Wednesday, July 30, 2014
Sunday, July 27, 2014
Friday, July 25, 2014
In addition to being Zizek's teacher, adviser, and sponsor, Jacques-Alain Miller became his analyst as well. While familiarity between analyst and analysand is discouraged by Freudians, it was not unusual for Lacanians to socialize with their patients. Lacan's most controversial psychoanalytic innovation, however, was the variable, or "short," session through which he tried to combat a patient's resistance by introducing an element of discontinuity into the therapeutic process. In contrast to Freud's f ifty-minute "hour," Lacan's sessions ended the moment he sensed the patient had uttered an important word or phrase--a break that might occur in fifteen minutes or less. Miller had fine-tuned the logic of therapy to the point that few sessions lasted more than ten minutes. "To be in analysis with Miller was to step into a divine, predestined universe," says Zizek. "He was a totally arbitrary despot. He would say, come back tomorrow at exactly 4:55, but this didn't mean anything! I would arrive at 4:55 and would find a dozen people waiting."
One goal of the variable session is to keep a patient from preparing material ahead of time. In this respect, Lacanian psychoanalysis met its match in Zizek. "It was my strict rule, my sole ethical principle, to lie consistently: to invent all symptoms , fabricate all dreams," he reports of his treatment. "It was obsessional neurosis in its absolute purest form. Because you never knew how long it would last, I was always prepared for at least two sessions. I have this incredible fear of what I might dis cover if I really went into analysis. What if I lost my frenetic theoretical desire? What if I turned into a common person?" Eventually, Zizek claims, he had Miller completely taken in by his charade: "Once I knew what aroused his interest, I invented eve n more complicated scenarios and dreams. One involved the Bette Davis movie All About Eve.Miller's daughter is named Eve, so I told him that I had dreamed about going to a movie with Bette Davis in it. I planned every detail so that when I finishe d he announced grandly, 'This was your revenge against me!'"
Monday, July 21, 2014
Thursday, July 17, 2014
Gessen was an artist monk. Before he would start a drawing or painting he always insisted upon being paid in advance, and his fees were high. He was known as the "Stingy Artist."
A geisha once gave him a commission for a painting. "How much can you pay?" inquired Gessen.
"Whatever you charge," replied the girl, "but I want you to do the work in front of me."
So on a certain day Gessen was called by the geisha. She was holding a feast for her patron.
Gessen with fine brush work did the painting. When it was completed he asked the highest sum of his time.
He received his pay. Then the geisha turned to her patron, saying: "All this artist wants is money. His paintings are fine but his mind is dirty; money has caused it to become muddy. Drawn by such a filthy mind, his work is not fit to exhibit. It is just about good enough for one of my petticoats."
Removing her skirt, she then asked Gessen to do another picture on the back of her petticoat.
"How much will you pay?" asked Gessen.
"Oh, any amount," answered the girl.
Gessen named a fancy price, painted the picture in the manner requested, and went away.
It was learned later that Gessen had these reasons for desiring money:
A ravaging famine often visited his province. The rich would not help the poor, so Gessen had a secret warehouse, unknown to anyone, which he kept filled with grain, prepared for those emergencies.
From his village to the National Shrine the road was in very poor condition and many travellers suffered while traversing it. He desired to build a better road.
His teacher had passed away without realizing his wish to build a temple, and Gessen wished to complete this temple for him.
After Gessen had accomplished his three wishes he threw away his brushes and artist's materials and, retiring to the mountains, never painted again.
Saturday, July 5, 2014
Friday, July 4, 2014
Thursday, July 3, 2014
Wednesday, July 2, 2014
In Joanna Hogg's 'Exhibition' there are scenes where Gillick's character 'H' is shown using Blender. This is amazing because it completely justifies all I really can be bothered doing these days in terms of real art making outside of fieldwork and research, which is sitting at home making Blender models and getting them built by others commercially. The fact that I have the exact same process as him and gets away with it is totally validating.
There's even a scene of him with an open book counting the number of shelves on some piece of Modernist architecture and replicating it in the program, which is exactly what I do.