The subject, immersed in the affective reality of seeing, is equally caught in the "gaze" of the real which de-structures it (the subject) by reflecting its image back at it through a world whose foundation (its causal apparatus) it has thus rendered illusory. By the mere ellipsis which the "influencing machine" reveals in the subject, a corresponding ellipsis is revealed in the structure of the world as the affective median between the subject and its symptom (which assumes a position of exteriority consonant with that of the "analyst" vis-à-vis the screen). Such that analysis in itself poses as the means by which the symptom thereby regards the subject and by which the analyst is in turn rendered as an agent of the symptom, that is, of the "influencing" apparatus.