Aesthetics of desire -The Unconscious and the problem of "expression"

在这个项目中，我们对基于欲望概念的美学的可能性进行了研究。我们（Hara）专注于这个问题的理论方面，并检视了拉康的精神分析，其中这个概念已经被完全修正。研究表明，欲望的概念是在20世纪50年代后期由需要、需求和欲望的三位一体阐述的，这将在1960年左右重新组织成一个以驱动力概念为中心的新结构。它也显示，拉康借由引入能指链的概念，意图揭示某种内在的无限，它存在于每一个与他者的关系中，但被传统的语言理解所隐藏，而美是由他根据堕落来定义的，当主体面对这个无限时，它无法避免。在这些理论论证的基础上，最后追溯了他的视觉器官的演变；从镜子阶段经由变形到宫女，拉康对这些表征系统的分析可以被认为是我们“欲望美学”的前兆形式。各种艺术作品的存在证明了欲望的多样性，这种多样性不仅取决于艺术家的个人历史，也取决于他所生活和创作的社会文化背景。这就是为什么我们（酒井）试图从另一方面从社会历史的角度来调查这个问题。我们选择了四位代表他们时代的画家，列奥纳多·达·芬奇，汉斯·霍尔拜因，弗朗西斯科·德·戈雅和文森特·梵高，并试图将他们的生活和作品还原在他们最初的历史和社会背景中，以展示他们的欲望和创作是如何深刻地标志着他们的创作。

In this project, we carried out researches into the possibility of an aesthetics based on the concept of desire.We (Hara) focused on the theoretic aspect of this problem, and examined Lacanian psychoanalysis in which the concept had been fully revised. It is shown that the concept of desire was articulated in the late 1950s by the triad of need, demand and desire, which would be re-organized around 1960 in a new configuration that centered on the concept of drive. It is also shown that by introducing the concept of signifying chain Lacan intended to reveal a certain infinite inherent in every relation to the other but hidden by the traditional understanding of language, and that Beauty is defined by him in terms of the fall the subject cannot avoid when confronted with this infinite. On the basis of these theoretical arguments, the evolution of his visual apparatus was finally traced ; from the mirror stage by way of the anamorphosis to Las Meninas, Lacanian analysis of these systems of representation could be considered as a precursive form of our "aesthetics of desire.The existence of all kinds of art works proves the diversity of desire which is determined not only by the individual history of artist but also by the social and cultural context in which he lived and created. That is why we (Sakai) attempted on the other hand to investigate the problem from the socio-historical point of view. We selected four painters representing their epoch, Leonardo da Vinci, Hans Holbein, Francisco de Goya and Vincent van Gogh, and tried to restitute their lives and works in their original context of history and society, in order to show how profoundly it marked their desire as well as their creation.