seizes the eye, but the eye grasps form.
Experiential Foundations of Rorschachs Test, 1966
input is never into a quiescent or static system, but always
into a system which is already actively excited and organized. In the
intact organism behavior is the result of interaction of this background
of excitation with input from any designated stimulus.
The Problem of Serial Order in Behavior, 1951
while we may agree that there is an inner need for movement
in a physical sense from infancy onwards, it is not equally clear there
is inner need that it be matched literally by movement considered as change
in the objects of connectedness. Why could the need for movement not be
more fully recognized as being met at the psychic level in the act of
seeing new significances in established forms of temporal connectedness,
in the activity of developing new forms of symbolic layering in relation
to objects of connectedness? Such recognition would reduce protean mans
inner need to have the circumstances of his life change, and allow the
quest for integrity to contribute to new forms of connectedness while
satisfying through increasing depth the need for movement.
Death and the Affirmation of Life: Robert Liftons Sense
of Immortality, 1979
The distinction between horizontal and vertical in language corresponds
to Lacans use of Jakobsons alignment of metonymy with the
horizontal dimension of language (the line of Western writing, the syntamatic)
and metaphor with the vertical dimension (the paradigmatic stack of possible
selections for any point along the line).
the oppostion between horizontal and vertical in Lacans text
is not value-free in Lacans text,
horizontality is linked
The analysts intervention frees the patient from his suffering by
allowing him to metaphorize.
Reading Lacan, 1985
As I struggled each week to compose my lecture for the coming Monday
there was the constant delight of the great Ruysdael
From Ruysdael I was learning that juxtaposition is also
a mode of composition.
The Thread of Life, 1984
it is the affixing of the collage piece, one plane set down
on another, that is the center of collage as a signifying system. That
plane, glued to its support, enters the work as the literalization of
depth, actually resting in front of or on top of
the field or element it now partially obscures.
In the Name of Picasso, 1981
nowhere in art have I encountered a more accurately pointed
description of mans yearning to achieve the restoration of his crumbling
self than that contained in these three terse sentences in ONeills
play The Great God Brown
Man is born broken. He
lives by mending. The grace of God is glue.
The Restoration of the Self, 1977
The term juxtaposition, which has served till
now, finally breaks down. The nextness which it connotes reveals
itself as an inaccurate descripption of the structure of the arts. Juxtaposition
implies succession, even if it is at rendom or provoked by conflict. Exactly
here one can go astray. Had the montage form of art been concerned with
a real succession of events, transitions would have been included rather
than suppressed, for transitions supply the guided tour, an order of events.
But since instead of transition we have contrast and conflict, the successive
nature of these compositions cannot sustain itself. Ultimately it becomes
apparent that the mutually conflicting elements of montage be it
movie or poem or painting are to be conceived not successively
but simultaneously, to converge in our minds as contemporaneous events.
The conflict between them prevents us from fitting them smoothly end to
end; what appeared an arbitrary juxtaposition of parts can now take its
true shape of enforced superposition. The diversity of Apollinaires
calligrams, the associations of Le rêve by Rousseau,
and the assortments of Saties ballets should reach us as co-incidence.
The aspiration of simultanism is to grasp the moment in its total significance
or, more ambitiously, to manufacture a moment which suprasses our usual
perception of time and space.
In contrast to the ambitious arts of progress and development, the paintings,
poems and compositions of the Banquet Years turn back upon themselves
and lie quiet. They imply that by being sufficiently still, by becoming
for an instant exactly identical with ourselves, nothing more nor less,
we can allow the universe to move around us. This is the meaning in art
of relativity. An object in motion has difficulty taking into account
other motions. Only by achieving rest, arrest, can we we perceive what
is happening outside ourselves. Simultanism, the third voice of life,
signifies an approach to immobility and thus an extremely sensitive attunement
to the infinite universe.
Since Jarry many minds have understood the aptness of the gyroscope to
represent the elusive form of art in the twentieth century. Like a gyroscope,
it sustains itself by a concentration of forces in self-reflexiveness,
art turning upon itself. This inwardness reveals itself in a posture of
total arrest the juxtaposition of parts around a moment of profound
awareness . . .
The Art of Stillness,
The Banquet Years: The Origins of the Avant-Garde in France, 1885
World War I, 1958
supplies are accordingly assumed to consist of two persons, the relationship
they form, the language which mediates this relationship and the theory
that informs interpretations of it. The latter component, psychotherapeutic
theory, does, of course, comprise an extremely heavy (even if non-physical)
investment. But the analytic tools in which this theory is embodied are
wielded by the professional member of the dyad: wide dissemination of
psychoanalytic theory has, in fact, presented a challenge to technique.
The asymmetry of the dyad skilled professional theory-holder on
one side; confused patient on the other then serves to legitimize
the fee schedule even as its implicit epistemology suggests that a lengthy
period of time will be required for the treatment.