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Motivation: the artist and the psychoanalyst     21.09.04
Thoughts on the seminar Adrian Rifkin 21 October 2004
  Two moments stand out for me in the discussion with Hanna Segal. One was her comment that whatever she has to say will be at once very old and very new, thus beautifully dealing with the unfulfilable desire of the ResCen group that she should repeat herself in the public seminar! This opened the discussion in a time like psychoanalytic time, so that the before and after, the orderly relations of everyday occurrence are disrupted and the fragility of performance can begin to emerge. Her approach created a different atmosphere to that of the previous discussions.
The second was the subtle but dramatic distinction around the questions of 'what if' and 'as if'… again this opened a space for the problem of performance as a projection, as a sublimation, whatever, so that the following presentations and responses seemed to take place from inside the performed rather than simply on it or about it, something more than explanation. After this, I think, we witnessed a model of the practices of listening, with the evolved positions of the research associates taking a new twist – I wonder about two more things, how they assimilated the discussion over the following weeks, and how the process will help, if it can, to develop new modes of public presentation in which response might be yet more speculative.
In relation to Richard's presentation, her quite tough response was surprising and provoking, and I suspect – guess – that it had something to do with his use of the phrase “that's fine”, and I guess that she thinks that it is not. There's an example of what I mean by the evolved and habitual discourses being shaken.[reply]
   
Deeper notions of motivation Kate Flatt 08 November 2004
  My observations about the most recent seminar ‘Motivation: the artist and the psychoanalyst’ with Hannah Segal are made in the light of attending the previous seminar ‘Motivation and the Artist’ in May at the Clore Studio. In the May seminar, there was more surface response to the notion of motivation, although interestingly it didn’t appear to indicate difficulty or aspects of struggle. The normality of creativity is a good notion but what deeper questions drive the maker?
Hanna Segal's encounter with the group seemed to have given everyone a more intra-personal dilemma. The responses came from a different sense of themselves perhaps. My question to them in the seminar in May had been about what it was like to feel thwarted, unable for whatever reason to make, to get stuff out there. I’m not sure it was fully answered in Hannah Segal’s session but the responses showed more complex engagement with their work. [reply]

   
   
 
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