And what a tie! If you want to see the Symbolic Order in action then here’s Jacques Lacan fiddling with his decorative apparatus at the Catholic University of Louvain in 1972.
2020 marks 100 years since the publication of Sigmund Freud’s landmark text Beyond the Pleasure Principle.The publication of this work marked a significant moment in his theoretical development: it is within these pages that Freud formulated the dialectic between Eros and Thanatos within the human psyche.
The publication of Freud’s Beyond the Pleasure Principle seemed to represent a sinister turn from his views of mental processes as dominated by the Pleasure Principle to the overall domination of the Death Drive.
The video in four parts of the whole symposium held on 5th December 2020 with out four speakers : Pippa Goldschmidt, Laura Gonzalez, Isabel Millar and Lorens Holm. Recorded on zoom and uploaded to youtube..
Elke Finkenauer is a New Zealand/German artist based in Glasgow. She works in object-making, drawing, printmaking and text. Finkenauer’s practice is motivated by behaviours people adopt to navigate systems and structures that contain them (such as markets, social situations, work environments, and relationships).
In an exceptional article for the Drouth, Neil Cooper writes to mark the release of Shadow of Fear, the first new album from Cabaret Voltaire for twenty years. The piece is exceptional in its musical profile for The Drouth, its exceptional in its extraordinary length, and also in its personal take on a rock story from Cooper.
The tragedy in Sarajevo was a lesson for the people of every country, nation, land, city. The Balkans have been a crucible for the question of European peace and unity in the midst of ethnic and political struggle for centuries...
Can the kingdom still be united if there’s no unionism in the union? And was ‘Unionism’ simply the most charming and esoteric of checks and balances on the ‘union’? It may all seem abstruse now, but Scott Hames sees us hurtling through an absurdly persistent pragmaticism towards a constitutional car crash.
Historically the marginal realm of the feminine, the home for women artists was not always the mere prison of patriarchy. Tor Scott introduces the surrealist women who rendered the domestic sphere as visionary spaces for alchemy and transformation.