If this were the whole story we should then have suicide, but the obsessional mechanism provides ways of escape.
One is by ritual of various types whereby he omnipotently neutralizes his omnipotent powers of destruction; the other is by ejection of the incorporated hostile object by the anus.
The experiment that is part of every family album – will the son take after his father in his responses to various first contacts, for example, to his first visit to the zoo – was the onset of what turned into the father’s close encounter with the son’s techno priority.
If like father, like son Joy had after the trip to the zoo drawn his favorite animal, even though he chose a tiger rather than the father’s childhood favorite, the elephant, he would have been drawn into the Oedipal trap of secondariness (the father, after all, is by profession an artist).
We must begin with what is brought to session – that is one of the material precepts of analysis.
Choi sought an identification with his little boy Joy.
Choi’s career-long investigation turns on the symbolic weight, moral burden, cultural achievements and social costs of the “economic miracle” achieved in South Korea during the artist’s lifetime, beginning in the decade following the end of the Korean War in 1953. Welchman, 2017This is a conception of space that is territorial and not symbolic.