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The undead-indestructible object, Life deprived of support in the [[symbolic]] [[order]].

The key point is that the 'immortality' of which Lacan speaks (that of the 'undead' ''[[lamella]]'', the object that 'is' [[libido]]) can emerge only within the horizon of human finitude, as a formation that stands for and fills the ontological Void, the hole in the texture of reality opened up by the fact that reality is transcendentally constituted by the finite transcendental subject.

Commenting on Slavoj Zizek's interpretation of the lamella in the work of David Lynch, Harpold rightly sees Zizek's restriction to figures of "the flayed, skinned body, the palpitation of raw, skinless red flesh"[20] as too limiting, because "too biological" (Harpold). Harpold observes that later in his seminar, Lacan shortly returns to his notion of the lamella, giving as some of the most ancient examples of the incarnation of the lamella in the body the practices of "tattooing, scarification" (Lacan 1991: 206). Presuming that Lacan would include other forms of bodily modifications in this list as well, Harpold then goes on "to extend this lamella-function to other artificial interventions on the body" (Harpold), interventions that play a predominant role in Tetsuo.