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Outsider Art: On the Importance of Repetition in the Artist’s Work and on the Traces of Matter in his Mastersignifier

In the context of the debate on the art value of outsider art (in the two following senses: valuable art versus devalued art, and the value of outsider art for art history) the author investigates the central place of repetition for the artist in the creative process. Firstly, the surplus-aesthetic-value of an outsider-work-of-art is partly assigned to the manifest repetition that is found in this work. Support for a connection between aesthetics and repetition is found, on the one hand, in the work of established artists like Andy Warhol and, on the other, in Lacan’s seminar L’ éthique de la psychanalyse (1959-1960). Secondly, repetition, as it manifests itself in art, is interpreted as being the frame of the fantasy that protects the subject but that also simultaneously compels him or her. This compulsive repetition is often related to the signifier of the Name-of-the-Father as anchoring point for the fantasy in the work of outsider art artists. Different forms of the repetitive and compulsive appearance of the Name-of-the-Father are illustrated using short vignettes about outsider art artists. Thirdly, the fundamental importance stressed of the material that is repeatedly and compulsively incorporated as object a is established. It is proposed that this material, via association, can be transformed into an independent thinking language from which, via repetition, the master signifier and the signature of the artist develop.

Repetition in Psychosis: A Theoretical Question

This article investigates the theoretical issue of whether the concept of repetition is applicable to psychosis. In the neurotic subject, repetition is a reaction to the lack in the Other. The subject is confronted with a lack, a chance event, a question to which he has no answer. As a consequence, the neurotic is passively subjected to the Other. A case study makes it clear that the psychotic reacts differently to the lack in the Other. On the one hand, the psychotic can find an answer in the jouissance of the father and this jouissance will repeat itself during the course of his or her life. This “repetition” can be traced back to the sinthome which is not the case in neurosis. On the other hand, some psychotics may be unable to find an answer to the lack in the Other and they will experience a return in the Real. In these patients, a repetition is traceable, but this time to the concept of le retour dans le réel. Therefore, it is concluded that the application of the concept of repetition is inadequate in terms of the psychotic structure.

On Psychoanalytic Technique as foundation for the investigation of Creativity

Can psychoanalytic technique be used to investigate creativity? With reference to MacMillan’s work (MacMillan et al., 2003) on Freud’s essay on the Moses of Michelangelo (Freud, 1914b), the author begins this article by arguing that this is not always productive. In Freud’s analysis of Michelangelo’s sculpture and of the artist’s intentions, Freud made use of introspection in a way that is analogous to the free floating attention of psychoanalysts. However, Freud’s construction can be discredited when one takes into account: 1. Michelangelo’s original plan for the tomb of Julius II; 2. two iconographical conventions used by the artist; and 3. the biblical text. The author goes on to argue that psychoanalytic technique can provide an adequate frame of reference for research on creation and creativity. Besides the speech of the artist, he discovers in the aim of repetition a handle on the interpretation of art. This point of view is illustrated with the work of Johan Clarysse, Edgar Allan Poe and Paul Auster.

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