On David Lynch

In chapter 15 of Seminar XI, Lacan introduces the mysterious notion of the “lamella”: the libido as an organ without body, the incorporeal and for that very reason indestructible life substance that persists beyond the circuit of generation and corruption. It is no accident that commentaries on this passage are rare (for all practical purposes non-existent); the Lacan with whom we are confronted in this passage does not have a lot in common with the[ …]

How to read Lacan – “God is dead, but he doesn’t know it”: Lacan plays with Bobok

The true formula of atheism is not God is dead – even by basing the origin of the function of the father upon his murder, Freud protects the father – the true formula of atheism is God is unconscious In order to properly understand this passage, one has to read it together with another thesis of Lacan. These two dispersed statements should be treated as the pieces of a puzzle to be combined into one[ …]

What can psychoanalysis tell us about cyberspace?

THE INFORMATIONAL ANOREXIA Today, the media constantly bombard us with requests to choose, addressing us as subjects supposed to know what we really want (which book, clothes, TV program, place of holiday . . .)—“press A, if you want this, press B, if you want that,” or, to quote the motto of the recent “reflective” TV publicity campaign for advertisement itself, “Advertisement—the right to choose.” However, at a more fundamental level, the new media deprive[ …]

On Peter Singer

In his marvelous La peur en Occident, Jean Delumeau reports how, when faced with the threat of plague, a late medieval community reacted in six steps which followed one another with an inexorable necessity: first, they went on as if there is no disease; then, they explained away each case as pertaining to another, more harmless, disease; then, they conceded that there is a disease, but limited and under control; then, the paranoia erupted, people[ …]

Laugh Yourself to Death: the new wave of Holocaust comedies!

[Delivered at Lunds University on 15th 1999.] The success of Benigni’s Life Is Beautiful seems to mark the beginning of a new sub-genre or at least a new trend: the holocaust comedies. It was followed by Jacob the Liar with Robin Williams, the remake of the old GDR classic about the owner of a small shop in the ghetto who pretends to have a hidden radio-receiver and regularly tells his terrified fellows uplifting news about[ …]