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Lacan's 'L' (or 'lambda' = λ) schema [1954-1955; the 'imaginary axis' is customarily associated with the 'mirror phase'; Lacan, J,1977, Écrits, trans A Sheridan, New York, Norton, 193]. Photo taken by the authors.

Lacan's 'L' (or 'lambda' = λ) schema [1954-1955; the 'imaginary axis' is customarily associated with the 'mirror phase'; Lacan, J,1977, Écrits, trans A Sheridan, New York, Norton, 193]. Photo taken by the authors.

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This paper engages with a key trope of landscapes as representation: their mirroring capacity. Contextualising the concept of ‘landscape’ within art history, the paper invokes several technologies that have been functional in the recognition of landscapes while themselves remaining invisible. One such technology is a 17th century technology known a...

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Context 1
... the context of landscapes we can immediately see two distinct if interrelated fields worthy of further analysis: (1) the advent, as it were, behind our backs, 37 of the constructed nature of landscapes and (2) the transient vacuity of the pointing gesture: the 'can't you see, that's [x] there' that is always open to misrecognition, not the least because the materiality of the 'eye' and every image-creating 'gaze', as Lacan reminded us, 38 take place in differently embodied registers that meet in space. It is this 'meeting' that concerns us here, defining and relying on a space that simultaneously belongs to us in the form of the 2-m extension into space that clear-sighted humans command in every effort to see without consciously focussing (known as an 'empirical binocular horopter', or, in ophthalmology as the 'Vieth-Müller circle') and which simultaneously envelopes and elopes us, as famously depicted in Lacan's 1955 'L' scheme ( Figure 3): ...