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. 14 janvier 2024 .
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Saturday 

24 February  

 

2pm – 2.10pm: 

OPENING          

By Christiane Alberti, President of the WAP

2.10pm – 2.20pm:

INTRODUCTION 

By Ligia Gorini and Gil Caroz, Directors of the XIVth WAP Congress

2.20pm – 3.35pm: 

ONE PHILOSOPHER, TWO PSYCHIATRISTS   

Chair: François Leguil (ECF)

Dominique Laurent (ECF): 

Louis Althusser

Carole Dewambrechies-La Sagna (ECF): 

Gaëtan Gatian de Clérambault

Inga Metreveli (NLS): 

Victor Kandinsky

3.35pm – 3.45pm: 

Pause 

3.45pm – 4.35pm: 

TWO WRITERS

Chair: Marcus André Vieira (EBP)

Rômulo Ferreira da Silva (EBP):

Clarice Lispector 

Gaby Camaly (EOL):

Yukio Mishima  

4.35pm – 5pm: 

THE WACKINESS OF THE SINTHOME

Chair: Laurent Dupont (ECF) 

Anna Aromi (ELP) 

5pm – 5.35pm: 

Pause

5.35pm – 6.25pm: 

IN THE USA

Chair: Marie-Hélène Brousse (ECF)

Jorge Assef (EOL): 

Marilyn Monroe

Pamela King (NLS): 

Andy Warhol

6.25pm – 6.50pm

THE WACKINESS OF THE SINTHOME 

Chair: Christiane Alberti 

Graciela Brodsky (EOL) 

6.50pm – 7pm:

Pause  

7pm – 8pm: 

POLITICAL FOLLIES

Chair: Gil Caroz  

Invited Guest: Pascal Ory

With Jacques-Alain Miller  

Sunday 

25 February 

 

2pm – 2.50pm:

SCIENTIFIC DELUSIONS 

Chair: Lilia Mahjoub (ECF)

Éric Laurent (ECF):

The Mad Panic of Science

Miquel Bassols (ELP):

Scientism and Foreclosure

2.50pm – 3pm:

Pause

3pm – 3.50pm: 

WRITERS-POETS

Chair: Catherine Lazarus-Matet (ECF) 

Antonio Di Ciaccia (SLP): 

Giacomo Leopardi

Ram Mandil (EBP): 

Fernando Pessoa

3.50pm – 4pm: 

Pause

4pm – 4.50pm: 

TWO POLYMATHS 

Chair: Philippe La Sagna (ECF)

Jérôme Lecaux (ECF): 

Friedrich Nietzsche

Alain Grosrichard (ECF): 

Jean-Jacques Rousseau

4.50pm – 5.30pm:

Pause 

5.30pm – 6.20pm: 

THE MATHEME AND THE LETTER 

Chair: Silvia Tendlarz (EOL)

Gladys Martinez (NEL): 

Sor Juana Ines de la Cruz

Nathalie Charraud (ECF): 

Georg Cantor

6.20pm – 6.30pm: 

Pause 

6.30pm – 7.20pm: 

THE CHAMPION AND THE PRESIDENT 

Chair: Ricardo Seldes (EOL) 

Luis Solano (ECF): 

Diego Maradona

Philippe De Georges (ECF):

The President Woodrow Wilson 

7.20pm – 8pm: 

NEXT  

Chair: Christiane Alberti

Jacques-Alain Miller:

Theme of the XVth WAP Congress

8pm – 8.15pm: 

CLOSING 

By Ligia Gorini and Gil Caroz

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Copyright © 2024 Association Mondiale de Psychanalyse

AMP Uqbar News . Secrétaire : Laurent Dupont

Copyright © 2024 Uqbar Wapol, All rights reserved.


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Vibe is Jouir
Cyrus Saint Amand Poliakoff 
 

 
Words occasionally name the style of jouissance particular to a cultural moment.(1) Culture used to imply a certain time and place. Digitalization produces culture everywhere and nowhere, much like the universal gaze it forms and responds to. Today one name of jouir is vibe. Vibe is jouissance organized by gaze. This word has been around for a while, so has the gaze. What is particular to both in our time?
 
Style captivates bodies 
 
Sean Monahan, a trend forecaster based in Los Angeles, used the term “vibe shift” during the post-lockdown social return: “This sense of timeliness is, ultimately, what I was referring to when I coined the term “vibe shift” in an article on my Substack in June 2021. Why does something feel in or out of style? Why does one cultural object feel representative of an era while another doesn’t? The US supreme court judge Potter Stewart refused to define obscenity, saying in 1964 rather: ‘I know it when I see it.’ Trends are a bit like this. You know them when you see them—you just have to have your pattern recognition goggles on.” (2) Vibes depend on the dynamics of social recognition that imply a modality of the gaze specific to each era. A vibe is hard to capture without the “knowing by seeing” condition. Who watches and who is seen is less relevant than what looks and what is seen. Pattern recognition goggles are algorithms.
 
Vibe is already post-cliche. Some sample usages to give a contextual lip-gloss:
 
“We were vibing” (Patient speaking about hanging out with a new date)
“It’s not a vibe” (Patient complained that her girlfriend always uses this phrase)
“I love his vibe” (Anyone said about someone)
“What’s the vibe there?” (Someone asks before going to a party)
 
Vibes play out most clearly in the function of the imaginary: images organize bodies. When someone is vibing, they are enjoying, they are enjoyed, the body enjoys its own image. When someone asks about the vibe of a particular scene, they are inquiring about the style of jouissance at stake. There are different vibes in different scenes, that are always seens. A vibe depends on the principle that I am seen enjoying/I enjoy by being seen. (3) There is jouissance styled by the gaze. Subsets of jouissance lifestyle profiles are curated by the vibe seen. The enjoyment of the image of the body proffers scenes as social bonds. In 1953, before writing the Rome Report, Lacan introduced his triad in an address called “The Symbolic, the Imaginary, and the Real.”(4) He demonstrated a fundamental principle of the symbolic—speech as an intermediary between two images. Language can intervene in between the body-contra-body, image to image relation. Today, the jouissance of image-contra-image runs the show. The element of speech in between two bodies takes a back seat. 
 
Jouissance lifestyles
 
Style is lifestyle, jouissancestyle.(5) Brands depend on marketing a lifestyle through social media influencers. Why do millennials have the same taste? Algorithms determine what you see, and what you buy sees you and returns your seeing back to you in an ever-narrowing closed loop. This pertains not just to fashion and consumer products, but also to streaming music, movies, and political ideologies. The infinite regress of like-minded content is an effect of the gaze in our digital networks. The often disparaged social media “echo-chamber” is really a gaze-chamber. (6)
(…)

 

 

Version française..  Read more… 

 

[1] Cf. Miller, J.-A., “Lacan Clinician,” The Lacanian Review 12: American Lacan, Paris: New Lacanian School, 2022. I find J.-A. Miller’s remark from 1984 especially pertinent thirty years later: “Indeed, in its most general definition, culture is what accommodates, tames, softens the impossible to bear; it is a set of artifices that allow one to bear the real, to endure it, patiently. I would even say that styles and fashions respond more and more to what is unbearable in an era.” (p. 121).
[2] Monahan, S., “I predicted the ‘vibe shift’ – and watched it sweep the world. Here’s what it actually means.” The Guardian, 19 December 2022.Available online
[3] Cf. Lacan, J., The Seminar of Jacques Lacan, Book XI: The Four Fundamental Concepts of Psychoanalysis, ed. J.-A. Miller, lesson 19 February 1964, New York/London: Norton, 1981, pp 74-75.
[4] Lacan, J., “The Symbolic, the Imaginary, and the Real,” On the Names-of-the-Father. Cambridge: Polity, 2013, p. 24.
[5] Miller, J.-A., “The Economics of Jouissance,” Lacanian Ink 38, 2011, pp.6-64. J.-A. Miller places the two signifiers, jouissance and life together after developing Lacan’s movement from Je suis to Se jouit in this masterclass lesson on jouissance.
[6] Lacan, J., The Seminar of Jacques Lacan Book X: Anxiety, ed. J.-A. Miller, Cambridge: Polity, 2014, p. 241. 
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patricia.caroz@skynet.be ; e.vancompernolle@gmail.com
; peggy.papada@gmail.com

Plus d'information 

Call for papers for the blog
Send your contributions to the blog before the 21st of April to Patricia Bosquin-Caroz, Els Van Compernolle and Peggy Papada: 

patricia.caroz@skynet.be ; e.vancompernolle@gmail.com
; peggy.papada@gmail.com 

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London Society

20 January – London 


NLS Knottings Seminar


“Making School” 

with Patricia Bosquin-Caroz Sarah Birgani


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13 JANVIER/JANUARY 2024


QUESTION D’ÉCOLE

 NLS

QUESTION OF THE SCHOOL

L’expérience de l’École The Experience of the School


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Registration closes tonight. Les inscriptions seront closes ce soir.
Tomorrow will be too late! Demain il sera trop tard !

   
Until tonight at Midnight (Paris Time)

Jusqu’à ce soir, jeudi, à minuit (heure de Paris)


HOTLINE
 For any connection problems, please contact the Hotline
En cas de problème de connexion, veuillez contacter la Hotline

Registrants will receive practical instructions tomorrow with the Zoom link.
Les inscrits recevront les instructions pratiques demain avec le lien Zoom.


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REGISTER HERE

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Neus Carbonell – Seductions

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Seductions
Neus Carbonell 
 

 
Seduction: The gaze, the veil and the nothingness
 
Seduction entails the capture of a gaze. A gaze that looks at what is supposed to be where there is nothing but nothingness. In seduction then, there is the gaze, what is lacking, and what is veiled. To seduce is to make look, which is not necessarily the same as giving to be seen. Indeed, seduction attracts the gaze towards nothingness, in order to arouse desire and keep it in suspense, at least for a moment. This is why time plays its part in seduction.
 
The feminine
 
In seduction, the gaze points to what is alluded to, to what the veil hides. For Lacan, there is a relationship between the veil, the woman and the phallus, as the frescoes in the Villa of the Mysteries in Pompeii elegantly present. In these frescoes, a woman is about to lift the veil that hides the phallus in the Dionysian rites. The whole mystery is that behind or under the veil there is nothing. This is usually the beginning of all initiation rites: the final mystery of the initiation rite is that in the end there is no mystery at all. Thus, under the veil that the woman is about to lift in the Villa of the Mysteries in Pompeii, there is nothing but nothingness, the nothingness of castration or death. Lacan refers to this painting as an illustration of woman's relation to the unveiling of the “most hidden signifier.[1] The woman, being related to lack, makes present a transcendence. 
 
For all these reasons, we can speak of the relation of the feminine to seduction. After all, seduction hovers over the background of non-existence. Indeed, it suggests the non-existence of the feminine, which has no representation. Or, to put it another way, the feminine has no representation other than the very veil that covers an absence of representation.
 
The scene of seduction
 
In Freud's sexual theories in children, the seduction scene has a determining role in hysteria. Freud concluded that the seduction scene recounted by hysterics constituted a fantasy, and thus discovered not only infantile sexuality, but also the unconscious origin of human sexuality. Beyond the reality or accuracy of the seduction scene narrated – we know that Freud no longer believed in it wholeheartedly – it is about the traumatic appearance of the question of desire and the jouissance of the Other. Lacan sums it up as follows: "In the hysteric is a sudden seduction, an intrusion or an irruption of the sexual into the subject’s life."[2] Above all, psychoanalysis discovers the relationship between seduction and unconscious desire. Seduction operates to the extent that it resonates in the phantasm of each subject.
 
Indeed, it is only through the role of desire that the close relationship between hysteria and seduction can be understood. (…)

 

Version française..  Read more… 

 


[1] Lacan, J., “Guiding Remarks for a Congress on Feminine Sexuality”, Écrits, trans. B. Fink, New York/London:  Norton, 2006, p. 617. 
[2] Lacan, J., The Seminar of Jacques Lacan, Book V: Formations of the Unconscious, ed. J.-A. Miller, trans. R. Grigg, Cambridge: Polity, 2017, p. 378.
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Plus d'information 

Call for papers for the blog
Send your contributions to the blog before the 21st of April to Patricia Bosquin-Caroz, Els Van Compernolle and Peggy Papada: patricia.caroz@skynet.be, e.vancompernolle@gmail.com,peggy.papada@gmail.com

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CAPSULE 3 – AXES
DANIEL ROY & CAROLINE HEANUE

Coup d'œil sur le Congrès / 
Glimpse at the Congress

3 – AXES – Daniel Roy & Caroline Heanue
PRÉSENTATION DES AXES DE TRAVAIL POUR LES SIMULTANÉES CLINIQUES
PRESENTATION OF THE AXES OF WORK FOR THE CLINICAL PARALLEL SESSIONS
(For the correct English wording see below)
Here is the third in a series of short videos or "capsules" towards the 
XXII Congress of the NLS which will take place in Dublin on the 11-12 May 2024. 

Voici la troisième d'une série de courtes vidéos ou « capsules » en vue du 
XXIIe Congrès de la NLS qui aura lieu à Dublin les 11 et 12 mai 2024.


https://youtu.be/QuRn1aMVGiw
Watch the video and subscribe to our channel! / Regardez la vidéo et abonnez-vous à notre chaîne !

You can also find this video on the Blog / Vous pouvez également trouver cette vidéo sur le blog !

Corrected English Wording for the Axes of Work

(matching the video)

Proposed axes of work:

We propose seven axes of work to orient your clinical cases for the Parallel sessions in English, French or bilingual (simultaneous translation).

1. Instants of seeing: love at first sight – twists of fate – insights

2. Effects of Captivation: the body – the mirror – the fetish

3. The appeal of the gaze: Where am I seen from? By whom? Between the Ideal and the Superego

4. Through the window of fantasy: voyeurism/exhibitionism – porn addiction

5. The stain: the uncanny – shame – indignity

6. “Wandering gazes”: these objects (a) that run everywhere, all alone and always ready to grab you at the first turn…

7. The resources of artifice: veils, modesty, adornments, beauty…

To Register for the Congress / Click here!

Pour s'inscrire au Congrès / Cliquer ici

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CAPSULE 3 – AXES
DANIEL ROY & CAROLINE HEANUE

Coup d'œil sur le Congrès / 
Glimpse at the Congress

3 – AXES – Daniel Roy & Caroline Heanue
PRÉSENTATION DES AXES DE TRAVAIL POUR LES SIMULTANÉES CLINIQUES
PRESENTATION OF THE AXES OF WORK FOR THE CLINICAL PARALLEL SESSIONS
Here is the third in a series of short videos or "capsules" towards the XXII Congress of the NLS which will take place in Dublin on the 11-12 May 2024.

Voici la troisième d'une série de courtes vidéos ou « capsules » en vue du XXIIe Congrès de la NLS qui aura lieu à Dublin les 11 et 12 mai 2024.


https://youtu.be/QuRn1aMVGiw

Watch the video and subscribe to our channel! / Regardez la vidéo et abonnez-vous à notre chaîne !

You can also find this video on the Blog / Vous pouvez également trouver cette vidéo sur le blog !


To Register for the Congress / Click here!

Pour s'inscrire au Congrès / Cliquer ici

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Call for papers for the NLS CONGRESS 2024

You can now send us your clinical work!

Clinical Parallel Sessions


Will take place on Saturday 11 May 2024, in the rooms of Dublin Castle, from 2 pm to 5 pm. Some will be in English or French without translation. There will also be a bilingual room with simultaneous translation. Each speaker and participant will choose his or her preferred language.

We invite you to propose a contribution in line with the Congress theme: “Clinic of the Gaze”. It is a theme that invites the analyst or practitioner to take a perspective on a case based on 1) the various instance of seeing that are isolated, 2) what makes a stain in the picture for the subject, 3) the screens on which his or her imaginary constructions are projected and/or that stand in the way of the real. Faced with the diffractions of the scopic drive – to see, to be seen, to make oneself seen – we will seek to highlight the position taken by the subject and the intervention of the analyst or practitioner.

Your contribution will be based on a single clinical case, which will be read by the scientific committee (English-speaking or French-speaking respectively).

 

Contributions can be sent from today, 3 January, to the following address:

e.koukouli.nls.secretary@gmail.com

Don't wait until the deadline – March 16 – to think about it and write: by then it will be too late!


Please send your texts in the following format: 

 

– 6500 characters including spaces, in Times New Roman font, size 12, with a line spacing of 1.5. 

 

– Before sending, please ensure that your text has been proofread by an English or French-speaking person and strictly formatted according to the above criteria.

 

– Please include, in the main body of the text: the author's surname, first name, e-mail address and mobile phone number.

 

– As the subject of the e-mail put: NLS Congress – Parallel Sessions: NAME FIRST NAME


Proposed axes of work

We propose seven axes of work to orient your clinical cases for the Parallel sessions in English, French or bilingual (simultaneous translation):

 

1. Moments of seeing: thunderbolts – blows of fate – insights

2. Captivating effects: the body – the mirror – the fetish

3. The appeal of the gaze: Where am I seen from? By whom? Between the Ideal and the Superego

4. Through the window of fantasy: voyeurism/exhibitionism  porn addiction

5. The stain: the uncanny – shame – unworthiness

6. “Wandering gazes”: these objects (a) that go everywhere, all alone and always ready to grab you at the first turn…

7. The resources of artifice: veils, modesty, finery, beauty…


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The President of the NLS
and the members of the Executive Committee

 

send you 
their best NLS wishes
for this new NLS year

 

En route vers de nouvelles aventures en 2024.jpeg



Paçi një vit të mbarë ! Gutes Neues Jahr ! Happy New Year! Честита Нова година ! 
Bonne année ! Godt nytår! Heb een goed jaar! Buon anno! Καλή χρονιά!
 שתהיה לך שנה טובה ! Gelukkig nieuwjaar ! Athbhliain faoi Mhaise Duit ! Godt nytt år ! 
Szczęśliwego Nowego Roku! Feliz Ano Novo! С Новым годом ! З Новим роком! ¡Feliz Año Nuevo!  



On 13 January
You will know more about 
“The Experience of [Your] School” of psychoanalysis
by ZOOM for an NLS Question of the School
 
 
From 22 to 25 February
You’ll be convinced that 
“Everyone is Mad”
in the company of our colleagues from the WAP
who give testimony to this at the WAP Congress
in another ZOOM experience
 
 
And on 11 and 12 May
At Dublin Castle
With our Irish colleagues from the Organising Committee
we will address the “Clinic of the Gaze”
and give it a fitting response 
at the XXIIth NLS Congress
 
 
And already
you have the possibility and invitation to read and write!
 

The Congress Blog
Send brief contributions: they will be welcome
in the sections that await them
 

 

 
For the Clinical Parallel Sessions
Send in a case “that concerns you”
From tomorrow proposed axes of work will give you ideas
or you will find your own!

Do you agree?

Daniel
Eleni
Els
Jean Luc
Marina
Patricia

Philip


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