凝视不再是我对他人的观看，而是类似于笛卡尔的“我思”的对自己的观看。
他者对我的欲望的里带着凝视，后者支撑了我的欲望，使我想要活下去。遇到射向我的凝视后，我意识到了他者的存在。
The Gaze in Lacan refers to the uncanny sense that the object of our eye's look or glance is somehow looking back at us, a feeling that affects us in the same way as castration anxiety (reminding us of the lack at the heart of the symbolic order). We may believe that we are in control of our eye's look; however, any feeling of scopophilic power is always undone by the fact that the the materiality of existence (the Real) always exceeds the meaning structures of the symbolic order. Lacan's favorite example for the Gaze is Hans Holbein's The Ambassadors (pictured here). When you look at the painting, it at first gives you a sense that you are in control of your look; however, you then notice a blot at the bottom of the canvas, which you can only make out if you look at the painting from the side, from which point you can make out that the blot is, in fact, a skull staring back at you. By having the object of our eye's look look back at us, we are reminded of our own lack, of the fact that the symbolic order is separated only by a fragile border from the materiality of the Real. The symbols of power in Holbein's painting (wealth, power, ambition) are thus completely undercut. The magical floating object "reflects our own nothingness, in the figure of the death's head" (Lacan, Four Fundamental 92). See the Lacan module on the Gaze.
图像生态中的图像经济：今天智能手机-平台的最大商业赌注，是将凝视与运动对等，也就是将凝视扯到东又扯到西，用德勒兹说的用图像交换的不对称、不平等，用图像交换钱和时间(“白嫖你”)来加速。
对可见物的一般瞄术（la voice），凝视的沿着美学超市的交换式流通轨道，是图像经济(iconomie)的资本增值化的滑动的基础结构。 需要去重新发明看法。
权力是位于阴茎的尖尖上。库尔贝的这句话可能引来了拉康的无条件崇拜。男人是凝视的持有人，是having的一方，女人是被凝视的对象，是being的一方。库尔贝在设定自己的绘画主题时，是早将拉康考虑进去的。