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According to the standard account, IPRs allocate objects to owners, just like ownership allocates real property. In this paper, I explain that this simplistic paradigm operates on the basis of three fictions: The first – truly Polanyian – fiction concerns IP subject matter that was originally not produced for sale but created for other purposes, e.g. private pleasure. The second fiction is that IP is treated as a marketable good whereas much IP, in particular works and signs, are embedded in communication. Finally, IP is a fictitious concept in that we speak of works, inventions, and other IP objects as of tangible commodities, where in fact IP objects only exist insofar and because we speak and regulate as if they exist as abstract “goods” of value.
There is a broad consensus that psychoanalytic theory cannot offer an account to further engage with the ontological turn toward the object that human sciences face today. In particular, the structuralist side of psychoanalysis, most prominently promoted by Jacques Lacan, is supposed to be unable to grasp an object independently from the subject. Against this background, it is no surprise that ‘object-oriented’ geographers ignore psychoanalytic theory. My aim is to investigate the interstices between the object-oriented turn and Lacanian psychoanalysis. I argue that the critiques miss a crucial aspect of Lacan’s ontology: he does not question that there are objects located ‘out there’, but rather adds that psychoanalysis engages with another object whose location remains uncertain. I follow Lacan’s most important invention, the object a, to argue that this object is crucial to understanding the ontology of Lacan as an ‘object-disoriented’ ontology. While object-oriented approaches in cultural geography give ontological priority to the material conditions of existence, Lacanian ontology allows us to understand how material objects become spectralized through an immaterial surplus. To substantiate this claim, I explore the role of anxiety with regard to the Sathorn Unique Tower, an abandoned skyscraper sitting in the middle of Bangkok. Widely known as the ‘Ghost Tower’, this ruin is internationally considered to be haunted. By focusing on a movie and an interview about the Ghost Tower as well as my own ethnographic observation of it, I not only explore the topological dimension of the ghost but also demonstrate that it is precisely the impossibility of localization that enables an object to disorientate the subject.