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historical Meditation "Aurora" of Nietzsche

This link is accessible to the full version of "Aurora" (1881) Nietzsche, a work whose full title includes "Reflections on the moral prejudices" that was published after "Human, All Too Human" and "The Wanderer and his Shadow" and immediately before "The Gay Science" and "Thus Spake Zarathustra."

"With this book, Nietzsche says, referring to Aurora - I started my campaign against moral . And Nietzsche is warning: "Where the author seeks the new tomorrow, that delicate blush that is yet to discover and with which begins a new day, or I Jor, a whole series, a whole world of new days? In a reversal of all values \u200b\u200b beef, in a release of all moral values, in a state and a belief in all what until now has been forbidding, despising and cursing. "

consists of five books written mostly as brief aphorisms. The driver issues are: morality, Christianity, philosophy, art and life.

For this work in Castilian, itching here

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Christmas dinner.

Yesterday we had our Christmas dinner, a date a little strange ... or Christmas or New Year, to'l in half! There! hahaha, no matter how pretty it is dinner, right? Bring photos of the outfit and crazy number:)

* In case anyone was unaware, I AM SO MAD. I think the issue can be seen in photographs.

Finally, Santa Claus / Santa Claus brought me everything I asked, that he majete, all video camera since I was worth HD although it was not focused and I need to focus gentlemen! So the new is coming, hopefully tomorrow I have at home: 3, but with luck, it is unlikely haha. Who knows, the surprises that gives life.

Merry Christmas bloggers.

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universal history of childhood

"Unfortunately, the story from childhood ever written, and it is doubtful that you can write some day, because of the paucity of historical data about the children."

James Bossard.

children's story yet to be written. Scholars generally agree that childhood is shaped like an Ariadne's thread that is hidden in the labyrinth of time, an invisible object that has avoided getting wet in the waters of historiography. There are several reasons that become especially dry that the historian's task dealing with children. Taking the contribution of the iconography, Phillipe Ariès noted the invisible character of the child in most societies of antiquity. French researcher noticed that, at least during the Middle Ages-artists did not know the children, or at least came to represent her, the child was on the painting not as a being endowed with its own characteristics, but as a sort of miniature adult. Child body deformation and the rejection of its specific features were shared by the aesthetic features of all periods prior to modernity. In the opinion of Aries, it is difficult to attribute this trend to a technical inability of artists, "rather it is conceivable," he said, that in such societies, "there was no room for the children."

The exception could be made by the Greek art of the Hellenistic period, the prodigal in the reproduction of figures of Eros perfectly childish proportions. However, this may be due more to the ideals characteristic of Hellenic art mimics that of the existence of a conception of the child to distinguish the adult world of children. This was revealed in the epics of the classical period in which children are portrayed as epic warriors and do show the same courage and courage that the heroes adults, as well as the invisibility that had children in the works of Hellenistic thought that cemented the foundations of Western culture. Seen as a phase of life that once (which, as is known, was then rare) was relegated to oblivion, the children stayed together in the art of antiquity to a world of representations that the unknown and even rejected . In all cases, ignoring the specificity of children's world.

Another obstacle that comes to pass, who follows in the footsteps of children in historiography, is that the very few references to a child's life are part of the biography of characters famous, usually nobles or kings, whose stories paint a picture idealized romance that lacks historical documentary value and that more could belong to the realm of the miraculous and the fantastic, like the personal diary of Héroard, Louis XIII's physician-in early seventeenth century said that just getting out of his mother, the dolphin took with her umbilical cord so hard that she could not take it away. In addition, while history has favored public events, children remained in the shadow of private account. Add to that the rugged character of the historic site of the child in the civilizations of East and West. Infanticide to sacrifice, the abandonment to the filicide, the emasculation of sodomy, physical torture to the infusion of panic as a form of domination, the child's social place draws a portrait gallery of time in which humiliation and degradation show childhood history could well be the universal history of infamy.

In a vein opposite of Aries, the American Thinker Lloyd deMause, promoter of approach psychohistorical ", argued that anxiety stems from the" psychic distance "between children and adults have played a key role in the formation of parent-child relationships, and proposed to explain, from their evolution, mutation of the historical faces has held the children. To deMause, the child's place in society is analogous to that of a psychoanalyst who receives projection all the anguish, anxiety, love and hate adults as well as a perennial demand to meet what can not be satisfied. "The psychoanalyst" deMauss writes, "is accustomed to use it as a" container "massive projections of the patient. This being used as vehicles for the projections, was what used to happen to children in the past "2. Thus, the child has been seen in different full time as an angel or a devil innocent bearer of all evil, as the product of mere necessity of the body or a deadly intruder in the womb, like a mirror reflecting a premature adult or to an incomplete being required molding, like a rock in a raw state requested the hand of the sculptor and instruments to collect a human aspect. With the best of luck, the child has been considered an adult in power, but perhaps full of future achievement gap.

touched the fate of Jean Jacques Rousseau forward a change in the status quo with the publication of his work or education Emilio in 1762. Enemy widespread education of the molds, Rousseau promoted respect for the child's individuality and attention to its uniqueness, granted, especially a basic essential differences between adult and child. These lines, for example, foreshadowed to some extent the theory of the psychoanalyst Sandor Ferenczi, who spoke in the first half of the twentieth century the confusion of Babel is born inevitable confrontation between the adult and child language: "If children listen to reason not need to educators, "said Rousseau," but speak from a very young age a language they do not understand, those tend to be content with words, to censor everything I say. "It was a truly revolutionary book (inspired, in fact, the ideals of the French Revolution), ahead of its time in almost two centuries and published two days and deserved the abduction of the police. Rousseau seemed to say that education is for children, and the most innovative Emilio lay in conceiving children and teachers of adults. By understanding the child as an individual whose fate is satisfied in this (and not unlikely in the future), the educational method of Rousseau sought the keys to children's reasoning to be bound. But the momentum of its proposals would not echoes well into the twentieth century. Since that time, the influence of Rousseau's thought begins to be felt in the development of pedagogy and child care, medicine and child psychology. If the object of scorn and abuse, the child went on to become the object of study and attention.

The Second Book of his work, Rousseau recalled that the etymological root of the word "childhood", comes from not having a voice, which is equivalent to not be heard, to have no rights. Today, in the era of "child rights", it is worth stopping once more in the sense of this etymology. The Latin word infans (Child) consists of the prefix "in", which means denial, and the participle of the verb "for", "Faris", meaning "speak." Infans then means "one who does not speak." And he who does not speak, we might add, necessarily spoken. The French psychoanalyst Jacques Lacan once said "each individual bears the mark of how it has been spoken and that will depend on what will crystallize for that subject as unconscious." Psychoanalysis would, in effect, the discipline in the early twentieth century modern culture introduced in the first conception of the child as "subject" ie, a being inhabited by the language and the unconscious desire, as anybody. If the historiography tells us that there is a blurring, a forgetting of childhood, psychoanalysis teaches that before we talk spoken and childhood itself is the first that we tend to forget and repress.

After Freud and Rousseau, of progress and developments in pediatrics and pedagogy, the question arises: How much of the old concepts of childhood lives on quietly in the everyday use of language ? The use of English Dictionary, Maria Moliner, reports that the word "child" applies sympathetic to a person "naive" or "unreasonable" also, in certain jobs could involve "open contempt." The qualifiers "childish", "childish" or the noun "childish", often pointing disdain that what is given little substantiality. The dictionary also find that the word "child" is defined as "non-adult person." In contemporary societies, then what has really failed to see the child as the entelechy of an adult? Exceeded the first half of the twentieth century, Roland Barthes was referring to children's toys: "Toys usual are essentially a microcosm adult, all objects are reduced human reproduction, as if the child in the eyes of the public, if only a smaller man, a homunculus to which objects should provide their size. " In the era of video games and the increasing virtualization of the world-especially the world of children ", the words remain true today semiologist. We still believe that children's play is too serious to be left in the hands of children.

Text published in "Acta Paediatric. Volume 31, Number 6. November-December 2010.

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Christmas wish list.

In this post I wanted to talk about the gifts that I would find under the tree on the morning of December 25, which is less than a week!. Obviously things could go on and on for a while, but this is more than enough.

Since I have not and I need a camera to record videos. It need not be exactly the image, although I would like if you record in HD.

Who does not want feet warm and cozy during the winter to snuggle on the couch with a blanket and a hot chocolate while watching a Christmas movie ?

LOVE this man, and at last I will have the opportunity of viewing concert, but not is the band that I fell in love, and to enjoy the concert at 100% need to learn the songs, and learn the songs I need the disc!

What are you going to ask you to Santa Claus?

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the most beautiful girl and I love most. Little

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cojón

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ERROR IN THE NATIONAL NEWSPAPER PUBLICATION OF MUCH Parrot

In the afternoon we were surprised to see on the cover of the newspaper El Nacional a certificate from the Universidad Autonoma de Santo Domingo, which supposedly had a "blunder." I have news! was a mistake from the newspaper did not know whether to call attention to the 4% that we demand for education or ignorance.

This is the cover of the newspaper El Nacional of today:


The font used on the certificate is called Cloister Black and can be downloaded from the www.dafont.com Here is the link.

test I put "University" and "Unibersidad" in the same font and I was surprised that there is no error. Look at the test here:


Gothic typeface to be specifically in the letter "v" is set off a hairline that looks like a "b" which can confuse and accentuated over the course printing error because the newspaper does not have much quality.

So having said that, I understand that the newspaper El Nacional should apologize publicly embarrass this institution. We really need 4% for Education, but protesting in this way without knowing, and not masters, and no!
I
publicist, working as a graphic designer, it was not me who designed the certificate but it is unfair that lack the newspaper El Nacional want to harm the Autonomous University of Santo Domingo for lack of subject knowledge.

Greetings, Javier Vicente

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Presentation and conditions of the École de psychanalyse lacanienne

On 17 November 2010, will be publicly presented the website and conditions of the École de psychanalyse lacanienne. The proposed site free downloads of digital books, documents, multimedia and textual sources, but above all critical updates, historical and documentary in Castilian of Lacan's seminars.

When Lacan visited Mexico in 1966, saw the mural Dream of a Sunday Afternoon in Alameda Park, Diego Rivera, and then said in Paris during his seminar The object of psychoanalysis. This mural was at the Hotel Del Prado, who was irreversibly damaged by the 1985 earthquake, is now in the Museo Mural Diego Rivera, by the Alameda. As befits a dream censorship affected him: after opening, the phrase "God does not exist" was deleted by a group of Catholic crash and then replaced it with a Rivera metonymy.

The presentation of the e-site conditions will take place there and the reason for a day's work, whose theme is:

 Presentation and site conditions of the École de psychanalyse lacanienne. 

digital readout and Copyleft under their Creative Commons.

 Status of the publication of the seminars of Jacques Lacan, particularly in Castilian, RSI seminar specifically
 Analysis
comment made Lacan's mural, at the meeting of March 23, 1966 in The object of psychoanalysis.

The meeting is at 6 pm, at 6:15 for a tour of the mural. There will then be the working day. At the end there mezcal and wine, toast to which you are cordially invited @.

Admission is free, space is limited to 70 people.

The work session will be broadcast live online through the site www.ustream.tv

Editorial Committee and conditions of the École de psychanalyse lacanienne: Mélanie

Berthaud

Gasteasoro

Manuel Miguel Hernández

Helena Maldonado Gabriel Meraz

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The etificación of psychoanalysis.

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calamity "I never spoke of freedom." Jacques Lacan in Belgium, 1972 (Video)

This 23-minute documentary looks to Lacan in an interview with Belgian television the fall of 1972. Pivotal year in his teaching, if you think about the consequences of discovery ( trou-Vaille , he said playing with holes) of the Borromean knot (presented at the seminar on 9 February). But unlike television broadcasts prepared by J.-A. Miller months later, well known in this Lacan runs with his interlocutor ( Françoise Wolff ) in simple and plain, leaving aside their notions and concepts, their rounds of rope, but not always the key issues that occupied him: What is psychoanalysis? How do you do? What is the analyst's place? What is the unconscious? In the interview, also appreciate the qualities of maieutics Lacan, who, in a Socratic countenance, as it were, hidden silene while leaving some hint of his desire as an analyst (and, as Jean Allouch observed was his desire that Lacan called "analyst's desire"). Say it is Jacques Lacan , a psychoanalyst, speaking of the analytic experience, experience in this experience called psychoanalysis, and that's enough for the document is a true gem.


J. Interview Lacan (1972) from psychoanalytic front on Vimeo .

can download the French text HERE (Word).

Note: Beware slips of the subtitle (not going to comment.)

(Source: http://vimeo.com/ )

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The deaths of Roger Munier (1923-2010)

Today I learned of the death of Roger Munier , which occurred on 10 August. "The writer Roger Munier, translator of Martin Heidegger and Octavio Paz and specialist Arthur Rimbaud, died on Tuesday at the age of 87 years," said the note in my Google widespread.

is curious, but not strange, that the death note to remind the writer in his role as critic and translator; is curious because his vast figured prominently poetry titles (why there was no reference in the first place Munier "poet"? To me the news of his death made me think a moment , in a phrase of Cocteau : "Death of a poet is very serious, because a poet is something more than a man), but basically it is not unusual because, perhaps as few, Munier could say that as an author was a real author ( Barthes, Foucault, Agamben ), Or writing someone who could do no more to go.

knew better than anyone ( Munier "translator") that every word is word of another, and also (Munier "poet", Munier "man") that the self as a unit it is an illusion (" Besides myself, am I "), the complete, total, is absent because it is always divided, and it is an I in a subject when is not only the effect of otherness. Because I knew (with Nerval, Rimbaud ) that "I is another", that being has to be another ( Paz), and the word-for taking the role of field language, and dwarfs the subject engages loss-while is the only way it has to appear to get lost in the alleys sense and always being late to meet the Another (in a "been there," the former future speaking Lacan), to exhibit, to turn-on be speaker-his lack of being. Roger Munier

knew ( Munier "writer") that all that unfolds against a backdrop of unspeakable, that is not an impossible stops not being written, because what is not written. ("Writing is a fever about things, which basically says no fever but not things.") Perhaps so I thought that writing, when writing real (literalization the subject), leads a fading , to disappearance. ("The actual writing itself is subtracted from itself, continuously. The last word ratifies stolen"). Missing

among the living ("Death ... finally will open myself arms"), how to remember Roger Munier ? "As a" poet of thought, "someone who did something so strange, so difficult to achieve as a happy meeting between poetry and philosophical reflection? ( Munier " poet " Munier "philosopher", "Munier translator and friend of Heidegger " Munier " translator of Octavio Paz" ). It might be worth remembering as a man who wanted to write in the shade, but whose word malgré lui, could not escape the light. In his work, the voice of the subject type appears to arise from a chiaroscuro (as in the ellipsis of the subject of writing Baroque spoken of evoking Sarduy Lacan), and plan on things some light that gets into the shade ( "Life destroys life. pensamiento.La thinking destroys the reality destroys the reality" ) So it seemed to me to re-read your ... "Aphorisms?, Chiseled flashing of thought, flashes of brilliant poetry in the fund may not poetry or philosophy, but fragments, voices spelled a work that, as I said another entry in my Google-" mimics the world as a pullout. As he resists any interpretation, it is called requires and demands a listen. "

The latter made me think that the work of Roger Munier approaches perhaps something more intimate, secret, the experience of psychoanalysis.
fragments
Here again, it took "almost" at random from his book Glimpses :

***

The light does not show things as they are. The is of, it seems that the dress, to see them. Without this dress would not be visible. But not this dress.

***

All that happens is a sign or wonder happen as before. Admirably above.

***

think when I write, and write it in a dead language.

***

Write to the way everything is done: as a loss.

***

pregnant The possible reality, it hinders. And, mixing, dilute it strangely unrealized.

***

I do what I want. But to do so, but I do not want what I do.

***

The sense is in Exodus, through all the senses.

***

Being not last but by doing, that hides it.

***

more than it is, man is what could be. That can be shattered his being, and ultimately prevent it from being forever what could be.

***

I have no memory, only memory.

***

Everything is hard in a state of loss.

***

hear what you say.

***

Try know as what is not known, it is not known,

***

The oddly real stands between ourselves and reality.

***

When I think of myself in the past, it is not me who you think is in the past.

***

Do you suffer? No. Something has torn the fabric of things. And that happens in you.

***
We are but words, but to us something we are silent.

***

Every word he says: I speak, am I not speak, said only: I am.

***

When I say the world is real , when you say is no longer true, as the real can not be said.

***

What we love in the truth not the truth, but it is true.

***

The existence and that the existence: being, every being, is an enclosure.

***

Truth is not reality. The truth is not "real." There is no truth in reality. There is only reality.

***

Life has an end: death. But perhaps death has no end ... Perhaps it never ends in death.

***

All end is sad, even that of what is sad, as an end.

(From Radiance, Mexico, Award, 1988, trans. De Marco Antonio Campos)

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Bertrand Russell on psychoanalysis

The Contemporary Dictionary of Man of Bertrand Russell (1872-1970), copy the entry for Psychoanalysis:

Psychoanalysis although undoubtedly has its excesses, and even its absurdities, has taught us many things true and valuable. There is the old adage that "if sent into nature with a pitchfork, portrays one anyway." but psychoanalysis has provided commentary on this text. Now we know that life carried over against the natural impulse will likely result in effects of stress, probably as bad as the surrender to the forbidden impulses. People who live an unnatural life is often filled with envy, malice and lack of charity.

is what you will think of psychoanalysis, there is a point which is undoubtedly correct, and the enormous importance given to emotional life. If emotional development is done well, character and intelligence develop spontaneously. Therefore, the science teacher must direct its attention primarily to the emotions.

For our purposes, the essential discovery of psychoanalysis is as follows: an impulse inhibited by objectivist methods, that does not find expression in action, not necessarily die, but it is underground and finds a new output is not inhibited by education. Often, the new output is more harmful than avoided, and in any case the abuse is emotional disturbances and energy costs without profit.

Psychoanalysis, as is known, is primarily a method to understand the hysteria and certain forms of insanity, but has discovered that many things in the lives of ordinary men have a humiliating resemblance to hallucinations of fools. The relationship of dreams, beliefs, irrational and foolish actions with unconscious wishes has been brought to light with some exaggeration, by Freud, Jung and his disciples. As to the nature of these unconscious wishes, I think, "but as profane talk shyly that many psychoanalysts have been narrow criterion, it is clear that there are wishes to stand, but others, for example, honors and power, are also operant and equally susceptible of concealment.

(From: DICTIONARY OF MODERN MAN, Volume Loose, Mexico, 2003)

Beyond moralizing tone passages and teaching (so characteristic, with few exceptions, psychoanalysis developed in the latitudes that inhabited our philosopher), it is curious that one of the leading exponents of modern logic is expressed of the work-Freudian psychoanalysis, in terms of "Natural impulses", "forbidden" or "emotional life" and you fail to notice what Jacques Lacan would highlight to his reading of Freud , namely the unconscious, rather than being a dark reservoir of repressed impulses, has a logic and structure that are peculiar, both inevitably linked to language. Also the words of Russell seem to resonate with those of other fiósofo, Theodor W. Adorno, for whom nothing in psychoanalysis was as true as his exaggerations. And yes, though this is not monopoly-analysis, exaggeration is one of the forms which truth-telling in their midst. But that certainly is not as logical.

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Louise Bourgeois (1911-2010)

"In the artists are guaranteed in advance the fact of being sane, as that will always be able to take their torment."

(LB)

Portrait Fillette LB, 1968, by R. Mapplethorpe

died Monday in New York sculptor Louise Bourgeois .

Born in Paris on Christmas Eve 1911, and daughter of former tapestry restorers who enjoyed a certain position, the artist moved to New York in 1938 and married a professor of American art. Over almost a century old, Louise Bourgeois devised a perpetual continuity between the work of living and artistic creation. His works clearly locked experiential aspects that, to be revisited, devenían creative experience. In his reference to the past work, especially infancy, is central. Not in the sense of an autobiographical allusion which traces the researcher could put in titles and themes of his compositions, but as a sort of cathartic asceticism in which the elements of lived experience are exorcised in the creative act. In 1982 he wrote:

"Some are so obsessed with the past to die buried under it. This is the attitude of the poet who never finds the lost paradise and is also the artist, who works for reasons that nobody can understand . Maybe what we both try to be rebuild a thing of the past in order to exorcise it, why the past has, for many people, an enormous power and beauty. Everything I've done has been inspired by my previous life (...) Every day do to forget your past or accept it. If you can not accept, you become a sculptor. "

Amiga artists like Mark Rothko , Joan Miró and Marcel Duchamp , Bourgeois pioneered the installation and performance art. Without however, gained public recognition until the 1970's, which, in his view, could only benefit their first productions bathing them for privacy, splendid isolation. The tortuous obsession with the love of father and mother, the overlapping of masculine and feminine (phallic breasts, penises split), the irruption of death in sex, but on the whole body (the breakdown and their combined symmetries and the dualities and homologies) are some constant presence in his work.

Janus Fleuri [Janus flower], 1968, bronze, 31.8 x 25.7 x 21.2 cm.

did not like to Louise Bourgeois was imposed to work the adjective "erotic", but in the case of the symbolic and aesthetic power that holds the body, just resigned to bring up the erotic scene:

"My job is not intentionally erotic, and I doubt it is, but before you go on to become the erotic aesthetic, who am I to tell you not? The content is involved with the human body, its appearance, its changes, its transformations, all they need , wants and feels its functions (...) The content is now the erotic message: everything occurs as a result of the presence of two people. Pleasure, pain, survival, in public or private, in a real or imaginary world. "

According account some autobiographical notes, was christened in honor of Louise Michel Louise , a kind of Rosa Luxembourg French her mother, feminist and socialist sympathizer, was a model. Given the deep interest which she awakened in everything related to women, Louise Bourgeois turn declared feminist however, remained outside of any membership and considered before all a big lonely.

Femme Couteau, black marble, 1970, 67 x 3 x 12, 5 cm.

About a work that explores the essence of the woman and the nature of the feminine, Femme Couteau (Women's knife), wrote:

"This marble sculpture, my Femme Couteau, includes the polarity of the women, the destructive and seductive. Why do women become women knife? not born as such. They did so through fear. In Femme Couteau the woman becomes a knife, is a defensive figure. To defend itself, identifies with his penis. A girl can feel terrorized by the world. Feeling vulnerable, as it can be injured by the penis, so try to take the same weapon of the aggressor. This is a problem that part of childhood, and the lack of a reasonable education and understanding. "

everlasting concern for the mother's love is present in works such as Fox She . In this piece, Bourgeois made of stone and the animal violence that permeated the mother-daughter: "I cut his head, slit his throat. And yet I would expect. (And here I think Winnicott , stating that the first object of choice must survive the destruction as proof of love.) According to the sculptor said, the figure represents an animal, a female, but not a female either, has several breasts , beautiful legs and a double mutilation throat and head. "Under his hips are a welcome retreat. And this is where I place myself (...) Fox She is a portrait of a relationship. It is an expression of faith that a child placed in their parents and violence established between the strong and the weak. This is the meaning of the work. "

She Fox, 1985 black marble, 68, 5 x 179 x 81 cm.

In 1973, after the death of her husband, Bourgeois sculpture created to mark a critical milestone in its path: Destruction of the father . The artist remembered his father (d. 1951) as a macho man. Being the third child of a marriage without sons, meant that they should forgive her for being a girl. As recounted in a text called Family Album, recalls that when he was born, his imaginative mother told his father: This girl is just like you, as you call it. That was how his father accepted. But the greatest disappointment would be the father to the daughter, holding for ten years a teacher amasiato with small Louise. Destruction of the father is a play about fear, and the impossibility of hidden love, and survive, to fear.

Destruction of the father , 1974, plaster, latex, wood and fabric, 237, 8 x 362, 2 x 248, 6 cm .

Above it says:

"This piece is basically a table, boring, terrifying family dinner table with the father head, who sits and gloats. And the other, the wife and children, what can you do? They sit there in silence. The mother, of course, trying to satisfy the tyrant, her husband. Children are full of despair ... So, in desperation, grabbed the man, threw him to the table, tore it apart and proceed to devour it. "

But who wants to see in this piece a totemic feast alluding to the influence of psychoanalysis, the artist will clarify the picture: no Freud, Lacan anything, it is not nothing but the real father, with all its symbolic imagery. At most, Freud and Lacan resembled something the father of the artist, like André Breton . At least that's what she said:

"Charcot was a modest person, just a scientist, but never a theoretician. On the contrary, Lacan was a guérisseur. Through his charm and verbal facility. It was not a scientist but a scammer. Freud and Lacan did nothing valid to the artist. barking at the wrong tree. They did not help anything. Simply I can not qualify for any of them (...) Breton, Lacan and Freud disappointed me. promised truth and provided only theories. They were like my father promised much and did too little. "

not think so grabbed Louise Bourgeois dislike for psychoanalysis. In 1990, he wrote a review of the New York exhibition The Sigmund Freud Antiquities, which he titled toys Freud, and portrayed an endearing way the creator of psychoanalysis (a children's collection and a reasonable man of genius full clinical and fear of his father). also came to believe that the analyst, alongside the Treasury and the lawyer, the best ally of the artist: "The psychoanalyst makes more reasonable the artist, the lawyer does smartest and richest Treasury.

Quotes taken from: Destruction of the Father / Reconstruction of the father, Sintesis, Madrid, 2002.

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Pornotopía, Beatriz Preciado

After Testo Junkie (Espasa Calpe, 2008), singing autofictivo to testosterone as a drug and enthronement of the phallus as real axis of culture (* fascinating text, if any, despite criticism some punks psychoanalysis and more than a contradiction unsolvable), Beatriz Preciado returns to the publishing scene with a book that examines how Playboy, the rule of Hugh Hefner, the Cold War became a cornerstone of "capitalism farmacopornográfico." According to the thesis of the author, was farmacopornográfica in which we live is characterized by the production of subjectivity dominated by a culture of consumption and the pursuit of sexual pleasure, which are the effect of placing operation of real devices control and regulation of the human body. So

Preciado ensures that, far from being a mere magazine for men "- Playboy is an architectural project of large proportions (think of the famous mansions designed by Hefner to house the bunnies) whose ultimate goal was to move to the" house heterosexual "as a center of consumption and reproduction by proposing new areas of production of pleasure. "I think Playboy is for contemporary political philosophy as the steam engine was to Marx," he said in an interview, "a model of economic production and cultural imperative to think of mutations that occur in the second half of the century XX ".

Preciado, photographed by Lydia Lunch

After reading the work of prices is not possible to hear a concept like sexual identity Baudelaire not remember when he said that, if put together, certain words howl. This is political philosophy.

can read an online excerpt here .

tycoon, his famous bathrobe and his girls

* More than ever in the sense that it is the Latin etymology: fascinus = phallus