Orlan, carnal art, film of Stephan Oriach, depicts transformations in the artists own body. It is a discourse on art in place of that of science. The goal is to use technology to reduce the gap between what one is and what one has. The body is a tool for saying what one wants. It is a matter of subverting, in a dimension of transgrassion of criteria and social stereotypes, the notion of appearance in order to bring it down. The violence of this exhibition questions the place of the spectators who are invited to a live performance of this act.
While homosexuality among siblings remains one of the last taboo subjects of clinical literature, the work of Almodovar would be a good illustration of it. Between homoeroticism, autoeroticism, incestuous attraction and the fraternal double, the filmmaker artistically tries to solve his own problems, while helping his male characters to conquer the phallic penis that women can so readily adapt themselves to in his universe. An analysis of “ Talk with her ” makes it possible to learn something of Almoldovar’s fantasises of. By lifting its modest veil we can perhaps better understand his view of a subject which is normally kept under silence.
Approaching the pubertaire phase from the angle of the actualization of a virtuality – being transformed into a procreator – this article establishes a link between a group of theories referring to ontogenesis and phylogenesis, on onehand, and, on the other hand, certain elements of popular imagery that show the male adolescent regressing to an anterior animal stage.
The pubertaire Virtual (with a capital “ V ”) would be a formulation of the Lacanian real, at the moment of the metamorphosis of puberty. The virtual conducts of adolescents could avoid it, with certain risks, while at the same time aiming for this deep aspiration. Distractions, they reflect an alienation through the image and its techniques, but one from which a work of subjectivation may nevertheless be expected. The false may prove helpful in the quest for what is true.
The virtual image, synthetic, despite the difficulties of producing it, completely changes the notions of image and hallucination. Here the negative appears to be only a dialectic of erasure, not a work. The fourth dimension of the image is time.
Where the processes of perinatal parenthood and adolescence intersect, the concept of the “ virtual ” offers an heuristic theoretical and clinical framework. The stakes of a “ virtual object-relation ” are posed there.
The pregnant teenager is a violent collusion of the virtual of adolescence and of parenthood. An account of a psychotherapy in this context provides an opportunity to study the dynamism of a singular virtual object-relation.
Among the specific material collected at Fil Santé Jeunes, a hotline for adolescents, we find definitions of the word virtual and, most of all, the genital potential that is expressed directly in the calls. Invisibility and non-presence – another definition of the word virtual – are characteristic of the telephone. As a space in which parental substitutes are invisible and the adolescent himself is unseen, the phone line is an offering to representation, a particularly welcome one at an age when it is imperative that a representation be substituted for the bodily parental presence. The voice, the only corporal element of the telephone relationship, fosters a bond which may be regressive but which may also open the way for mutual subjectivation.
Sometimes the usual ways of traumatic therapy do not work while the dual relationship between the patient and the therapist stirs up traumatic experience, to the detriment of psychical working over.
The introduction of a computer during sessions changes the therapist’s position and helps to build a new therapeutic setting which reintroduces protection and acknowledgement for the abused child.
When working with teenagers, the association “ en-Jeux ” (its name plays on the two meanings “ game on ” and “ at stake ”) gives priority to virtual reality games. For these constantly evolving subjects the world of video games encourages a journey of self-discovery and the discovery of others. The young players move from a solitary use of the games to a more collective use, in a more social setting. However, achieving this aim involves an adult contribution to the adolescents, and technical supports are essential. Thus, video games become tools of understanding the way the psyche works and, used on line, they are an excellent way to acquire new technical an inter-personal skills. At en-Jeux, virtual reality games bring out the hidden potential in adolescents.
The phenomenon of the video game calls for a study of its risks. We have chosen to approach it from the perspective of addiction, since some subjects play video games to excess. We will try to see how the choice of the addiction object, the “ video game ”, reveals a history of narcissistic wounds involving real images but also self images. The video game shows us the anti-depressive struggle set up by the player through an avatar, a narcissistic double who possesses the anal talents sadly lacking in himself.