2001: A Space Odyssey and Lacanian Psychoanalytic Theory
Daniel Bristow
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2001: A Space Odyssey and Lacanian Psychoanalytic Theory
Daniel Bristow
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In 1968, Stanley Kubrick completed and released his magnum opus motion picture 2001: A Space Odyssey; a time that was also tremendously important in the formation of the psychoanalytic theory of Jacques Lacan. Bringing these figures together, Bristow offers a study that goes beyond, as the film did. He extends Lacan's late topological insights, delves into conceptualisations of desire, in G. W. F. Hegel, Alexandre Kojève, and Lacan himself, and deals with the major themes of cuts (filmic and psychoanalytic); space; silence; surreality; and ' das Ding ', in relation to the movie's enigmatic monolith. This book is a tour de force of psychoanalytic theory and space odyssey that will appeal to academics and practitioners of psychoanalysis and film studies, as well as to any fan of Kubrick's work.
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Daniel Bristow2001: A Space Odyssey and Lacanian Psychoanalytic TheoryThe Palgrave Lacan Serieshttps://doi.org/10.1007/978-3-319-69444-3_1
Begin Abstract
1. Overture
Daniel Bristow1
(1)
Andover, UK
Abstract
Following the structure of Stanley Kubrickâs 2001: A Space Odyssey (1968), this book opens with an âOvertureâ, showcasing the major themes of the work. Responding to the theses and theorems concerning cuts that Jean-Claude Milner extrapolates from the work of the Alexandres KoyrĂŠ and Kojève, the chapter puts forth criteria for defining cuts as major or minor. 2001 of course begins with one of the most famous cuts in motion picture history; that from a bone thrown by an ape to a spacecraft in Earthâs orbit four million years later. However, the argument is made that this cut is in fact minor in comparison to the major epistemological cut that inaugurates subjectivity itself, and which came earlier, with the first appearance of the astonishing solid ebon oblong, the monolith.
Keywords
OvertureCutMonolithJacques LacanJean-Claude MilnerJacques-Alain Miller
End Abstract
â A major cut separates the system of thought of Antiquity from the modern system of thought.â1 This is how Jean-Claude Milner summarises the central epistemological thesis of the great Hegelian philosopher Alexandre Kojève, a fundamental influence on the thinking of the French psychoanalytic successor to Sigmund Freud, Jacques Lacan. In Stanley Kubrickâs collaborative film adaptation of Arthur C. Clarkeâs sci-fi novel(isation) 2001: A Space Odyssey (1968) such a cut is ostensibly portrayed; that is, in the famous jump from a bone lobbed into the air by an angry ape on a desert Earth to an unidentified spacecraft floating amidst the dark of space just off Earth, an edit we might construe as a cut from the quick, if âto cut to the quickâ literally means to slice through flesh to the bone.2 Yet, whilst separating them, this cut of course ties the two scenes together, the first being linked to the second through the filmic consuetude of an image-match editâthe bone falls alike to how the spacecraft is seen floating; their shapes are similarâand what is elided in the cut nonetheless suggests some continuity between the planet of the apes and the space conquest of the humans. It is as ifâto combine G. W. F. Hegel and Martin Heideggerâhere Spirit has derived from bone, in its thrownness.3 However, the impression that one has led to the other is not given through an explicit statement (and therefore does not necessarily betray what Milner extrapolates from Kojève as his theorem, that âthere is never any synonymy between a notion belonging to Antiquity and a modern notionâ4): the cut is ambiguous, something is subtracted in it, perhaps similarly to the manner in whichâin the Lacanian psychoanalytic conceptualisationâoneâs very own subjectivity is premised on its own subtraction, or cut; here in the subjective, rather than epistemological, definition.
As the popular Slovenian philosopher and Lacanian psychoanalytic theorist Slavoj Ĺ˝iĹžek might say, the barred subjectâthat is, in Lacanâs notation: â
â; the subject (S) cut by a rivening bar: â/ââis unseeable to itself, because it is this cut itself: its being cut out (of its reality) enframes it, constituting its reality. It is thus barred from being completely homogeneous with its reality, as its subtraction is constitutive of its reality. This is where Lacanâs distinction between ârealityâ and âthe Realâ comes in: if the subject were to be homogeneous with(in) ârealityââthat is, due to the lack of subtraction productive of distinction or differentiationâthis would thus entail the inexistence of both subject and reality as such; there would only be a homogeneous Real, indistinguishable as any element unto itself, as it is (subtracted) subjectivity that is required to produce any distinguishability whatsoever.5 In other words, the subject cannot see itself seeing; it necessitously cannot see itself, in the third-person (dreams aside). Such an impossibility can only ever be anxiety-provoking fantasy, such as in the âimpossible sight that threatens you, of your own eyes lying there on the groundâ, as Lacan puts it, in relation to Oedipus unable to see his denucleated eyeballs, rent from their sockets by his own hand.6 (The âbeyond of the infiniteâ that Dave Bowman (Keir Dullea) experiences during the Stargate sequence in the closing part of 2001 perhaps reaches this moment of anxiety of seeing; first, through to unconscious structuration itself, as if he were melding with it, after which is a series of cuts to and from the subject seeing himself in the filmâs last scenes).
However, to launch from this famous cut in 2001, as is so often done, is to ignore the integrality of the monolith that precedes it. (In a similar vein to this appurtenance, Lacan mentions the huge stingray-like creature with abyssal black eyes caught at the end of Federico Felliniâs La Dolce Vita (1960).7) A dark precursor if ever there was one; the monolith is a rectangular block as black as blackest night, unreflecting and impermeable. It has a likeness to a blank cinema or TV screenâlike that over which the music of 2001âs overture is played at its very beginningâyet it is precisely not a screen, due to its homogeny; for a screen separates, and through separating links, whereas the monolith is a Thing that only intrudes, interrupting previous continua and coordinates. It is in fact here that the true cut lies.
As an element of the Real, the only way to conceptualise its unrepresentability is through abstract aporias: it is like an impossibly complete set (in set theory), or an equally impossible reality without a lack, without the excerption-inclusion of a subject, or of object a (Lacanâs always-already-lacking object), whichâas Jacques-Alain Miller has statedâthe subject becomes strictly equivalent with, qua subtracted, qua cut. This is an equivalency disavowed by the subject in their fundamental fantasyâthat is, they do not see themselves as barred (i.e.,
sees itself as S)âhence Lacanâs formula for fantasy: â
â aâ (the barred subject and a separated by the multiform middle symbol, an enigmatic lozenge, which here can denote equivalency and disavowal at once).8 Thus, to use Gottlieb Leibnizâs famous word, the Thing is âwindowlessâ, whereasâas Miller illustratesâa window is needed to get to anything like the soul (Fig. 1.1):
It is precisely because the object a is removed from the field of reality that it frames it. If I withdraw from the surface of this picture the piece I represented by a shaded square, I get what we might call a frame: a frame for a hole, but also a frame of the rest of the surface. Such a frame could be created by any window. So object a is such a surface fragment, and it is its subtraction from reality that frames it. The subject, as barred subjectâas want-of-beingâis this hole. As being, it is nothing but the subtracted bit. Whence the equivalency of the subject and object a.9
The monolith knows no such subtraction or withdrawal, but as the Thing it begins things: it does not screen, it does not frame, and most of all, it does not deceive, which is Lacanâs definition for the cause of anxiety. âAnxietyâ, Lacan states in his tenth Seminar; ânot only is it not without object, but it very likely designates the most, as it were, profound object, the ultimate object, the...