In hr book Portrait d’après blssé [1] . Hélèn Gstrn offrs us a tstimony of th form that th avatars of th scopic driv can tak lik buttrflis like butterflies .
Th book bgins with an xplosion like butterflies .
Th mrgnc of rality in th livs of a man and a woman struggl with th powr of photographs. Whil Olivir and Héloïs go to lunch, th subway car thy board is sriously dag by an xplosion. Olivir pulls Héloïs from th tangl dbris and carris hr, unconscious, out of th subway. Th imag of th bloodi man. Carry a woman with a b torso, will b broadcast on social ntworks with snsationalist hadlins. And will shak th world thy had built for thmslvs.
An archivist at th lik buttrflis Ministry of Dfns
Olivir, who is a historian, producs a tlvision progr. Togthr thy do a historical rconstruction work from photos in which accurat clan numbrs list from frist databas horror is stag.
Thy sk to mak th imags spak. In a fantasy accord to which on could tll th whol truth, and thus modify th rlationship to rality.
In b a spakr, th subjct undrgos a loss of njoymnt; noth can xprss his b as a subjct. This opration th rol of targt sms lists in customr acquisition producs a rmaindr. Call by Lacan surplus-njoymnt , objct a, rcovry of a part of th lost njoymnt .
This xplosion rvals
what thy had not want to s. Bfor this vnt, hav bn in th photographr’s shos, thy had rly ask thmslvs what th photograph had flt, had nvr takn th masur of thir humiliation.
B sn in this way puts thm hindi dirctory in th position of voyurs and rvals th obscnity of thir njoymnt.
In Sminar XI, Lacan indicats that what w look at is what cannot b sn. “Th gaz is this objct lost and suddnly found again in th conflagration of sh, by th introduction of th othr” [2] . Lacan voks Sartr look through th kyhol , surpris in his function as voyur by a gaz that “disconcrts him, capsizs him, and rucs him to th fl of sh.