Jacques Lacan's Conception of Desire in a Course on Psychology

of Art for Fine Arts Students

Paulo Padilla Petry, Fernando Hernndez Hernndez
Visual Arts Research, Volume 36, Number 2, Issue 71, Winter 2010,
pp. 63-74 (Article)
Published by University of Illinois Press
DOI: 10.1353/var.2010.0016
For additional information about this article
Access provided by International Islamic University (30 Oct 2013 02:57 GMT)
http://muse.jhu.edu/journals/var/summary/v036/36.2.petry.html
63 Visual Arts Research Volume 36, Number 2 Winter 2010
2010 by the Board of Trustees of the University of Illinois
Jacques Lacans Conception of
Desire in a Course on Psychology
of Art for Fine Arts Students
Jacques Lacans ideas have produced deep changes in the psychoanalytic eld and have
also had great inuence on several disciplines. Our interest here is to question what the
theoretical and practical implications of adopting his conception of desire would be in
contemporary art education. To explore this issue, we divide this essay into three parts.
In the rst, we look at some of Lacans views on education; in the second, we seek the
contributions made by Lacan to the notion of desire in psychoanalytic discourse; nally,
we present an example of the process of introducing Lacans ideas about desire into a
course of Psychology of Art for Fine Arts undergraduates at the University of Barcelona.
Te purpose was to facilitate the recognition of the students own desire, both in a peda-
gogical relationship and in their lives.
Lacans groundbreaking ideas have produced changes in the psychoanalytic eld
and have also had a great impact outside of it. Our mutual interests in visual arts
education and Lacans legacy led us to question what would be the theoretical and
practical implications of adopting his conception of desire in contemporary art
education. Such a challenge did not look like a particularly easy task because all
psychoanalytic theories are epistemologically oriented to the psychoanalytic clini-
cal experience (Birman, :,,) and, as we will see, the application of psychoanalytic
concepts to the eld of education has been in constant dispute regarding the in-
evitable diculties.
Although any educational relationship between two people has always been
a subjective matter, educationalists have tried to reduce the inevitable gap to a
Paulo Padilla Petry
University of Barcelona
Fernando Hernndez Hernndez
University of Barcelona
64 Visual Arts Research Winter 2010
technical aair in which a teacher with the right pedagogical methods could trans-
form a students knowledge according to the teachers objectives. Nevertheless, it
seemed to us that visual arts education in particular could at least facilitate the
recognition of the students own desire in the pedagogical relationship. Tis essay
is both a theoretical discussion of Lacanian conceptions of desire in art education
and a report on the experience of bringing these ideas into a formative process
with university students. As we are dealing with a psychoanalytic concept in the
eld of education, we begin by exploring Lacans positions on education.
Lacans Positions on Education
From the beginning of psychoanalysis, some of its practitioners have made con-
tributions to the eld of education. Since Freud claimed that adults suered from
reminiscences of their childhood, one obvious assumption was that psychoanalysis
could tell educators what would cause more or less painful consequences in the
future of their pupils. Not only Freud,
I
but renowned child analysts such as Anna
Freud, Donald Winnicott, and Melanie Klein, wrote about education. Some
seemed optimistic about how psychoanalysis could help the educators, whereas
others tended to isolate one from the other.
Discussions of the relationship between psychoanalysis and education usual-
ly begin with a famous quotation by Freud about the three impossible professions:
governing, educating, and psychoanalyzing. Education is impossible because both
players/actors are bound by their subjectivities and their unconscious. Although
educators cannot control their own words, neither do they have the power to edu-
cate or control anyone according to their will. Tis means in the end that educa-
tional eorts will always fail. Te impossibility of attaining any goal chosen by an
educator is an inherent consequence of the relationship between barred subjects,
as Lacan dened human subjectivity.
In the same area of impossibilities, several psychoanalysts also argued the
impossibility of applying any psychoanalytic contribution to the education eld.
Kupfer (:cc:) summarizes the main obstacles for this relation:
[T]he educator must promote sublimation, but sublimation can not be promot-
ed because it is unconscious. We should enlighten children about sexuality, but
they will not listen to us. Te educator must reconcile himself with their inner
child, but unfortunately they forgot what that child was like. (p. ,c)
Te strong distinction between the psychoanalytic act and the educational
act led some psychoanalysts to think of education as a necessary evil. While the
former would try to reach the repressed issues, the latter would work toward
nding for the repression. Lacans relatively few words about teaching and educa-
65
tion clearly fall at the most critical extreme. His comments (Lacan, :,oo/:,,b,
:,,:/:,,:b) on Freuds three impossible professions emphasize that all three are
unsustainable commitments because they run over the boundaries of what Freud
considered as truth, and the more one seeks the truth, the more one will experi-
ence the impossibility of success in these professions.
As is well known, Lacan dened his work as a return to Freud, which meant
recovering what Lacan considered as Freuds true purposes and the essentials of
psychoanalysis, which he considered lost in the writings of other psychoanalysts.
Lacan reinterpreted almost all Freudian concepts and cases and went beyond
them, proposing his own conceptions and elaborations (Roudinesco & Plon,
:ccc). His teaching through public seminars was controversial, and his denial
of his teaching position (Lacan, :cc:/:cc,) did not change the fact that it was
indeed a kind of teaching (Valabrega, :,;,/:,,) that attracted and fascinated a
growing number of intellectuals and psychoanalysts during a quarter of a century
(Roudinesco, :,,,/:cc:).
Lacan (:cc:/:cc,), commenting on the assumption that teaching is a
savoir
2
transmission in a pendulum movement between the one who teaches
and the one who is taught, says that teaching is done to build a barrier to savoir.
Furthermore, he says that a psychoanalysts teaching creates an obstacle to students
knowing what they are saying. Like many other psychoanalysts, Lacan (:,;/:,,)
strongly contrasts psychoanalytic experience and pedagogical procedures, and
Lacan (:,o/:,a) opposes the attempts of some child analysts to operate ortho-
pedically in the educational eld, which he says would be contrary to the ethics
of psychoanalysis. In the search for full development and well-being, many things
may be taught and people may learn perfectly well. However, Lacan stresses the
dierence between, for example, the possibility of learning how to play the piano
through classes and the diculty of learning from someone how to behave when
a young man goes out with his girlfriend (Lacan, :,;/:,,). Besides talking about
the amplied cretinization (Lacan, :,,, p. :;) promoted by education, he says
that the psychoanalytic experience is not about progressing through adaptation
or improving, it is something that progresses through leaps and bounds (Lacan,
:,;/:,,, p. ::,).
Although Lacan (:cc) talked about the devastation caused by educators, he
did not question the need for some education (Lacan, :,;/:cc,). He questioned
the role of educators because someone in the position of teacher must maintain
an appearance of having enough knowledge to keep talking until the class nishes
(Lacan, :,;/:,,). Instead, Lacan proposes that true teaching would be to awaken
some kind of insistence
3
that would be a desire for savoir. However, such desire
can only arise once ignorance is experienced as something fruitful. Five years later,
in Seminar , Lacan (:,o/:,a) says that human desire that has been numbed by
Petry and Hernndez Lacans Conception of Desire
66 Visual Arts Research Winter 2010
moralists, domesticated by educators, and betrayed by academia has searched for
refuge in the blindest and most subtle of passions: the savoir passion. Tis is why,
in our research Young Peoples Relationships With Savoir (Spanish Ministry
of Science and Innovation: EDU:ccc,:;/EDUC), we decided to go beyond
the common pedagogical interpretation that links learning with information and
knowledge, and connect the learning experience with the subjective experience of
the learners. When that happens, a savoir learning experience may take place.
Te role of desire in learning is decisive in Lacans thinking about education.
A good example can be found in Seminar (Lacan, :cc). Lacan comments on
some of Piagets experiences with language and communication. Piaget carefully
explained the function of a faucet to a child and then asked the child to reproduce
his explanation to another one. Piaget then observed the dierences between both
explanations and the rst childs omissions. Lacan (:cc) explains these dier-
ences by taking into consideration the childs desire: What really mattered for the
child who was supposed to reproduce Jean Piagets explanation to another. His de-
sire in relation to the faucet leads him to emphasize some aspects (e.g., the faucets
closing function) to the detriment of others, and what was seen by Piaget as a lack
in the communication is thought by Lacan to be the desire caused by the faucet.
What Lacan emphasizes is the importance of the learning object (the faucet) not
as a pedagogical tool but as something that can develop the childs desire for learn-
ing and communicating with his peers.
In Seminar , Lacan (:,,a) nds in Molires play School for Wives (Lcole
des femmes) another brilliant example of how desire surpasses education. Here,
a young girls tutor who is afraid of being cheated by his future wife decides to
marry his protge and keep her as ignorant as possible. His plan fails when she
falls in love with a boy her own age (Horace) and progressively shows signs of un-
derstanding and learning much beyond her tutors will. Lacan says that the tutors
assumption of the girls complete ignorance is the assurance that all educators seek
for the success of their goalin this case the acceptance by the girl of her marriage
obligations. However, Lacan points out that the girl falls in love with the words of
Horace precisely because they are not educational. Once one is in the domain of
language, ones desire will always exceed any educational attempt.
Lacans Conception of Desire
Tanks to his Hegelian formation with Alexandre Kojve, Lacans revision of
the Freudian concept of desire is the only one that reconciles a philosophical
tradition with a psychoanalytic one (Roudinesco & Plon, :ccc). Neither Freud
nor Lacan saw desire as a biological need, but Lacan (:,,) went on to establish
desires unsatised nature based in the deceptive nature of the Symbolic order.
67
Te Freudian notion of desire was deeply related to unconscious memories and
the possibility of its accomplishment in dreams or through hallucination. For
Lacan (:,,, :,,a), desire, though frustrated and repressed in the unconscious,
is indestructible. Its traces will always remain, as well as an insistent circuitry
(Lacan, :,,a) with its metonymical function (Lacan, :,,:/:,,:a) that will make
the subject search for dierent objects and replace them metonymically without
ever satisfying their desire.
Tus, the relationship between subject and object is one of desire. Neverthe-
less, desire should not be confused with love, if it implies any quantum of love; it
is conictive. Lacan (:,,,) makes it very clear that such a relationship is not about
need; it is more complex than that. Te object does not correspond to the subjects
desire; instead, the object gives support to the subjects who attach themselves to
it in order to avoid their own evanescence.
4
Of course, desire is opposed to will
or control, and rebels against any psychological organization. Lacan (:,,,) thinks
that, even in the psychoanalytic experience, desire appears mostly as a problem-
atic, dispersed, and contradictory element. In the last session of his Seminar
(Lacan, :,,,), he poses a question that he recognizes as not new but nevertheless
interesting: Is desire subjectivity? His answer is paradoxical: Desire is at the very
heart of our subjectivity and simultaneously opposed to it, as a heart rejected.
For the purposes of this essay, it is important to dierentiate what Lacan
understands as need, demand, and desire. Demand is a Lacanian concept that is
deeply linked to the Other. Its mechanism requires an opposition to the Other.
Desire metonymically produces dierent demands (Lacan, :,o:) but demand can
be ultimately understood as a demand for the love and recognition of the Other
(Lacan, :,,,). As demand must be articulated and answered through signiers,
need becomes more complex and is brought to another level (Lacan, :,,a).
Trough demand, what once was a need may enter into the Symbolic order as a
desire. Because of that, Lacan says that desire is dened by its gap relative to every-
thing that could be conceived of as an imaginary direction of need. Lacan (:,,a)
stresses the dierence between the typical impermanence of any dissatisfaction and
the durability of the desire in the Symbolic order.
Perhaps Lacans conception of desire is most well known by its relationship
to the Other. From his famous article about the mirror stage (Lacan, :,oo/:,,b)
comes the notion that desire is always the desire of the Other. Te question about
what the Other wants is present in the rst meeting of the subject with the Other
(Lacan, :,,,). While Lacan (:,oo/:,,b) tells us that the psychoanalytic experi-
ence of the I is opposed to any philosophical tradition that comes directly
from the Cartesian cogito, he (:,;,/:,,) makes an explicit reference to Hegelian
philosophy. Desire is rstly apprehended in the Other in the most confused way,
but Lacan (:,;,/:,,) says that its relativity to the Others desire can be seen
Petry and Hernndez Lacans Conception of Desire
68 Visual Arts Research Winter 2010
throughout the development of civilization. Ones desire may be placed only in
the Others desire space. Rening his denition, Lacan (:,,,) says that desire is the
desire of the Others desire.
When we bring Lacans conception of desire into our class, it is relevant to
recognize that desire is permeated by the Symbolic order (placed in teacher and
student discourses), it is indestructible (never satised), and it is always related to
the Other (a place that may be occupied by the teacher). Tis translation of desire
into a pedagogical relation is fundamental to the example we present later.
Desire in the Pedagogical Relationship
Is it possible to bring Lacans positions about education and his conceptions about
desire into visual arts education? As we said, Lacans position about education is
more an evidence of criticism than anything else. Besides that, he thinks that act-
ing according to ones desire is not something easy to endorse and that only in a
psychoanalytic context can it be placed in its purest form. Te educational ap-
proaches of the relationship between teacher and students in a visual arts class may
obviously dier, and we cannot simplify the issue by saying that trying to recog-
nize a students desire is only a matter of having less authoritarian teachers. Maybe
Lacans ideas about the ethics of psychoanalysis can help us here.
Following his seminar about desire and its interpretation (Lacan, :,,,) and
related to it, Seminar (:,o/:,a) was dedicated to what would be the ethics of
psychoanalysis. In it, Lacan concludes that a psychoanalyst should follow the eth-
ics of desire, which can be summarized in a single question: Did you act according
to the desire that resides in you? Tus, in a psychoanalytic perspective, one could
be guilty only of not following ones own desire. Lacan goes on to say that resign-
ing ones own desire usually happens for the best of reasons, for the good; but
for the good of whom? He contrasts the ethics of desire against what he calls the
ethics of the service of good, perfectly exemplied by the Creon character from
Sophocles play Antigone. Such a morality of good is also the morality of power,
as the authorities will always say, Let us keep working and, about the desire, you
may wait seated (Lacan, :,o/:,a, p. ,:).
To bring this notion into pedagogical terms, consider a common school sit-
uation: A teacher tries to oblige his or her students to pay attention or to do some
work, persuading them by saying that it is for their own good. As Lacan rightly
points out, acting in the service of good leaves unanswered the question of who
will benet from that service. Te actions of any teacher may be justied accord-
ing to one or many goals that are themselves attached to educational principles
and policies. However, this position normally puts students into a passive and
69
dependent role and reinforces a lack of authorship. Standards-based, teaching-to-
the-test educational policies that are dominant in many countries (Hargreaves &
Shirley, :cc,) are examples of the ethics of the service of the good and obviously
leave no space for the desire of either teacher or student. Similarly, teachers who
follow a pedagogy of dialogue or critical inquiry may impose their educational
perspectives as a form of incontestable truth, avoiding the recognition of the stu-
dents own desire of savoir in the pedagogical relationship.
Bringing Desire Into a Psychology
of Art Undergraduate Course
5
Trying to understand Lacans work is both engaging and exasperating. He puts his
readers in a permanent tensional conict: as with the line of the horizon, we see
it but can never reach it. Tere is always something incomprehensible and, at the
same time, tempting in Lacans writings. For this reason, bringing Lacan into a
second-term psychology class for Art Education and Fine Arts undergraduate stu-
dents could be risky (because students could feel frustrated with his obscure way
of writing) or appealing (because they could feel before themselves an intellectual
challenge to explore a new territory, bringing new meanings into both the peda-
gogical relationship and their life experiences).
We named the course Desire in the Constitution of the Subject and the
Artistic Experience. In the invitation to the class, our periphrasis was based on the
key to Lacans main approach to desire: Desire is, at the same time, the center of
human existence and the central topic of psychoanalysis. From Lacans perspective,
when he speaks of desire it means unconscious desire, not because conscious desire
is unimportant but because unconscious desire is the nuclear issue of psychoanaly-
sis. And we took up Lacans (:,b) sentence: Whats important is to teach the
subject to name, to articulate, to bring this desire into existence (p. ::) as an
invitation to participate actively in the adventure of the course.
Te aim of this course ( hours per week for months) was to learn to give
names to the experiences (biographical, pedagogical, and artistic) of desire, not
to teach Lacanian ideas about desire. With this purpose in mind, we invited the
; students in the second and third years of their ne arts degree to explore and
discuss dierent kinds of texts (lms, advertisements, visual artworks, literature,
and psychology texts). We invited them to pursue a research process based on the
construction of visual narratives, where they were able to make visible the reso-
nances and connections that emerged between desire and the constitution of their
subjectivities, their pedagogical relationships, and their artistic experiences.
To cope with this general objective, we invited the students to read and
Petry and Hernndez Lacans Conception of Desire
70 Visual Arts Research Winter 2010
watch the following articles and moviesand to respond to some questions, dis-
cuss in the forums, and exchange experiences, thoughts, and information in the
virtual space of the course:
Readings:
Cid Vivas (:cc), David-Menrd (:,,o), Deleuze (:cco), Larrauri/Max (:ccc),
Riet-Lemair (:,;:), and Lacan (:,;:)
Films and questions:
Te Company of Wolves (dir. Neil Jordan, :,)
In what way does this story act as a mirror where you could see some epi-
sodes of your biography reected?
What are the role symbols in this movie?
Project in a visual narrative some of the links you could make between the
movie and some episodes of your life.
Te piano (dir. Jane Campion, :,,,)
How do dierent movie characters represent and visualize their relationships
with desire?
How does the lmmaker represent the feminine and masculine expressions
of desire?
Which is the role of context (historical, social, geographic . . .) in the repre-
sentation of desire?
Filming desire (dir. Marie Manday, :cc:)
Discuss the diversity of positionalities and strategies that can make desire
visible, giving examples from the visual arts, especially from photographers work;
and formulate some hypothesis about their eects on the construction of peoples
identities.
Both the class sessions and the virtual space were actively full of students
voices, comments, remarks, and concerns responding to these questions as they
performed the suggested actions and added their own initiatives and concerns. At
the same time, because Lacans language was not easy to understand, we suggested
reading a Deleuze (:cco) text where he develops his thoughts on desire. For the
students, this comparison between Lacan and Deleuze was inspiring and enabled
them to construct the comparison shown in Table : as a rst step toward develop-
ing visual narratives where they connected this conceptual knowledge on desire
with their biographical, pedagogical, and artistic experiences.
71
We consider this comparison an appropriation by the students of Lacans
and Deleuzes ideas about desire and a rst step toward familiarizing themselves
with the complexity of this challenging eld. Although our objectives were not
merely to teach Lacans ideas about desire, this rst step proved to be very useful in
the later experience of recognizing the place of desire in students narratives.
In the last part of the course, we searched for what we called the politics
of desire to make explicit how our identities are constructed, especially by com-
mercials, video clips, and songs. In this part, we navigated from texts to everyday
life testimonies and made connections between what we read and see and the con-
struction of their subjectivities.
At the end of the course, we invited students to provide an account, in an
essay and a visual representation, of what they had learned. Te connections they
made showed dierent strategies of appropriation and how they connected their
desires to their own conceptions of desire.
As happened in Lacans (:cc) aforementioned interpretation of Piagets
experiment, students introduced the eld of desire not only into the new concepts
and vocabulary they had learned and the application to artwork examples, but
they also connected their own desires and interests with this eld:
To do that, we started a group debate. From then on, very interesting conversa-
tion themes arose: what is good or bad, social censorship, personal censorship
TABLE 1. COMPARI SON BETWEEN LACAN AND DELEUZE OF THE TERM DESI RE
Desire in Lacan Desire in Deleuze
Desire is a movement toward something Desire is not dened by its lack.
(an object) we do not have.
Desire is manifested before the lack or Te unconscious is a factory, and desire its
absence of an object. production.
Satisfaction of the object lacked comes If desire is a product, it is not spontaneous.
through its possession.
A desire is good or bad according to the We do not desire an object, but a set of
good or bad nature of the object. objects.
Persons without desire are happier because Te subject of desire owns the elements
this means that they do not lack of the set.
something.
Desire is equal to the objective of desire:
a virtuous result (a world at our own
convenience).
Ir is aiwa\s oiiiicuir ro acuiivi Ir is xor oiiiicuir ro onraix wuar wi
wuar wi oisiii. oisiiiir is oiiiicuir ro oisiii.
Petry and Hernndez Lacans Conception of Desire
72 Visual Arts Research Winter 2010
(someone shuts up for the fear of looking weird), the shame of talking in public
about dierent themes such as female masturbation, hidden desires, the attrac-
tion of the forbidden, voyeurism . . . and we decided to make a video starting
from movie scenes that talked about sexual desire and its multiple variations.
Tis and other evidence speaks not only to their understanding but also
their capacity to build connections between texts, movies, and artist projects.
Trough this process, a meaningful learning experience took place by expanding
the notion of desireas embodied in the heart of their subjectivityinto their
capacity to name their relationship with others.
Some Inconclusive Remarks
On many occasions, we university teachers and visual culture educators constrain
the possibilities of students learning. Tis happens for at least two reasons: because
we try to represent good teaching practices and, as a consequence, do not accept
students authorship in the learning process. However, if we are able to create
paths and connections around an appealing notionas was the case of desire
with students required to build links with their life experiences, the miracle of
creating savoir and of creating meaning takes place:
Tis theme and the process we have followed (exploring movies, texts, visual,
and artistic referents) has been useful in discovering new approaches to desire
and gave us the opportunity to nd a common ground among us and the ideas
in the texts. In the end, any learning process brings new doubts and questions,
and any question oers an opportunity for learning.
Trough this learning process, they discovered that authors such as Lacan
have connections with their personal questions and concerns and made links with
their artistic projects.
Trough my poetic reection, I have tried to make evident how in the course of
these readings on desire, not only have I learned about desire, but it has enabled
me to be conscious that desire could be considered as a path, an end, a cause, ef-
fect, and so on; however, the most relevant aspect in my learning process is not
this multiplicity of understanding desire, but the change in my approach when
I explore concepts, and not to read and believe, but reect to draw out conclu-
sions that could be sources of inspiration or referents for my artistic projects.
Nevertheless, as the students have their demands of the teacher who may, un-
willingly or not, occupy the place of the Other, they also have the possibility of as-
sociating their unconscious desires with the topics they are dealing with in class. Te
students may satisfy some of their imaginary needs through their productions in and
73
for the class, but their desires will never be satised and will metonymically circulate
from one theme to another. In addition, the students desire should not be confused
with their explicit wills to produce something or to engage in some kind of work.
In this process, the role of the teacher was not to achieve some objectives
and assess students learning. Given that the situation created was unpredictable
because students were able to explore their unknown zones, the teacher had to
learn how to build a exible position to transition between student narratives and
his own doubts and uncertainties. Tis was particularly apparent in deciding what
to say or how to respondnot in a therapeutic mannerto students personal
journeys between what they knew and what they were coming to understand
through their reections and artistic works. Tis situation created a feeling of
estrangement in the teacher and forced him to confront his own desire of savoir
through the course experience.
Notes
1. Freud never really had a child patient, as the only case he wrote about, Little Hans, was
actually analyzed through his father.
2. We are deliberately using the French word savoir because knowledge might have a
more external meaning. Savoir implies a deeper, more bodily, internal relationship to
what someone knows. Students may learn about the characteristics of an artists works,
but constructing a personal relationship (savoir) with such works would be a completely
different learning experience.
3. Lacans use of insistence is related to his understanding of Freuds death function and
repetition compulsion.
4. For Lacan, the subject exists only through language and thus is at constant risk of disap-
pearance.
5. This course is part of Indagat (http://nt.doe.d5.ub.es/indagat-web/) (2008MQD00101:
Collaborative Teaching for Integrated Learning), a teaching innovation project at the Uni-
versity of Barcelona partially funded by the Catalan Government.
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