{"node_view":"\u003Carticle class=\u0022node\u0022\u003E\n  \u003Ch1 class=\u0022node-title\u0022\u003EBaton of desire*\u003C\/h1\u003E\n\n  \n          \u003Csection class=\u0022field field-name-field-description field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003EDescription\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E\u003Cp\u003EJean Mas brings an intervention-reading to the seminar as his contribution. The following is an excerpt:\u003C\/p\u003E\u003Cp\u003E\u201cYou who follow desire by following here that which, actually, precedes you.\u003C\/p\u003E\u003Cp\u003EBut how do we know, since this desire of another desire should lead us this evening to the limits of what is done, what is said with desire.\u003C\/p\u003E\u003Cp\u003ETo see it a bit more clearly, it is sometimes good to go searching, rummaging through the heaps. It is also a heap of work. There are days where heaps are everywhere you look.\u003C\/p\u003E\u003Cp\u003EIn everyday language for example: \u201cI have heaps of...\u201d\u003C\/p\u003E\u003Cp\u003EAt my neighbor\u2019s, the junkyard, you find heaps of heaps...\u003C\/p\u003E\u003Cp\u003EUpon examination, I noticed heaps of possibilities to do afar, and to do a farce with the artist.\u003C\/p\u003E\u003Cp\u003EDoing afar comes with the farce (the cord of desire).\u003C\/p\u003E\u003Cp\u003EI come this evening to present to you, as it were, the heaps that others will call \u201cmeaningful crystallizations,\u201d and to put them to work.\u003C\/p\u003E\u003Cp\u003EAnd I am most concerned, in order that what concerns desire may be plain, to show you an approach that can only be justified given my place as the artist.\u003C\/p\u003E\u003Cp\u003EThus, we are already, with this shift, at a distance, that is to say, a time.\u003C\/p\u003E\u003Cp\u003ETo broach the topic of desire in general, I feel it is necessary to refer to (for lack of knowledge) the history of time.\u003C\/p\u003E\u003Cp\u003EI invited you to consider here TIME and DESIRE and to situate them in the context of the work of Michel Foucault.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EM. Foucault draws from Greek thought three experiences of time, each of which corresponds to the art of conducting oneself from a certain viewpoint:\u003C\/p\u003E\u003Cp\u003E- Dietetics = good time\u003C\/p\u003E\u003Cp\u003E- Economics = maintenance of this time throughout existence\u003C\/p\u003E\u003Cp\u003E- Erotics = fleeting time\u003C\/p\u003E\u003Cp\u003EThese three times have to some degree become one.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EDoctrinally, especially with Saint Augustin, I would say, \u201cGood times and bad times.\u201d Correlatively, desire has come to the center of the problemizing of sexual conduct, which brings us to think about love in terms of desire and eternity.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EThis is where we are with the Subject of Desire, a catastrophe of Judeo-Christian rationality that psychoanalysis has to put up with!\u003C\/p\u003E\u003Cp\u003EThe experience of time coincides with that of desire. Awareness of something lacking and of the time needed to satisfy it (at least to believe it).\u003C\/p\u003E\u003Cp\u003EThe absence of desire denies time (without time). Some have committed themselves to this (mystical) route. It\u2019s not mine. Also, for the time being, I will stay committed to this philosopher G. ARCHITAS (the t.1 being the interval of all nature).\u003C\/p\u003E\u003Cp\u003EThe nature of heaps, or \u003Cem\u003Etas\u003C\/em\u003E. Why AR CHY TAS?\u003C\/p\u003E\u003Cp\u003EBut that\u2019s not the point, moving on...Psychoanalysis comes and develops by and in many various and surprising ways. That is what allows its progress forward: clinical practice...\u003C\/p\u003E\u003Cp\u003ESo this development, it is good sometimes, always to find it in context, to know its premises so as to render it palatable, intelligible, the dump. Because, since we can\u2019t always reinvent the wheel, we use these dumps as our work base.\u003C\/p\u003E\u003Cp\u003EPalatable she is, the beautiful butcher\u2019s wife. Therefore, I will remind you of the story since it appears essential to the comprehension of this famous passage from Freud to Lacan, on the basis of desire, obviously...\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003ESo, as it is said, \u201cOnce upon a time, there was a beautiful butcher\u2019s wife.\u201d\u003C\/p\u003E\u003Cp\u003EShe was clever and liked to tease her clients. She also knew the theories of her friend Doctor Freud.\u003C\/p\u003E\u003Cp\u003EOne day she said to him, \u201cYou always say that the dream is a desire fulfilled...So how do you reconcile this? Because I dreamed that I wanted to host a dinner with slices of smoked salmon. But, the fish market being closed, I couldn\u2019t prepare this meal.\u201d\u003C\/p\u003E\u003Cp\u003ESo as you can see, this dream didn\u2019t fulfill my desire!!! And she laughed.\u003C\/p\u003E\u003Cp\u003EFreud, prudent, questioned her. She said: her husband, a fat butcher, the diet...making a little fat joke to demonstrate the jolly character of her husband whom she loved very dearly. Suddenly, she told Freud not to give her any caviar. Freud wonders...\u003C\/p\u003E\u003Cp\u003EThe butcher\u2019s wife leaks another tidbit: a visit to a thin friend...The husband prefers plump, fleshy women...\u003C\/p\u003E\u003Cp\u003EThe dream is now clear, it was important \u003Cem\u003Enot\u003C\/em\u003E to offer the dinner. As chance would have it, the smoked salmon is the dish of choice of the friend that \u2013 strangely \u2013 refuses it just as the butcher\u2019s wife does with caviar.\u003C\/p\u003E\u003Cp\u003EThe desire is nevertheless evident. Freud explains it to her but keeps the ultimate explanation to himself...\u003C\/p\u003E\u003Cp\u003EThe caviar, the element left twice unexplained, the butcher\u2019s wife denies herself this desire. On the other hand, the friend that loves salmon and yet denies herself this pleasure, expresses a simple wish: to fatten the butcher\u2019s wife. In the dream, she punishes her friend.\u003C\/p\u003E\u003Cp\u003ENo dinner, no fattening. So she identifies with her friend. The friend is jealous of the butcher\u2019s wife. It\u2019s the classic hysterical triangle: the husband, the wife, the friend...\u003C\/p\u003E\u003Cp\u003EAll this from the science of dreams.\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003ELACAN: \u201cThe butcher\u2019s wife desires caviar but doesn\u2019t want it just like her friend: they don\u2019t want something that they desire:\u003C\/p\u003E\u003Cp\u003E- one: the mirror\u003C\/p\u003E\u003Cp\u003E- two: the lack\u003C\/p\u003E\u003Cp\u003E- three: the desire\u003C\/p\u003E\u003Cp\u003E\u0026nbsp;\u003C\/p\u003E\u003Cp\u003EHow can another woman be loved by a man who cannot be satisfied?\u003C\/p\u003E\u003Cp\u003EHysterical identification advanced by Freud, then by Lacan.\u003C\/p\u003E\u003Cp\u003EHow is it that the woman identifies herself with the man, and the slice of smoked salmon comes in the place of the other\u2019s desire?\u003C\/p\u003E\u003Cp\u003EHow can the other woman be loved?\u003C\/p\u003E\u003Cp\u003EThe butcher\u2019s wife becomes this question. To answer it, she puts herself in the masculine position.\u003C\/p\u003E\u003Cp\u003ELacan turns the slice of salmon into a phallic symbol.\u003C\/p\u003E\u003Cp\u003EThe desire appears in this interval between the need and the request, inasmuch the subject articulates the signifying chain by surfacing with its lack of being so that, in its call, it may receive the complement of the other, if the other, as the place of speech is also place of this lack.\u003C\/p\u003E\u003Cp\u003EThe butcher\u2019s wife requests salmon or caviar. The desire of the butcher\u2019s wife, who lacks both salmon and caviar.\u003C\/p\u003E\u003Cp\u003EThe butcher\u2019s wife requests an object, desire to fill a void, a void which is called the Other.\u003C\/p\u003E\u003Cp\u003EDesire, you know, cannot be captured in a photo. However, it can appear and you won\u2019t really see it even if it is as plain as the nose on your face or the beast caught in the tree.\u003C\/p\u003E\u003Cp\u003EYou will not necessarily see it because it is rooted in the subject\u2019s imagination. Its corollary is fantasy.\u003C\/p\u003E\u003Cp\u003EThus, by putting rubber strips down to bounce the heaps around, you can somewhat, let\u2019s say, feel its mark after having placed a frame around it, that is to say, the rubber strips!\u003C\/p\u003E\u003Cp\u003EThe most frequent are those of the Ideal Me and the Ideal of Myself, ancient concepts but that have sufficiently marked us (reminder: the father: what one wants to be, the mother: what one wants to have).\u003C\/p\u003E\u003Cp\u003EWhen I go around in circles, sometimes I try to create the conditions of a send-off by placing what we might call rubber strips (this is just as interesting as sending off the Other).\u003C\/p\u003E\u003Cp\u003ELook here, for a good send-off, is it good to do just any old thing?\u003C\/p\u003E\u003Cp\u003ELike, for example, trying to photograph desire?!\u003C\/p\u003E\u003Cp\u003EI must tell you that, at the same moment, I was hearing about Lacan\u2019s commentary on the butcher\u2019s wife.\u003C\/p\u003E\u003Cp\u003EAt this same time, an artist appeared on the art scene. Brace yourself! He called himself BEEF.\u003C\/p\u003E\u003Cp\u003EOf course, he was in style. Some of you knew him: he exhibited at the Lola Gassin gallery and he exhibited beef...We got to taste all the bits. He was exhibiting beef, a theme in which he excelled. I followed it for some time. Perhaps he was placing his name with this other Greek philosopher Xenophanes: if an ox knew how to paint God, he would look like an ox.\u003C\/p\u003E\u003Cp\u003ETherapists should be more likely to follow artists. They could enrich their practice.\u003C\/p\u003E\u003Cp\u003EOne day, during a discussion, after drinking, I hurt Beef, scratched him. He was touchy as a fly...\u003C\/p\u003E\u003C\/article\u003E\u003Caddress rel=\u0022author\u0022\u003EJean Mas\u003C\/address\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-concepteur field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ECreator\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean Mas\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-executant field-type-taxonomy-term-reference field-label-above field-personne\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPerformer\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EJean Mas\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-effectuation\u0022\u003E\n  \u003Ch1 class=\u0022effectuation-title\u0022\u003E\u003C\/h1\u003E\n\n  \n    \u003Csection class=\u0022field field-name-field-topologie field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003ETopology\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Eadministration\/hospital\/community center\/school\/university\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n    \u003Csection class=\u0022field field-name-field-lieu field-type-taxonomy-term-reference field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EPlaces\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003EFacult\u00e9 des Lettres, Arts et Sciences Humaines\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-date-de-debut field-type-text field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EStarting date\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E1993\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \u003Csection class=\u0022field field-name-field-address field-type-addressfield field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EAdress\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Cdiv class=\u0022street-block\u0022\u003E\u003Cdiv class=\u0022thoroughfare\u0022\u003E98, boulevard Edouard Herriot\u003C\/div\u003E\u003C\/div\u003E\u003Cdiv class=\u0022addressfield-container-inline locality-block country-FR\u0022\u003E\u003Cspan class=\u0022locality\u0022\u003ENice\u003C\/span\u003E\u003C\/div\u003E\u003Cspan class=\u0022country\u0022\u003EFrance\u003C\/span\u003E\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n\u003C\/article\u003E  \n          \u003Csection class=\u0022field field-name-field-contexte-theorique field-type-textauthor field-label-above\u0022\u003E\n    \t\u003Cdiv class=\u0022field-label\u0022\u003ETheoretical background\u0026nbsp;\u003C\/div\u003E\n        \u003Cdiv class=\u0022field-item even \u0022\u003E\u003Carticle class=\u0022filtred_html\u0022\u003E\u003Cp\u003EThe original title in french is \u0022Matraque du d\u00e9sir\u0022. It has a double signification : a \u0022matraque\u0022 is a baton, a riot stick, and \u0022ma traque\u0022 means my hunting down.\u003C\/p\u003E\u003C\/article\u003E\u003C\/div\u003E\n        \u003C\/section\u003E\n      \n    \u003Csection class=\u0022field field-name-field-sources-bibliographiques field-type-text-long field-label-above\u0022\u003E\n  \t\u003Cdiv class=\u0022field-label\u0022\u003EBibliographical sources\u0026nbsp;\u003C\/div\u003E\n  \t  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003Ecit\u00e9 in \u003Cem\u003EJean Mas, trente ans de Performas\u003C\/em\u003E, Alain Amiel, 2008, p.87\u003Cbr \/\u003E cit\u00e9 in \u003Cem\u003EPerformas, 40 ans d\u0027art d\u0027attitude\u003C\/em\u003E, Alain Amiel, 2010\u003C\/div\u003E\n        \n\n    \t  \u003C\/section\u003E\n  \n\n    \t\u003Carticle class=\u0022node-document-video\u0022\u003E\n  \u003Cdiv class=\u0022field-label\u0022\u003EDocuments Vid\u00e9os\u003C\/div\u003E\n\n  \n\n              \u003Cdiv class=\u0022field-item even \u0022\u003ECaptation mont\u00e9e de la performance extraite de \u003Cem\u003EUn \u00ab peu \u00bb de Jean Mas\u003C\/em\u003E.\u003C\/div\u003E\n        \n\n  \u003C\/article\u003E  \n\u003C\/article\u003E","nid":"3236"}