About the Unconscious and the Aesthetic

ESTELRRICH Jorgelina

What a painter’s work teaches us is what is given to be seen in the enigma that the leonardesque figure holds, as in the case of the Gioconda. In Freud’s study about Leonardo da Vinci’s work he investigates according to the material of the soul that the artist has risked giving birth in his works… in what sublimation has as unfinished as a "pulsional" (instinctive) destiny.

In "the Sinister" Freud continues the question. With respects to which layers of the psychism would correspond to those products of "disturbing estrangement" that make the aesthetic of certain master pieces.

He warns us, that the poem or the playing of the children, as well as our fantasies, are fictions which allow us to represent in different ways that what concerns us as irrepresentable (from the Poet and its fantasying, Freud).

The figurability of the content of dreams by the performing of scenes carries a representability, whose deforming aesthetic is nothing but the effect of Repression.

If dreams, the royal way to reach the unconscious thought, not less than master pieces which give to be seen a scene, fix a form , draw a line according to which something is cut, represented, but at the same time something incommensurable-ly escapes by the interstices of what the figure, Lacan warns us to be attentive to what the artist knows how to do….when he reads a poem or paints a picture or like Joyce, whose work has affected the English language.

In the Seminary of the Identification he indicates to us, with respect to the subject, that if the unconscious is what it is about, it isn’t the kantian transcendental aesthetic which concerns him. Which aesthetic can it be about for our interstitial subject of the enounced and the enunciation?.

If it is the talking subject in which psychoanalysts deal with, it is this individual affected by the unconscious, as is the lacanian hypothesis, and when we are doing our clinical duties we keep working with the logic ..it is not because our subject is made of that logic that Freud discovered the mechanisms of dreams those which concern the operations of language: metonymy and metaphor.

A machine of the significant which in its logic, marks his body…and in a certain form it inaugurates the thought, it founds the mental (fundamental)

Is it not Kant who opens the way of the function of the "pathological" object, that whose experience of satisfaction or pain appetizes the subjects in his particularity but opens the schism, and as a result of its non-adjustable universality.

Il is because of Kant’s luminous criticism, in which affects the seizing of the object, a priori (time-space) that the Pure Reason gives us the Truth of the Transcendental Aesthetic, but it still remains in us to give some reason which gives an aesthetic that talks about the truth of the unconscious subject. This remains outside that aesthetic rather comes from an anti-aesthetic that the deformation of the onyric gives us the order of antecedence and which could be called the fundamental.

Lacan suggests to us in the Seminary of the "Four Fundamental Concepts" a non ontological practice. The Unconscious is not pre-ontic. The Unconscious, is a non ontological… concept?, while it founds the mental (fundamental) .

With Lacan, psychoanalysis`s speech carries a logic…that of the significant which sustains itself from an ethic, the indestructibility of the freudian desire, which is not without a found a mental aesthetic supported not only in the unity (imaginary-symbolic) from the Kantian a priori (Universal Law) but rather in the unicity…of the unary trait whose antecedence calls itself Real.

The immeasurable Real, that the letter tightens its grasp like "a" and that only the incessant measure of the unconscious formations makes true.

Their "reasons" come from "practice". It is by way of the OTHER’s speech that the subject appropriates of the object that it is not, constituting subject itself (time and space), that is not given, instead that is made from speech, when he says, not without talking.

It is from what the significant drawing sustains (in a deformed way), its practice of reason takes form, of the object that can not be, to the subject that comes from there.

A Fundamental Aesthetic remains installed in "the base" of all transcendental thoughts. Its implementation, its figurability is made from the mystery that remains guarded behind those operations. The logic of the Unconscious, the Aesthetic of the incompatibility from the thought with the Real.

Jorgelina Estelrrich

Member of Escuela Freudiana de Argentina