP article by elite bloodline Yankee Leslie Kean, bluebeamy aspects of the neoliberal 8888 Uprising in Burma, Robert Bigelow and Chris Mellon on Joe Rogan, Laurance Rockefeller’s funding of John Mack and MUFON in the 1990s, the curious overlap between Near Death Experience (NDE) and UFO subcultures, whether or not we all owe Area 51 whistleblower Bob Lazar an apology, and the chilling predictive programming ritual at the 1990 WWF Survivor Series.

For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara’ Frequency at patreon.com/subliminaljihad.

#71 - DESPERATELY SEEKING DAJJAL: Sus UFO “Disclosure” and the Coming Blue Beam Psyop

Ryan and Todd devote this episode to unpacking Joan Copjec's groundbreaking first book, Read My Desire. In this first part of a two part series, they focus on the first four chapters of the book, devoting most of the episode to an explication of "The Orthopsychic Subject," which is Copjec's critique of apparatus theory in film studies. In so doing, they work through Copjec's understanding of the gaze.

Read My Desire, Pt. 1: Gaze and Excess

aux déBris • (2021)
for chamber ensemble

Live, concert recording.

Festival Ensemble(s)2021
Ensemble MULTILATéRALE

September 10th, 2021
Pan Piper
Paris – France

In “aux déBris” I am interested in the exploration of defined points of convergence related to aspects of a-synchronicity, dis-continuity, and de-construction of sonic actions. Behavior, plasticity, and mechanic rigidity are in the epicenter of my artistic research while forging the embedded rhythmicities and temporalities of the sonic canvas of the piece. What I find particularly intriguing is the illusory hybridity between the human and non-human in an attempt to explore recursive, musical situations that become mechanical and electrified. Therefore, the piece is exploring the resulting perceptual complexities and multiplicities related to distorted and exhausting phenomena of repetition and re/de-construction. “aux déBris” is a piece for flute, clarinet, piano, harp, violin, and cello and is written for and heartily dedicated to the Yann Robin and the members of the MULTILATéRALE ensemble.

aux déBris, for chamber ensemble (2021)

2021.11.12 CNSMDP, France
Ensemble Intercontemporain + DAIC du CNSMDP
Direction : Léo Margue

Clarinette : Takahiro Katayama
Clarinette Basse : Alain Billard
Trombone : Maxime Col
Percussion : Gilles Durot
Piano : Chisato Taniguchi
Violon : Jeanne-Marie Conquer
Alto : Paul-Julien Quillier
Violoncelle : Eric-Maria Couturier
Contrebasse : Nicolas Crosse

Saï-saï pour ensemble

dedicated to and assembled from the aural expressiveness of a particular automatic coffee maker.

we shall for the moment put aside the acute feelings of personal dismay associated with being already sufficiently conscious to hear these sounds when strikes the painfully early hour at which this beast is programmed to kick into gear -- it's never a good sign.

from across

my contribution for the event "strom-wandlung-schall" (http://www.zem.de/assets/files/INV_StromWandlungSchall_web.pdf) by ZEM on 09/11/2022, which I unfortunately could not attend live for health reasons.

Rob Hordijk's module "Benjolin" represents a central sound source in this composition, whereby the sometimes "chaotic" sounds, which are created by the extraordinary circuit structure, give an idea of how uncontrollable and unpredictable not only our physical environment is, but also our own life as well as its end.

mosbach-abwesend

Kevilope

Check out the visuals on YouTube @ https://youtu.be/sM6-qQL5CNo

Dividing the autumn sky
Into two
A huge chinquapin tree

Haiku by Kyoshi Takahama https://www.masterpiece-of-japanese-culture.com/literatures-and-poems/haiku/takahama-kyoshis-haiku-poems

Picture by Will https://unsplash.com/photos/x1JObX8KM8w

For more information visit http://www.naviarrecords.com/about/naviar-haiku

visuals (YouTube)

halF dividinG [naviarhaiku489]

White Weather

Premiered in the context of the 2nd International ilSuono Academy for Young Composers 2017, which took place in July 2017 in Città di Castello, Italy.
www.ilsuonoacademy.com

ensemble Suono Giallo
www.ensemblesuonogiallo.net
Michele Bianchini, tenor saxophone
Laura Mancini, percussion

Conducted by Angus Lee.

Program Notes:
碎瞳。L'œil brisé. Broken Eye.

https://soundcloud.com/yiqing-zhu-555632457

ZHU, Yiqing: L'Oeil Brisé - for tenor sax, perc, and elec (2017)

Please, use headphones or good loudspeakers and PLAY IT LOUD :)

Outer Space (2018), for video, 4 performers, and electronics.
Based on a short film by Peter Tscherkassky (you can watch the film here: https://www.youtube.com/watch?v=yASwqIWjaVI). 
Commissioned by Darmstadt Summer Course. Supported by Ulysses Network, co-funded by Creative Europe Programm.

Live Recording at Centralstation, Darmstadt 2018 
NIKEL Ensemble (Brian Archinal, Yaron Deutsch, Antoine Francoise, Patrick Stadler)
Sound Engineer: Alfred Reiter
Recording: Aaron Holloway-Nahum

Outer Space (2018), for video, 4 performers, and electronics [Please, use headphones!!]

Why Theory brings continental philosophy and psychoanalytic theory together to examine cultural phenomena.

Read My Desire, Pt. 1: Gaze and Excess

Why Theory

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