La intersección improbable entre lacanismo y teoría política despliega una región fecunda y provocativa. Su consideración es necesaria para quien se pregunte por los potenciales y límites de la emancipación, en el tiempo de la hegemonía liberal, que instrumentaliza el discurso mediatizado como una operación subjetivante. Cuando la denuncia pedagógica y el desparpajo de los poderosos no son factores suficientes para provocar un posicionamiento crítico ante la enrevesada y compleja estructura política y social, las claves de la emancipación quizá puedan localizarse en otro sitio (...)

(...) This dazzling of the senses intends a ‘return’ to what Immanuel Kant defined as “the thing in itself” Messiaen’s tactic for that return is the experience of an ‘excess of truth’. His strategy is to re-create the necessary conditions for this experience to happen, so that this excess of truth emerges -through phenomena- as codified in music. The display of such conditions tries to originate in what Marion defines as donation –Husserl’s Gegebenheit- (...)

(...) His emancipated individuality was the precondition for the existence of the “Bream repertoire”. This music could only exist if a different approach towards the guitar and its relation to music existed. This new approach implied many oppositions to Segovia’s doctrine, but essentially it implied one which is capital: the preeminence of the music over the instrument. Understanding that what is expressed should create the technique for its expression and not vice versa was a big step forward, and has meant a reevaluation of the terrain that the guitar inhabits: its perceived limits, strengths, language, technique, potentialities (...)