“consciousness is based on the illusion of my seeing myself see myself, the gaze represents the fact that I am seen. ..When the analyst is placed behind the analysand who is lying on the couch, the analyst is abstracted from the subject’s field of vision and therefore can become the gaze or blind spot for the analysand. ..The art object can show us what we don’t want to see, by forcing its gaze upon us. One example of this is Hans Holbein’s painting The Ambassadors, which presents in the forefront of the picture an elongated object, which only becomes recognizable as a skull when one walks away and looks from a certain angle. According to Lacan, this skull represents the “annihilation of the subject” of consciousness within the central field of the picture. The presence of the limit of the subject is thus inscribed within the representation. However, one must point out that it is not the vanishing point that is absent in the picture, for in fact it is there; what is absent, or rather what vanishes, is the subject. ..Discourse; the presence of the analyst causes the fading of the subject and the emergence of the unconscious. Furthermore, in his reading of this painting, Lacan adds that the skull represents not only the annihilation of the subject, but also the lack of the phallus in the real. We must keep in mind that, according to Lacan, the phallus is the signifier (S1) of sexuality and thus we find in the presence of the skull or gaze proof of the absence of the phallus, i.e., the menace of castration. The painting therefore presents an object that has no signifier and cannot be a source of identification for the subject.” – berressem.JacquesLacanAndWitoldGombrowiczonTheGaze http://ift.tt/1VbPhS8

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