The declaration of love marks the transition from chance to destiny and that’s why it is so perilous and so burdened with a kind of horrifying stage fright.
What I mean is that what composes an event is always extracted from a situation, always related back to a singular multiplicity, to its state, to the language that is connected to it, etc.
It must be said that today, at the end of its semantic evolution, the word ‘terrorist’ is an intrinsically propagandistic term. It has no neutral readability. It dispenses with all reasoned examination of political situations, of their causes and consequences.
In fact, so as not to succumb to an obscurantist theory of creation ex nihilo, we must accept that an event is nothing but a part of a given situation, nothing but a fragment of being.
In my view, only those who have had the courage to work through Lacan’s anti-philosophy without faltering deserve to be called ‘contemporary philosophers’.
All those who abandon this hypothesis immediately resign themselves to the market economy, to parliamentary democracy-the form of state suited to capitalism-and to the inevitable and ‘natural’ character of the most monstrous inequalities.
To believe that the intolerable crime is to burn a few cars and rob some shops, whereas to kill a young man is trivial, is typically in keeping with what Marx regarded as the principal alienation of capitalism: the primacy of things over existence, of commodities over life and machines over workers
What is the world like when it is experienced, developed and lived from the point of view of difference and not identity? That is what I believe love to be.
The ethic of truth is the complete opposite of an ‘ethics of communication’. It is an ethic of the Real The ethic of truth is absolutely opposed to opinion, and to ethics in general.
It is thus quite simply false that whereof one cannot speak (in the sense of ‘there is nothing to say about it that specifies it and grants it separating properties’), thereof one must be silent.
let us call it thus, is considered to be archaic or old-fashioned, as though in a way there existed no other definition of what it means to be modern than.
Art is not ideology. It is completely impossible to explain art on the basis of the homological relation that it is supposed to maintain with the real of history.