Extimité

Resumo: O texto aborda, a partir das concepções da intimidade e da privacidade e os direitos que as envolvem, a delimitação do seu "outro lado" , o aspecto "inverso" (no sentido gramático), que é a da extimidade e tudo que pode abranger, tendo como corte de análise desde a Internet, frente ao Direito. Assim, a partir da análise dialógica dos termos, debater sobre os limites e/ou reflexos do uso da extimidade na rede mundial de computadores, cuja característica é a inter-relação entre pessoas com utilização de mídias sociais (redes sócias, blogs, micro-blogs, fotologs, videologs etc.), que preconizam a publicização/revelação de momentos da intimidade das pessoas, em sua surface digital, correlacionando-os ao/com o direito.

Twin Peaks – and indeed David Lynch’s oeuvre more generally – has often been described as strange, weird or even uncanny. Indeed, the Palmer family’s secrets give the full Freudian significance to unheimlich: that which is homely is also concealed and ultimately threatening. And figures of the uncanny abound in the series: with doublings and doppelgangers, and the dead seeming to return to life (e.g. Maddy/Laura). However, the focus of this paper will be the particular conceptualisation that Lacan gives to the uncanny with the term “extimate” – exterior intimacy or the intimate that is radically Other – and the modes of extimacy that Twin Peaks suggests. First, I will examine Lynch’s (and by extension Agent Cooper’s) surrealism: the depiction of dream worlds on screen – such as the Red Room – and the way in which this staging points to Lacan’s notion (from Freud) that the unconscious is Another Place, out there. The Red Room also suggests the second mode of extimacy that Twin Peaks presents: the place of the voice. Following Mladen Dolar, I will identify those moments in the series – such as the Red Room’s reverse speech, disembodied/inhuman screams, desynchronised audio – where sound design renders the voice as an object, a foreign body in the speaker’s mouth. Thus, I will argue, Twin Peaks shows us that those most intimate markers of our subjectivity – our dreams, our voices – do not belong to us, but come to us from an external location. As the Log Lady says, “Stars, moons, and planets remind us of protons, neutrons, and electrons. Is there a bigger being walking with all the stars within? Does our thinking affect what goes on outside us, and what goes on inside us? I think it does.”

The spatial framework that operates in Antonella Anedda’s poetry generates a permanent short circuit in which intimate self-identity is split from external objective reality. Lacan’s topic concept of extimité allows us to make an in-depth analysis of Anedda’s peculiar textual patterns, as well as her writing processes, focusing on their relationship. Indeed, within the close connection between Self and Language, Anedda’s expressive isolated gesture shows us body-s and subject-s which become extime when they are united with her poetic creations.

Las redes sociales no sólo han transformado radicalmente las experiencias de privacidad e intimidad, sino que también han propiciado nuevos espacios de análisis sobre las estrategias de socialización, convirtiéndose en un territorio de experimentación prioritario para los artistas que trabajan en propuestas creativas en torno a la identidad y a la preservación de la privacidad y la intimidad. Sus planteamientos extremos dejan al descubierto una persistente necesidad de reafirmación de la autoestima que es paradójicamente opuesta al ejercicio de un control efectivo sobre nuestra visibilidad y sobre la utilización de nuestras imágenes en las redes sociales. El objetivo de esta investigación es examinar críticamente, a través obras de los artistas, la gestión que los usuarios de medios sociales hacen de su identidad compartida; asimismo, averiguar cuáles son sus reacciones cuando sufren robos de imágenes íntimas, o cuando las descubren expuestas en galerías privadas y exhibiciones online. A la violación de la privacidad que ejecutan tanto los individuos como las grandes compañías cuando utilizan información privada de sus usuarios se confrontan las decisiones personales y libres de éstos cuando desean compartir su privacidad y su intimidad; robos y donaciones coexisten en el mismo territorio de la vida conectada.
Not  only  have  social  networks  radically  transformed  the  personal  experiences  of  privacy and  intimacy,  but  also  have  fostered  new  spaces  to  analyze  socialization  strategies,  thus  becoming  a priority experimentation territory for artists working on creative proposals focused on identity and on the preservation of privacy and intimacy. Their extreme expositions reveal a persistent need to reaffirm self-esteem that is paradoxically opposed to the exercise of effective control over our visibility and over the use of personal images in social media. The objective of this research is to critically examine, through works of artists, how social media users manage their shared identity. Likewise, the goal is to find out how they react when they are robbed of intimate images, or when they discover them exposed in private galleries and  online  exhibitions. The  violation  of  privacy  that  both  individuals  and  big  companies  running  social media companies execute when they use private user information is confronted with the personal and free decisions of users when they want to share their privacy and intimacy; thefts and donations coexist in the same territory of connected life

Sovereignty continues to be a significant issue for political theorisation. In particular, the question of sovereignty's adherence to and resistance against specific ideological forms and interventions remains debated. Many of these political deliberations assume the constitution and contours of sovereignty to be a sovereign moment. However, in retrospect, there appears to be an act of sovereignty by the subject as part of a wider collective movement. Although Agamben and Santner seek ways to escape the idea of sovereignty being framed as necessarily oppressive, there are moments in which sovereignty still appears as desirable. This article considers this conundrum through two scenarios: the exposition of smoking as a mundane, individual sovereign pleasure, and the recent #metoo movement as collective sovereign suffering. In order to situate a discussion of sovereignty that departs from complete resistance to or escape from it, a recourse to Lacan's concept of extimacy informed by Schmitt's public interest as rule of law is vital. Sovereignty then reveals itself as a concept and practice caught up with jouissance of the foreignness of extimacy which itself relies on the invisible Other for cogency. Both upon recognition of sovereignty and in anticipation of it, jouissance and anxiety are harnessed in a process that demands acting against the law. Sovereignty is thus necessarily grounded in extimacy, a principle which although separating the subject from its context also apprehends it as obedient to the law. In staging the sovereign moment as one of anxiety and joussiance this article argues that although the concept of sovereignty may today be little more than an illusion, we nevertheless continue to pursue it.

Le développement qu’a connu l’individualisme en Occident depuis la seconde moitié du XXe siècle et le pressant besoin des individus de se singulariser et de se définir qui en a découlé a coïncidé avec un effritement constant de la frontière de la vie privée, les individus se montrant toujours plus enclins à raconter et à révéler publiquement les aspects les plus intimes de leur existence. Dans bien des contextes, notamment à la télévision et dans les médias sociaux, les formes biographiques d’exposition de la vie privée qui ont longtemps dominé ont été progressivement concurrencées et parfois remplacées par une mise en public du présent en train de se vivre. Au-delà du constat suivant lequel ces différents types de débordement du privé dans l’espace public tiennent de la quête de reconnaissance de chacun, que peut-on comprendre de l’évolution de l’exposition publique de la vie privée en regard des formes contemporaines de subjectivité ? Laissant de côté les lectures normatives du phénomène et m’appuyant sur la thèse de Charles Larmore concernant le caractère pratique de l’identité, je fais l’hypothèse que les nouvelles formes d’exhibition publique du privé constituent une forme d’engagement, permettant à l’individu de se constituer comme sujet dans la durée. Prenant appui sur une analyse exploratoire de l’émission de télé-réalité Occupation double, cet article développe la réflexion en lien avec cette hypothèse.

Resumen. El presente trabajo analítico busca posicionar la noción lacaniana de extimidad como un elemento constitutivo y sustancial de la identidad política del guerrillero como adversario político pro-blematizando su potencial exterioridad en el plano psicosocial. Situación que se presenta, desde nuestra postura lacaniana, en contraposición de diversos reduccionismos psicológicos que limitan y constriñen los efectos subversivos de los disidentes a un régimen de Estado y que son interpretados generalmente por la psicología social mainstream. Ulteriormente, se pretende vincular la idea de guerrillero a una conceptualización mítica por la cual éste puede ser descrito, y que permite manejar y disipar la contin-gencia subversiva, de una manera más sutil, desde la estructuración mítica de su identidad buscando controlar su incidencia en un sistema político. Abstract. This paper seeks to link the lacanian concept of extimacy with the political identity of partisan as political adversary problematizing his potential exteriority in the psyhcosocial plane. On the one hand, in this problem, from our lacanian position, arises an opposition with the mainstream psychological concepts about the partisan and his actions and effects in the ground of state political exchanges interpreted by social psychology. Later, we will point out the linkage between the partisan concept and the mytical reference of this one. The partisan myth tries to disolve the subversive contingency, in a more subtle way, from the same mythical structure is intended to control the incidence of this one in the political system.

This theoretical study deals with the city from a perspective different from the traditional urban study. It not only approaches production of physical space, but symbolic space through study of social and political practices and their constitutive and transformative capacity, for which the narrative becomes essential. Based on the difference between the imaginary (landscape) and the symbolic (narrative), we position the City’s layout through intimate exterior reconstructions. Furthermore, the limits of what is public and what is private are questioned, for which Lacan’s concept of extimacy, its political articulation in the construction of space and its constant contingent mobility are reviewed from a symbolic viewpoint.