{"id":608,"date":"2018-12-26T20:39:47","date_gmt":"2018-12-26T23:39:47","guid":{"rendered":"http:\/\/matpsil.com\/revista-lapso\/\/?post_type=avada_portfolio&#038;p=608"},"modified":"2023-12-06T02:44:01","modified_gmt":"2023-12-06T01:44:01","slug":"cordero-new-imaginary-in-farmacopornographycs-times","status":"publish","type":"avada_portfolio","link":"http:\/\/matpsil.com\/revista-lapso\/portfolio-items\/cordero-new-imaginary-in-farmacopornographycs-times\/","title":{"rendered":"CORDERO | New imaginary in farmacopornographyc\u00b4s times"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-modal modal fade modal-1 cordero\" tabindex=\"-1\" role=\"dialog\" aria-labelledby=\"modal-heading-1\" aria-hidden=\"true\" style=\"--awb-border-color:#ebebeb;--awb-background:#f6f6f6;\"><div class=\"modal-dialog modal-lg\" role=\"document\"><div class=\"modal-content fusion-modal-content\"><div class=\"modal-header\"><button class=\"close\" type=\"button\" data-dismiss=\"modal\" aria-hidden=\"true\" aria-label=\"Close\">&times;<\/button><h3 class=\"modal-title\" id=\"modal-heading-1\" data-dismiss=\"modal\" aria-hidden=\"true\">Roberto Cordero<\/h3><\/div><div class=\"modal-body fusion-clearfix\">\n<p>Centro de D\u00eda Psicoanal\u00edtico #4<\/p>\n<p>roberto.cordero.j@gmail.com<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-1 sep-underline sep-solid fusion-title-center fusion-title-text fusion-title-size-two\"><h2 class=\"fusion-title-heading title-heading-center fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:25;--minFontSize:25;line-height:1.5;\">New imaginary in <em>farmacopornographyc\u00b4s<\/em> times<\/h2><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_6 1_6 fusion-flex-column fusion-no-small-visibility\" style=\"--awb-bg-size:cover;--awb-width-large:16.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:11.52%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:11.52%;--awb-width-medium:16.666666666667%;--awb-spacing-right-medium:11.52%;--awb-spacing-left-medium:11.52%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_2_3 2_3 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:66.666666666667%;--awb-margin-top-large:0px;--awb-spacing-right-large:2.88%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:2.88%;--awb-width-medium:66.666666666667%;--awb-spacing-right-medium:2.88%;--awb-spacing-left-medium:2.88%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><style type='text\/css'>.reading-box-container-1 .element-bottomshadow:before,.reading-box-container-1 .element-bottomshadow:after{opacity:0.70;}<\/style><div class=\"fusion-reading-box-container reading-box-container-1 fusion-animated\" style=\"--awb-title-color:#333333;--awb-margin-top:0px;--awb-margin-bottom:84px;\" data-animationType=\"fadeInUp\" data-animationDuration=\"0.5\" data-animationOffset=\"top-into-view\"><div class=\"reading-box reading-box-center element-bottomshadow\" style=\"background-color:#ecf0f5;border-width:1px;border-color:#f6f6f6;border-top-width:3px;border-top-color:var(--primary_color);border-style:solid;\"><h2>ROBERTO CORDERO<\/h2><div class=\"reading-box-additional fusion-reading-box-additional\">\n<div class=\"fusion-aligncenter\"><a class=\"fusion-button button-flat fusion-button-default-size button-custom fusion-button-default button-1 fusion-button-default-span fusion-button-default-type\" 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button-flat button-small button-default fusion-button-default button-3 fusion-button-default-span fusion-button-default-type\" style=\"--button-border-radius-top-left:0;--button-border-radius-top-right:0;--button-border-radius-bottom-right:0;--button-border-radius-bottom-left:0;\" target=\"_self\" href=\"http:\/\/matpsil.com\/revista-lapso\/portfolio-items\/cordero-nuevo-imaginario-en-tiempos-farmacopornograficos\/\"><span class=\"fusion-button-text\">VERSI\u00d3N EN ESPA\u00d1OL<\/span><\/a><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-6 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><style type='text\/css'>.reading-box-container-2 .element-bottomshadow:before,.reading-box-container-2 .element-bottomshadow:after{opacity:0.70;}<\/style><div class=\"fusion-reading-box-container reading-box-container-2\" style=\"--awb-title-color:#333333;--awb-margin-top:0px;--awb-margin-bottom:84px;\"><div class=\"reading-box\" style=\"background-color:#ecf0f5;border-width:1px;border-color:#ecf0f5;border-style:solid;\"><h2>Abstract<\/h2><div class=\"reading-box-additional fusion-reading-box-additional\">\n<p style=\"text-align: justify\">The present work examines the treatment done in the work of Paul B. Preciado about the relationship between the imaginary register and the real, independent of its copulation with the symbolic. The imperative to <em>jouissance<\/em> and the fall of the Other in the <em>pharmacopornographic<\/em> order explodes the image of the Cartesian body, while at the same time makes possible new modes of <em>jouissance<\/em> that give consistency to the body. In this context, the contra-sexual practices are proposed as a field to investigate an imaginary that establishes meaning.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-margin-top:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-7 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-1\"><p style=\"text-align: right\">\u00abThe truth of sex is not revelation, it&#8217;s sex design\u00bb<\/p>\n<p style=\"text-align: right\">(Preciado, 2008 [2014] p.36).<\/p>\n<p style=\"text-align: justify\"><span class=\"fusion-dropcap dropcap dropcap-boxed\" style=\"--awb-border-radius:8px;--awb-background:#dd3333;\">T<\/span>owards the end of the <em>Seminar XXIII<\/em> (Lacan, 1975-1976 [2015]), Lacan proposes an orientation by the real as a new bet for psychoanalysis. Since the real forcludes the meaning, an orientation by the real makes psychoanalysis no more than a \u00abshort circuit that passes through the meaning\u00bb (p.120). How to think this passage through the meaning? Lacan gives an indication: \u00abit is necessary to crash, if I may say so, against a new imaginary that establishes the meaning\u00a8 (p.120).<\/p>\n<p style=\"text-align: justify\">In the eighth class of this seminar, meaning is defined as the copulation between language and one&#8217;s own body, that is, the symbolic with the imaginary. Such articulation between both registers took different forms along Lacan&#8217;s teaching. When the imaginary sutures the hiatus caused by the tongue cutting over the flesh, and operates by veiling the <em>trieb<\/em> objects in the field of the Other, it is possible to locate the imaginary register subordinated to the symbolic. A similar articulation is shows in the developments about optical scheme in \u00a0<em>Seminar I<\/em> (Lacan, 1953-1954 [2013]), when the coherence of the virtual image as gestalt that orders the real, depends on its articulation with the Ideal anchored in the field of the Other. In both cases the sense is established from the symbolic. So, how to think a new imaginary that establishes the meaning, to sustain an orientation by the real? This question leads to investigate the relationship between the imaginary register with the real, independent of its copulation with the symbolic register.<\/p>\n<p style=\"text-align: justify\">To delve into this relationship, Indart (Tudanca, Gil, Gorenberg and Rodr\u00edguez de Milano, 2017) proposes to take into account two references. On the one hand, the real image in the optical scheme, that which remains as \u00aba necessary rest in the physics of that model\u00bb (Tudanca et al, 2017, p.143) so that, in a second time, the virtual image can be knotted into the field of the Other. This first reference would be useful to interrogate how the imaginary could be sustained without that later moment of anchorage in the symbolic, that is, how the real image would operate independently. On the other hand, he proposes to return to the Freudian notion of narcissistic libido, opposed to the object libido. For Indart, the imaginary is not articulated to the body for orient it in the \u00abexternal world\u00bb situating objects, ends and goals, but to give rise to \u00absomething of the life body opaque <em>jouissance<\/em>\u00bb (Tudanca et al, 2017, p. 139). This would have as effect to inflate the body imaginary consistency. From both references, Indart concludes that a possible way of orienting oneself in this search implies for the contemporary psychoanalyst to be attentive at the <em>jouissance<\/em> that preserve the corporal imaginary and give consistency to the body, that is to say that are not the <em>object ajouissance<\/em>.<\/p>\n<p style=\"text-align: justify\">Present work intends to take in count this indication. For it, the work of Preciado -philosopher<a href=\"#_edn1\" name=\"_ednref1\">[1]<\/a>, queer activist and an international reference in gender studies, and body and sexuality policies- will be explored. Preciado proposes a deconstructivist reading of body production technologies in contemporary history, starting from the end of the Second World War. In this context, he describes capitalism development based in two major industries, the pharmacological and the pornographic, to look for \u00abthe traces of what is already the end of the body, as it has been defined by modernity\u00bb (Preciado, 2002, p.20). His description of the modes of consumption, <em>jouissance<\/em> circulation and bodies production reveals the symbolic precariousness to establish meaning, placed by Miller and Laurent (Miller and Laurent, 1996-1997 [2013]) as the Another that does not exist. At the same time, during his work, Preciado outlines a new notion of body that takes consistency in this deregulated circuit.<\/p>\n<p style=\"text-align: justify\">What can Preciado\u00b4s work teach to psychoanalysis about the modes of relation between the imaginary and real register, in contemporary times? What possible forms of body consistency does his work describes?<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-5 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-8 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-2 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\"><em>Potentiagaudendi<\/em><\/h3><\/div><div class=\"fusion-text fusion-text-2\"><p style=\"text-align: justify\">Preciado (2008 [2014]) proposes a concept to understand the body in relation to the capitalist circuit. There, the body is inscribed as an \u00aborgasmic force\u00bb or <em>potentiagaudendi<\/em> that circulates &#8211; at the same time that it is produced &#8211; in that production-consumption circuit. This definition is taken from the philosophical notion of \u00abpower to act or force to exist\u00bb (Preciado, 2008 [2014], p.41) elaborated by Spinoza (2000) and implies the conjunction of \u00absomatic and psychic forces\u00bb (Preciado, 2008 [2014], p.41) in a constant movement that \u00abtransforms the world into pleasure-with\u00bb (Preciado, 2008 [2014], p.41). This force is characterized by its indeterminate capacity, by not recognizing the symbolic oppositions, nor the differences between subject and object, nor the possibilities of \u00abbeing excited, excited or excited-with\u00bb. Nor is it something that can be possessed, conserved or assigned to belonging, that is, there is no possibility to identificate this power as one&#8217;s own or of another. For Preciado, \u00ab<em>potentiagaudendi<\/em> exists only as an event, relationship, practice, becoming\u00bb (Preciado, 2008 [2014], p.42).<\/p>\n<p style=\"text-align: justify\">If this <em>potentia<\/em> only exists and is produced as circulation, the living body is defined as its substrate. Therefore, the body can not be understood as a prediscursive biological basis, outside the circuits of production. The body itself is configured as an effect of the circulation and production of <em>potentiagaudendi<\/em> in the capitalist circuit. It could be said that, for Preciado, the body is the consistency of a constant force, unreachable by the symbolic and set to circulate without any regulation.<\/p>\n<p style=\"text-align: justify\">For Preciado, the capitalist circuit stands in a continuous and unlimited cycle of excitement-frustration, supported by technoscience. For this reason, the pharmacological and pornographic industry are its representatives par excellence, to the point that Preciado names them as \u00ab<em>pharmacopoenographic<\/em> order\u00bb (Preciado, 2008 [2014]). In this context, he conceptualizes a body that is produced as a commodity in which technoscience inscribes his fantasies. The notion of body that emerges from the concept of <em>potentiagaudendi<\/em> is a product of the relationship of the living with a circuit of unlimited excitement-frustration. The objects and images that the <em>pharmacopornographic<\/em> order puts to circulate without any type of symbolic mediation have effects on the consistency of the body. This allows Preciado to think a body in which not only the limits of the skin are diluted, but it also explodes the limits of biological-synthetic, human-prosthesis, organ-function, subject-object. Viagra, for example, is not a supplement that improves a pure and deficient natural body, it could be the production of an eternally young body, starting from the inscription in the flesh of a fantasy of unlimited sexual potency, while makes millions of dollars. Or the one to produce sportsmen-machines that do not feel the limits of the lack of oxygen in the height. Likewise, after Viagra, it will not only have sex with the reproductive organ, or it will play football with feet and lungs: the circulatory system will have a new function.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-6 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-9 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-3 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">Prothesis<\/h3><\/div><div class=\"fusion-text fusion-text-3\"><p style=\"text-align: justify\">Preciado appeals to the notion of prosthesis to think how the capitalist circuit done consistency to the body. She traces its genealogy in the Aristotelian concept of <em>organon<\/em>, which \u00abdesignates the instrument or piece that, together with other pieces, is necessary to carry out some regulated process\u00bb (Preciado, 2002, p.128). <em>Organon<\/em> is a necessary element of <em>techn\u00e9<\/em> (technique) to facilitate an activity and, therefore, condenses knowledge, norms and modes of relationships from which reality can be apprehended. From this definition, Preciado say that the notion of \u00a8organ\u00a8 has nothing to do with the living, but with the idea of technological prosthesis.<\/p>\n<p style=\"text-align: justify\">Prosthesis represents the way in which the technique appropriates the flesh and reconfigures the body each time it is used. Upon entering into action, the prosthesis strengthens the body, making it more productive according to the demands of the market. At the same time, it introduces the knowledge and modes of relations that the <em>pharmacopoenographic<\/em> order imposes, creating bodies to the measure of their fantasies. Google Maps allows you to navigate in any unknown place and perform accurate displacement calculations. After this App, the sense of orientation, time and space will be strange to the off-line state. In <em>Embrollos del cuerpo<\/em> (Miller et al, 1999 [2016]) it locates a clinical case in which a patient is destabilized when her doctor suppressed-from one day to the next-the medication she used for fifteen years. The drug called \u00a8Pond\u00e9ral. Prolonged action\u00a8 operates as an element that orders a body for that particular <em>parl\u00eatre<\/em>. In terms of Preciado, it is possible to capture the prosthesis function there. If the prosthesis emerges as that which made possible to reinsert a body into the productive process -generating at the same time a new consumer- it also models the body image giving access to new modes of <em>jouissance<\/em>.<\/p>\n<p style=\"text-align: justify\">Preciado\u00b4s notion of prosthesis presents the potential to model the image at the same time as it explodes the image of the Cartesian body. The prosthesis not only questions the organ-function relationship, but also makes each object a possible organ. The external-internal pair unfolds and with it the idea of belonging and possession also falls. To treat the concept of prosthesis, Preciado appeals to the use of the silicone dildo in sexual practices, indicating that this object questions the erogenous limits of the Modernity\u00b4s body. In this way, dildo<\/p>\n<p style=\"text-align: justify;padding-left: 30px\">(&#8230;) comes to question the idea that the flesh limits coincide with the body limits. Thus, the distinction between sensible subject and inanimate object is disturbed. By being able to separateit self from the body, dildo resists the force with which the body appropriates for itself the pleasure, as if it were something that cames from the body itself. The pleasure that the dildo provides, belongs to the body only insofar as it is re-appropriation. (Preciado, 2002p.70)<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-7 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-10 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-4 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\"><em>Contrasexuality<\/em><\/h3><\/div><div class=\"fusion-text fusion-text-4\"><p style=\"text-align: justify\">In the same movement in which the <em>pharmacopoenographic<\/em> order explodes the Modernity body, new possible ways emerge to give it consistency. Not only biotechnology, prosthetic and surgical techniques make a \u00abnew appearance of nature\u00bb (Preciado, 2008 [2014], p.154) when are combined with representations coming from cinema or architecture. Pornography is also a body production technology.<\/p>\n<p style=\"text-align: justify\">According to Preciado, it is a source of image production that &#8211; in the words of Linda Williams &#8211; becomes a body. In his work, pornography would be a masturbatory device that produces \u00abthe visual illusion of the irruption in the pure real\u00bb (Preciado, 2008 [2014], p.204), activating mechanisms of excitement outside the will of the spectator, des -subjecting whoever looks. In this sense, it could be thought from psychoanalysis that the consumer of pornography is reduced to being gaze object, as Lacan (Lacan, 1964 [2003]) is included in the painting, in front of the can floating in the sea. However, taking up the Indart\u00b4s work (Tudanca et al, 2017), this aspect of pornography would not be the most convenient to study how a \u00abnew imaginary\u00bb is articulated. There Indart opposes the phenomenon of selfies, which could teach about the way in which for somebody the opaque <em>jouissance<\/em>of the body takes consistency in the image. Some <em>parl\u00eatre<\/em> can, from the treatment of their body image in social networks, articulate an order in which register themselves. That is, establish meaning from the relationship between the imaginary and the real.<\/p>\n<p style=\"text-align: justify\">Faced of this technology -which print the heterocentrated fantasies in the bodies, while pushing towards the <em>pharmacopornographic<\/em> imperative to masturbatory <em>jouissance<\/em>&#8211; Preciado proposes another practice. Contrasexuality as queer resistance practice would be a different way of treating the body. For the contrasexuality, the body is a platform of resistance and political action in which it is possible to intervene -with the technologies of the <em>pharmacopoenographic<\/em> order- subverting what is proposed as \u00abnatural order\u00bb. If the queer movement appropriates an insult that indicates the abject, to reintroduce that waste as a potential for political subversion, in contrasexuality the same logic is played, but with the flesh at stake.<\/p>\n<p style=\"text-align: justify\">Contrasexuality promotes a particular treatment of the no sexual relationship. For this movement, \u00abbodies recognize themselves not as men or women, but as talking bodies\u00bb (Preciado, 2002, p.18) that can shake the heteronormative ghosts intervening in the real without veils. These operated or transformed bodies, or their apparently monstrous sexual practices in the view of the heteronormative order, open the way to nominations, collectives, movements that in some cases make possible some inscription in the field of the Other. As Fajnwaks (2013) indicates, \u00abwhat is at stake in queer cultures is the search for a nomination from a privileged way of sexual <em>jouissance<\/em>, outside of a norm founded on gender\u00bb (p.99).<\/p>\n<p style=\"text-align: justify\">Among the aspects of the imaginary-real relationship that can be captured in these aspects of the work of Preciado, it is possible to take at least three points. In first place, and in line with Miller (1989-1990 [2011]) places in <em>El banquete de los analistas<\/em>, in the capitalist circuit,the reality is not supported on to the ghost -as it happens in the master discourse-. There, the excess of unregulated jouissance is supported on reality as such, that is, the ghost becomes real. In the <em>pharmacopornographic<\/em> order, fantasies become flesh, and this disarms the Cartesian body that, through thought, founded the inner-outer pair to keep reality at a convenient distance. The imperative to <em>jouissance<\/em> would not preserve the Cartesian body imaginary.<\/p>\n<p style=\"text-align: justify\">Secondly, although in the proliferation of technologies and medias in <em>pharmacopoenographic<\/em> order, a fertile field is opened up to diverse possible knots between the imaginary and the real, Preciado&#8217;s analysis does not always seem enough to specify when it is at stake a treatment of the opaque body jouissance by way of the image, or when the imaginary treatment is in relation to the deregulated jouissance excess outside the body.<\/p>\n<p style=\"text-align: justify\">Finally, in the course of Preciado, contrasexual practices could possibly be taken as afertile field to investigate how, in some cases, meaning is established by the imaginary register, in relation to a jouissance that gives consistency to the body.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-8 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-margin-top:40px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-11 fusion_builder_column_1_1 1_1 fusion-flex-column\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:20px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-text fusion-text-5\"><p style=\"text-align: justify\"><a href=\"#_ednref1\" name=\"_edn1\">[1]<\/a>In January 2015, as a political act of queer resistance, Paul B. Preciado decided to leave behind the name with which he had been registered in the Civil Registry, and with which he had signed his three books published until these moment: Beatriz Preciado. \u00abEvery time someone calls me &#8216;Paul&#8217; erases with me what the normative genre wanted to do with me\u00bb (Curia, June 5, 2015), says this philosopher and activist. In the present work, both grammar genres are written when Preciado is qualified, because when he\/she speaks of him\/herself, makes it indistinctly each time.<\/p>\n<\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-9 fusion-flex-container nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row fusion-flex-align-items-flex-start fusion-flex-content-wrap\" style=\"max-width:1248px;margin-left: calc(-4% \/ 2 );margin-right: calc(-4% \/ 2 );\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-12 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><div class=\"fusion-title title fusion-title-5 sep-underline sep-solid fusion-title-text fusion-title-size-three\" style=\"--awb-margin-bottom:30px;--awb-sep-color:#dd3333;\"><h3 class=\"fusion-title-heading title-heading-left fusion-responsive-typography-calculated\" style=\"margin:0;--fontSize:20;--minFontSize:20;line-height:1.5;\">References<\/h3><\/div><\/div><\/div><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-13 fusion_builder_column_1_1 1_1 fusion-flex-column fusion-flex-align-self-flex-start fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-width-large:100%;--awb-margin-top-large:0px;--awb-spacing-right-large:1.92%;--awb-margin-bottom-large:0px;--awb-spacing-left-large:1.92%;--awb-width-medium:100%;--awb-spacing-right-medium:1.92%;--awb-spacing-left-medium:1.92%;--awb-width-small:100%;--awb-spacing-right-small:1.92%;--awb-spacing-left-small:1.92%;\"><div class=\"fusion-column-wrapper fusion-flex-justify-content-flex-start fusion-content-layout-column\"><ul style=\"--awb-size:15px;--awb-iconcolor:#dd3333;--awb-line-height:25.5px;--awb-icon-width:25.5px;--awb-icon-height:25.5px;--awb-icon-margin:10.5px;--awb-content-margin:36px;\" class=\"fusion-checklist fusion-checklist-1 fusion-checklist-default type-icons\"><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Curia, D. (5 de Junio de 2015).\u00a0 \u201cLa importancia de llamarse Paul\u201d en P\u00e1gina 12. Disponible <a href=\"https:\/\/www.pagina12.com.ar\/diario\/suplementos\/soy\/1-4022-2015-06-06.html\" target=\"_blank\" rel=\"noopener\"><strong>AQU\u00cd<\/strong><\/a>.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Fajnwaks, F (2013). \u00abCultures queer: alt\u00e9rit\u00e9 et homosexualit\u00e9s\u00bb en Elles ont choisi. Les homosexualit\u00e9s f\u00e9minines. Par\u00eds: Editions Mich\u00e9le.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Lacan, J. (1953-1954 [2013]). \u00a8Los escritos t\u00e9cnicos de Freud\u00a8 en El seminario de Jacques Lacan. Libro 1. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Lacan, J. (1964 [2003]). \u00a8Los cuatro conceptos fundamentales del psicoan\u00e1lisis\u00a8 en El seminario de Jacques Lacan. Libro 11. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Lacan, J. (1975-1976 [2015]). \u00a8El sinthome\u00a8 en El seminario de Jacques Lacan. Libro 23. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Miller, J.-A. (1989-1990 [2011]). El banquete de los analistas. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Miller, J.-A. &amp; Laurent, E. (1996-1997 [2013]). El Otro que no existe y sus comit\u00e9s de \u00e9tica. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Miller, J.A. (1999 [2016]). Embrollos del cuerpo. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Preciado, B. (2002). Manifiesto contra-sexual. Madrid: \u00d3pera prima.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Preciado, B. (2008 [2014]). Testo yonqui. Sexo, drogas y biopol\u00edtica. Buenos Aires: Paid\u00f3s.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Spinoza, B. (2000). \u00c9tica demostrada seg\u00fan el orden geom\u00e9trico. Madrid: Trotta.<\/p>\n<\/div><\/li><li class=\"fusion-li-item\" style=\"\"><span class=\"icon-wrapper circle-no\"><i class=\"fusion-li-icon fa-minus fas\" aria-hidden=\"true\"><\/i><\/span><div class=\"fusion-li-item-content\">\n<p style=\"text-align: justify\">Tudanca, L., Gil, P., Gorenberg, R., Rodriguez, G. (2017). Lo imaginario en Lacan. Buenos Aires: Grama Ediciones.<\/p>\n<\/div><\/li><\/ul><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-608","avada_portfolio","type-avada_portfolio","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/608","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/comments?post=608"}],"version-history":[{"count":1,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/608\/revisions"}],"predecessor-version":[{"id":2015,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/avada_portfolio\/608\/revisions\/2015"}],"wp:attachment":[{"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/media?parent=608"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_category?post=608"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_skills?post=608"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"http:\/\/matpsil.com\/revista-lapso\/wp-json\/wp\/v2\/portfolio_tags?post=608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}