Louvet Creators and Szondi Test PDF

UNIVERSITY OF LIEGE

FACULTY OF PSYCHOLOGY
and of
SCIENCES OF EDUCATION

Interpretation of the Logic

of the Process of Creation Using
the Szondi Test
by
Karl Louvet
Translated by
Arthur C. Johnston, PhD
2009
by Arthur C. Johnston
Sponsor: Professor Jean Mlon

Dissertation presented for obtaining the rank of Doctorate in
Psychology.
September 1995
ii
iii
TABLE OF CONTENTS
for
The WHOLE BOOK
INTRODUCTION.................................................................................... iv
METHODOLOGY ................................................................................... 1
THEORETICAL APPROACH.............................................................. 43
RESULTS.............................................................................................. 189
APPENDIXES....................................................................................... 242
Appendix 1: Commentaries .................................................................. 243
Appendix 2: Continuum Ratings by Testees.......................................... 283
Introduction iv
Introduction
To create is to go beyond the limits of the conceivable. It is the

movement that transcends itself on the course that goes from the point of
origin to the point created. This movement can require several aspects
going from putting in place a relation to different things to putting into
form something that it did not have.
This trajectory of thought that creates is positive in the sense where

the result is not a pure and simple deconstruction. It is the trajectory of
the looking at* [regard] that expels its own looking [regard] and
positions it into the object of the looking [regard]. This reversal on
oneself that chooses its existence makes it possible to strike this self in
the object in order better to perceive oneself and thus better to detach
oneself from it.
[*looking at is one translation of this key word regard; other
translations are look, looking, glance, attention, focus, viewpoint, view,
viewing, perspectiveall have the literal meaning of a person looking
with his or her eyes at something. Generally, it means the
perspective of the self and inner world or that of the Other and the
external world. Since it is awkward always to translate regard with
the word look, its simplest translation, several different words will be
used. Note: any comments within brackets are those of the translator,
not the author.]
This alchemical transformation of human thought that is expelled

from the self makes possible that its essence proceeds into the existential.
To create is to plunge into ones essence in order to extend towards the
being that frees one from ones former choices. Basically, all is possible
for the not-differentiated and all is the potentiality of being. The liberated
spirit releases the enclaves of ones being and is impregnated with the
freedom of being with respect to the attachment to things. A pure
movement towards detachment.
To examine the creative process is to separate from something in us,

a little as if the mooring ropes of a boat suddenly broke loose.
But we live in a space and a time where the thought must reconcile
two vectors: that of the concretized stowed in a body that is human,
familial, social; and that of the potentiality, this vestige of thought that
Introduction v
characterizes the human species. It is at this crossroads, worthy of the

devil, that is registered the dialectical between detachment and
attachment, between absolute power and limitation, and between oneself
and the Other*. [*Other = LAutre that stands specifically for the Other
and generally for anything external to the self.]
The human being intrinsically is a crossroads between two

dimensional planes: the abstract and the concrete. It is an incarnated link.
It is perhaps this nature of the interspace that enabled one to go so far in
creation. This is only possible at the continual intersection between two
worlds: that which is and that which becomes. To create is a position
where the creator is at the tangent to himself and in a precession* of
oneself. It is the link in a transitional nature, that which consists in having
anticipated itself and thus existing on two planes: the potential and that
which exists. [*precession = going first]
Getting ideas is one thing; to make them concrete is another. If the

thought can be transcended by itself, can it, by itself, be self-limiting? We
will see what way the light of the mythical figure of Nemesis can do for
us in this obscure part of ourselves that sometimes makes the most
worthless decisions for our destiny.
To enter the world of creators is to learn all the value and the
importance that we bring to our vision of the world, to its illusions, and
its impasses. Our looking looks at the world all the time, but do we look
at ourselves sufficiently with this looking in order to correct it? And if
looking loses itself in the labyrinths of our desires or the desires of others,
how to leave the inside of a looking at one? And if even so we succeed in
doing it, what to think when one is exposed faced with its look that
penetrates to the truth of us? What to say to oneself when one realizes
that all our words are lost in an existential impasse and that which
remains to us is rightly a looking at things?
It is even so just a looking at us and, yet, it is present at every

moment and it marks its print on all that happens to us. Gradually, this
looking traces the path of another perception of things and another
manner of representing itself. Each day, all that is built in us is the
heritage of this looking. The choices that we make carry the mark of this
looking. And, one beautiful day, we open our eyes and when we look
before us, we can not believe our eyes: all is changed. And, in us, what
was the same is no longer the same, and we look behind at our past and it
seems another world to us and of another dimension.
Introduction vi
Between the inside and the outside and in all these things, there is
this look that is like a cement of life. It is perhaps in the Bible the
sentence that says: And we all will be changed in a blink of the eye. We
believe indeed that if our looking at the world changes, everything
changes. Because our perception changes, our manner of feeling for
things and finally our representations and, consequently, all the choices
and all the decisions that we make are connected to this manner of
looking. To go away from its look and to change it is to change
everything because it is at the source.
But to go away from its look on us is to enter into the fault* [la
faille], the discontinuity. It is a little as if the cloth on which we project
our vision is torn and we are face to face with our looking at things. The
fault is an element of the system that recognizes that it is in a system that
threatens us and that by its look comes no longer to be part of the system
any more since it has viewed it from the outside. As long as it did not
know that, it was in the inside of the system. [*fault (la faille) = a fault in
a stone, a crack in a stone, a flaw, a break, a rupture]
When the system threatened the integrity of this element, this person
looked at the system with his own perspective and look and not with the
perspective and look of the system. He saw where he was, and by
perceiving this, he pre-detached his being from this system. He created a
look and perspective suitable for him that was not registered in the
system. If he saw it correctly, he would change the system. Then, we say
that it is the action of a creator. If he does not change the system, he will
remain at the side lines, in error, regarded as mad and as one
disconnected.
To speak about creation without speaking about the fault [la faille] is
like speaking about life while omitting death. Only a break [la faille] in
the relation to the known and the conceivable can push the creator
towards the unknown. And this break seems to be in the threat that
weighs on the ego of the creator who inscribes himself in a participative
thought. Thus in this way to approach the process of creation, the
illumination, and in another that of the dialectic between lipsit [oneself
as an individual, individuality] and laltrit [the otherness, the Other]
seems essential.
The Szondi Test will, we hope, be a faithful ally in this journey. It

should enable us to set boundaries in the manner of a guide.
Introduction vii
The subject of our dissertation is not just one. In fact, this

dissertation involves three subjects:
The subject itself of this dissertation, i.e. its contents, and the
object of this investigation: the process of creation.
The subject who wrote this dissertation, the subject for the
knowledge, in fact our self and the authors on whom we count to
be in agreement in thinking.
The subject for which this dissertation is intended, its readers.
These three subjects have in common to be happening together.

Theory always advances toward horizons that recede. Theory is
continuously altered thanks to the contribution of all. The subject who
writes the dissertation is in the process of obtaining his diploma and is
thus in an existential transition. Lastly, the subject who will read this
dissertation is also on this journey in as much as any human being that is
faced with knowledge.
Understanding and taking with you what is said when reading this
dissertation is agreeing in some part to follow along side the path given in
thoughts that have tried to clench all the more closely a logic of the
creative process. It is perhaps the common denominator to the three
subjects -- to be on a journey -- that can, perhaps, permit the creation of a
field common to the three subjects. A course that is proposed to be taken
by oneself this subject that is in us all.
Let us go to the first matter of this dissertation.

Methodology
Methodology 1
TABLE OF CONTENTS
INTRODUCTION ....................................................................................................... 2
PURPOSE OF THE DISSERTATION....................................................................... 2
PRINCIPLES............................................................................................................... 3
GENERAL STAGES................................................................................................... 4
POPULATION ............................................................................................................ 5
THE SZONDI TEST ................................................................................................... 7
1. Description of the Test............................................................................................ 7
1.1 Introduction to Theory ...................................................................................... 8
1.1.1 The Structural Problem of Fate Analysis [Schiksalsanalyse].... ................... 8
1.1.2 The Structural Point of View and the Reference to the Primal Fantasies.... 11
1.1.3 The Ontogenetic Point of View and the Theory of the Drive Circuits ........ 13
1.2 The Indexes .................................................................................................... 18
1.2.1 Symptomatic Index (Sy%)........................................................................ 18
1.2.2 Index of Acting (S0/).............................................................................. 18
1.2.3 Tension Index (S!).................................................................................... 19
1.2.4 Social Index ............................................................................................. 19
1.2.5 Index of Variability .................................................................................. 20
1.2.6 Index of Disorganization .......................................................................... 20
1.2.7 The Drive Formula and the Root factors......... .......................................... 21
1.2.8 Drive Positions ......................................................................................... 21
First Positions................................................................................................ 22
Second Positions....................................................................................... .... 22
Third Positions.......................................................................................... .... 23
Fourth Positions....................................................................................... ..... 24
1.2.9 Forms of Existence...................................................................................... 25
1.3 Periodic Interpretation of the Drive Circuits.................................................... 26
Periodic Table of Drive Cleavages .................................................................... 27
1.4 Average Profiles ............................................................................................. 30
2. Three Levels of Analysis ....................................................................................... 33
THE ACCOMPANYING FRAMEWORK .............................................................. 33
1. Final Purpose....................................................................................................... 33
2. Description........................................................................................................... 34
The Continuums................................................................................................ 34
Continuum Number 1................................................................................. 34
METHODOLOGICAL APPROACH....................................................................... 36
1. General Information............................................................................................. 36
2. Interviews and Testing...............................................................................................38
BIBLIOGRAPHY...................................................................................................... 40
2 Methodology
Methodology
Introduction
The question is to encompass what would probably be a creative process in
the work of the majority of creators. Our aim will be clinical within the context
of a meeting between a psychologist who would have a framework of
interpretation and a person who creates. It would be a halfway meeting between
the knowledge of a psychologist, very often of the psychiatric type, with a
nosologic aim [classifying of diseases] and that of the more philosophical
creator, open a little to all views and thus eclectic.
Each creator has one or more manners of functioning, but we dare to hope
to be able to decipher a certain coherence on the level of the operating rules: this
is the subject of this dissertation.
The method is to some extent a path that one follows to reach a certain goal.
Our idea of method thus results from the aim of our research, which finally
amounts to explaining the purpose of this dissertation.
Purpose of the Dissertation

The purpose is to try with the aid of the Szondi Test to approach what
would be a creative process. All in all, we hope to shed light on the creative
process thanks to the Szondi Test.
We choose a theoretical framework of reference and we look to see if this

framework can make a process reveal itself. Does it make it possible to meet the
creator as he is?
This way of seeing will be able perhaps to shed light on the people who
are faced with the complexity of the creative process. Our report does not consist
in finding an exhaustive theory of the process of creation. It rests on the idea that
it is possible, using the Szondi Test, to build a theoretical interpretation that can
clarify the clinical aspects about creators in a very broad sense. The clinical
aspects of creators being understood here as experienced by the people who
subject themselves to a creative process.
Our goal would be reached, if this report permits, a better encounter

between the knowledge of the psychologist and that of the creator. At stake is
basically the encounter.
Methodology 3
To determine the process, only the movement back and forth between the
clinical and the theoretical seems to us to guarantee a practical theory that is
adjusted as well as possible with the fundamental data. To make it possible for
the creators to put in perspective themselves by an outlook that is not often theirs
is a richness if this perspective respects the course of their thought. The
psychologist can consequently be conceived [natre]with them in the sense of
together knowing [connatre] them.
The idea of a cycle came to us in order to put the various theoretical

concepts into form. This idea germinated in the course of our experience of the
lifestyles of the creators. The knowledge of the creators tends besides towards
this idea that they feel sometimes clearly in the sense where they know that
they are overloaded and that it is necessary that that manner or otherwise
that will block them. They feel good that they live their lives with a cyclic
pace that has a beginning, a middle and an end even if that is not always also
definite. The object that will be created directs the process according to a cycle
still emerging; the finished work and the ejection of this object into reality rest
on a redundant pattern that is in the object. Sometimes, several objects at the
same time are in a moment of creation at various stages, but even there the
creator locates these objects according to a strategy of the cyclic type at various
stages according to the object and its progress. The literature speaks about
stages, and we will see that according to Anzieu, there are five stages.
If the dynamics of creation rest on a process that evolves more or less

cyclically, we are correct to think that this process can be marked by various
mental configurations. Those would be like some kinds of landmarks on a
journey. These configurations would be connected then according to an overall
logic that covers the process.
Principles
The method by means of the test would consist in finding the various stages
important in creation. These stages would correspond to mental constellations
that would have significant meaning in relation to the life of the creator. The
questions would be consequently about what type of configuration it is and how
connected to others. Then, in the best of cases, a global theory would recall the
whole course while trying to clarify the guiding thread of the process.
Finally, using the test, the clinician could locate the mental configuration of
the creator in the cycle. From there, he could consequently reframe the life of the
creator according to the limits in which he finds himself.
4 Methodology
Indeed, it is the comparison between two logics that will give a key for
analysis. The first logic is that of the creative process with its stages, its risks,
and its internal movement. The second logic is that of the test that states how
energy is distributed among the various choices, the test giving the state of the
mental engine. Thus, the confrontation of the life of the creator with the data
of the test makes it possible to see whether there is a discordance, or a
congruence, or a tension between the two logics and in which area. The creator
thus would receive the most reliable possible analysis.
The reference would thus be located in an interval made up of the life of the
creator and the data resulting from the interpretation of the test in agreement
with the experience of the psychologist.
General Stages
1 - To observe and to retrieve observations from the facts. This framework
of observation is based on some criteria that are characterized by:
- being as much as possible common to the greatest number of creators;
- being basic (essential to the process);
- being as much as possible unequivocal (to go to the essence).
2 - To remain virgin from the literature on the subject. Not to proceed to

draw directly from the books of information that would prevent observing
certain things. To incite a thirst for information in us, a lack of knowing in
order to sharpen one's observation. To be a look that looks at and not a look that
confirms. To give up the loss of a mastered knowledge for a knowledge of
discovery. Therefore, to accept regions of darkness until late in the research.
3 - To continually traverse back and forth between the revealed theoretical

elements and the empirical ones. The more the theoretical aspects become clear,
the more extracted information of the empirical is precise and of quality.
4 - To make evident the visible: to bring its perception to a degree of zero.

What I look at, I look at it still poorly, what do I see in an obvious way? We
think particularly of Einstein, who said that: It is the theory that decides what
we can observe or of Piaget, who said that: It is a matter of the environment to
the degree that authorizes the level reached by the individual. That leaves us
with a rather broad field of view.
5 - To find a line of conduct, a guiding thread among the facts.
6 - To arrange theoretical spaces a little like small islands not necessarily

connected to the whole but that keep sufficiently to the road (a kind of non-
homogeneous suspension that will end up by becoming part of it).
Methodology 5
7 - To build a first theoretical architecture and to reorganize it to obtain that

which is the least unsatisfactory as possible. To change the observation
according to that.
8 - To interpret the subject and to refine the whole.
As the crow flies, while using the Szondian vocabulary, we passed

throughout our dissertation from a maximum state of introjection (k +) to a k -
state, i.e. a position legalist-realistic-rational. Sometimes, we remain in the
shadowy regions of the type k , i.e. semi-realistic and semi-intuitive at the end
of the course.
The expression knowledge of discovery is welcome consequently to

qualify this report. Finally, it is only one interpretation that helps to understand
in the best case the empirical. But it is never more than an approximation of the
complexity of the human psyche.
In the final analysis, to have a mastered knowledge is reassuring and

gratifying but where is the common ground to be situated? On the other hand, to
give up the loss of the absolute power of theoretical knowledge is difficult. We
think consequently that the most important end is the happy medium.
Population
The people tested are selected according to the function of the creative
process. That means that these people follow this process in their lives: some for
a long time, others for a little, and that with more or less intensity according to
the occasions.
How to define such people? We went along with the opinion that consists in
taking people considered as creative. We do not have criteria sufficient to say
that this or that individual is more of a creator than another. The quantitative
aspect is relative. The qualitative aspect is also. A known creator can confine
himself in the same category whereas a student can create a method of analysis
particularly difficult to understand without being recognized at this moment as
creative. The rich occasions of creation have highs and lows in the same person.
The key word is unforeseeable. In extreme cases, it is a little a mixture of
intuition, of reputation, of favorable circumstances and of practical conveniences
that made us choose these people.
The majority are regarded as very creative by several different people. The
creative production attests to this evaluation. For these, there is not any doubt
6 Methodology
that creation is an engrossing part of their lives. This is so for Henri, Georges,
Jeanne, Jean-Marie, JP, Mit, Joseph and Pierre.
On the other hand, three younger subjects were selected for their
admission into the creative dimension. These three people are likely
candidates for a creative course in full development. They are not really known
for their creative aspect. It is rather their personal progress that brings them to
creation with more or less results. In any case, we find interesting that they have
their place in our report because they represent attempts at organization of a
creative process. This applies to Anne, Znon Ele and Zphyrin.
The people in creation are not easy to insert in a procedure like ours. We
have eliminated the refusals. In addition, two people stopped after a few profiles.
The first of these people was eliminated because she felt negative influences
because of the test. Whatever one thinks about it, this test disturbed this person.
The second person took up again the testing after having taken a respite.
Very often, it is difficult enough for the creators to agree to open their
interior realm that is often extremely protected without knowing what the returns
will be in the final analysis. They very often try to know a maximum of facts on
what interests them. This mental enterprise on what touches them and the
difficulty of doing it with our dissertation can perhaps explain this mistrust.
For our part, we spoke at length with them. We left them the possibility of
forming their own opinion about our procedure while answering all their
questions. This attitude is very demanding in time since a profile can occur in a
five hour long discussion. We did not prevent the creator from being interested
in our personal world. It is a little a giving of our world for a receipt of theirs.
All that is possible smoothly only if we are fundamentally interested in creation.
On the other hand, if one feels the scientific objectification, the door is
closed automatically. There is a meeting between two people each preoccupied
by their research or there is no meeting.
All the people tested agreed to come into contact with us and our procedure
by the intervention of a person whom we know and who was different each time.
It is the confidence in this intermediary that made it possible to open the door to
the creator. For other creators, it is the fact of knowing them personally that
enabled us to start this research with them.
Four of these people agreed to take the test many times so that we could
have a maximum of profiles for an analysis on a larger scale. For the others, the
average of the profiles is approximately six except for two subjects with whom
we have only three profiles each.
Methodology 7
This disproportion reflects the attempt to have a basic core made up of

important protocols and the clarifications constituted by the small protocols. We
do not hide the fact that it is very tiresome to obtain so many profiles from the
same person who, moreover, is creative and thus not very inclined to yield to
such a difficult procedure. We are glad to have four large protocols. Even for
the small protocols, it was not easy to obtain them. Very often, the creator
wanted to quit before a new profile. We often put the pressure nicely to
bring closer a meeting.
Georges is a little different because he had been for a long time with a
Szondian psychologist who agreed to give us his protocols. We thus have about
forty profiles covering one period of his life known as "blocked" in addition to
those that we collected.
The majority of the people tested have a knowledge about their creative
process. It was born from the period of their life and their experiences, but what
is more difficult for us is that this knowledge rests on a discourse that is strongly
attached to the creative life. That, in turn, is made of intuition, feelings,
sentiments, strategies, rituals, interpretations. Thus to be able to transfer this
knowledge into a psychological discourse, we judiciously helped ourselves with
the Szondi Test to clarify the life of the creators.
The Szondi Test

We largely and amply were based on the thesis of Martine Stassart for the
presentation of the test (15). We more or less followed his layout in order to
respect the coherence of his work. The Szondi Test is rather long but it is its
richness and its complexity that clarifies things. We make a point of paying
homage to the work of Mr. Stassart, who allows us to give to the reader a
presentation of the test whose clearness is by far the best possible to our
knowledge.
1. Description of the Test

The test is comprised of six series of eight photographs. It is managed by
presenting to the subject each series. one following one another. The instruction
consists in requiring the subject to make choices concerning these photographs.
He is asked to choose two photographs that he judges antipathetic and two
others that he judges sympathetic. The four other photographs will be used in a
second round of choices.
Each photograph shows a face. Each face evokes a meaningful psychiatric

destiny registered in the face. As we will show through the thesis of Mr.
8 Methodology
Stassart, Szondi has chosen in a precise way eight types of individuals whom
one, each time, finds again in the six series.
Once the choices are made , a system of code makes it possible to align a
profile including eight elements when the analysis starts.
We will refer the reader to the work of Jean Mlon, Thorie et pratique du
Szondi of 1975 (8) for the encoding of the test.
1.1 Introduction to Theory

Being different from the other projective tests, the Szondi Test contains its
own theory; that is intrinsic to it.
The major discovery of Szondi resides in his drive diagram (Triebschema)
since this diagram presides as well over the construction and working of the test
as also to the theoretical elaboration of the empirical data resulting from the test
experimentation.
1.1.1 The Structural Problem of Fate Analysis [Schicksalsanalyse].

Built on the basis of the great clinical entities of traditional psychiatry, the
drive system (Triebsystem) brings about, according to the words of Schotte, the
passage from the classes to the categories. (Schotte, 13, pp. 21-76)
The classes are those of an original nosographic regrouping [regrouping of

diseases] produced with the crossing of the works of Kraepelin and Bleuler, as
regards the ordering of the psychiatric field through the opposition between the
cyclothymias (C) and schizophrenias (Sch), and from Freud concerning the
correspondence between the sexual perversions (S) and the neuroses defined as
the negative of the perversion, whose paradigm is hysteria redefined as a
paroxysmal disorder (P).
As for the categories, they are those of human existence reassembled from
an anthropopsychiatric point of view that, in accordance with the principle of
the crystal, sees in the pathological forms of this existence the royal road that
leads to the comprehension of normal psychological functioning, the human
being regarded as a being in becoming (ontogenetic point of view) whose
development is subjected to a collection of invariable and universal laws
(structural point of view).
Szondi concurs explicitly in the fundamental opinion of Freud where this

is affirmed specifically:
We have know for a long time that we must expect to meet the same
complexes and the same conflicts among patients and among healthy and
Methodology 9
normal people. We are even accustomed to suppose in any civilized man a

certain amount of repression of perverse stirrings, of anal eroticism,
homosexuality and others, as well as a share of father and maternal
complexes, and still other complexes, just as in an elementary analysis of
an organic compound we can detect in all certainty the elements of
carbon, oxygen, hydrogen, nitrogen and a little sulfur. What distinguishes
the organic compounds one from each other is the quantitative proportion
of these elements and the constitution of the connections that they
establish among themselves. This then is the case in the normal people
and the neurotics; it is thus not the existence of these complexes and
conflicts, but the question of knowing if those have became pathogenic,
and in this case which mechanisms they have implemented. (Freud, 5, p.
180)
The first ambition of Szondi has always been to found psychopathology as

a science, with its own objects and its laws, to make a science auto-logic of it,
like all other fundamental sciences, in order not to need to import its concepts
from other fields of knowledge and thus always to function in a crossbreed and
analogical way.
For this purpose, Szondi tries to make it share the essence of and to be an
accessory of the psychiatric nosography of his time. This leads to his rearranging
the things in a certain order, starting from the concept of drive that he obviously
borrows from Freud.
The decisive act will have been to enumerate the drives, to arrange them
within a system, to encompass them in a unit and to affirm that this unit made a
structure, that it is the structure-itself of the operation by which the human being
as a person is animated, not by immutable instincts, like the animal, but by a set
of drives whose destiny is unforeseeable.
It is the limits of enumeration of the factors and drive vectors and their
presentation in the table of protocol of the test that gives to the drive diagram its
character of structure. From now on, each factor, each vector, each component
of the table is defined by relation to the others:
Nothing any more has autonomous existence; all is reconstituted in

and by networks of significant relations: we have just left the mode in
which the mental diseases are considered partes extra partes,* for the
articulation of a single structure whose whole divides them and no more
regroups them. (Schotte, 13, p. 155) [*a part as an external thing to
another part: It means that things exist alongside, beyond each other,
exterior to each other. No interdependence, just external independent
existence.]
10 Methodology
From being put into a table, each component receives, in addition to its
own significance, a value from a position in the whole. (Mlon, 11, p. 5)
This is what results when speaking about drive positions, with the
Kleinien sense of the term, rather than of drive tendency or reaction as done by
Szondi. For Szondi, the psychic or mental diseases are not diseases of the brain
(Hirnkrankheiten) or spirit (Geisteskrankheiten) but of the drive diseases
(Triebkrankheiten). When he produced his system for the drives, Szondi
distinguished four of them that he judged fundamental:
the Contact Drive (C)
the Sexual Drive (S)
the Affects Drive, called Paroxysmal (P)
the Ego Drive (Sch), Sch corresponding here to the first three letters of the
word Schizophrenia.
The drives, Freud has already stated, are not identifiable in themselves.
One can recognize them only through their representatives (Reprsentanten)
and, at best, when those are delivered up, as regards the affects (Affekte), the
representations (Vorstellungen) of a thing (Sache), and words (Worte), with
extreme manisfestations, which make one and/or the other of the drives
dissociate from a totality where they were supposed to make a good arrangement
with the others.
It is the disproportion of a drive demand that unbalances the total

structure and, by making it to stick out in an exaggerated way, makes it appear
in its singularity.
For example, the need to be avenged (e -) or, the contrary, to repair (e +),
to make amends by its merits -- these needs can be so strong that they direct the
whole destiny of a subject, sometimes making this destiny great, but sometimes
also its misery, making him or her insane or mad, a devil for himself or herself
and for others.
If we consider the four great drives or the four drive vectors (as Szondi
calls them), we can say that:
The disorders of Contact are the disorders of mood, which we call thymo-
psychopathics, represented at the extreme by mania and depression; m and d,
initials of mania and depression, become the two constitutive factors of the
Contact vector.
The disorders of contact are the disorders of mood [humour] that are
disorders of our fundamental relation to the surrounding world, disorders of
harmony (in the musical sense of the term, Stimmung) in the rhythm of life,
Methodology 11
disorders of the rapport to the environment; bad mood, to state things simply, is
a mood out of tune.
The Sexual disorders are perversions. Perverse imbalance occurs when all
the life is dominated by the desire to posssess the sex object completely, when
the pleasure in the quasi sense of the term, becomes the only goal or the supreme
goal; the prototypic representatives of perversion are the homosexual and the
sadist.
The Paroxysmal disorders are neurotic troubles. The definition that

Szondi gives of neurosis is not everyone's. For Szondi, neurotic troubles, in a
strict sense, are those that intervene in the life of the affects and that appear
noisily by crises, by paroxysms, from where are derived the concept of
paroxysmality. But what produces the affects?
It is, states Szondi, not the relation with the object or the environment but
the meeting always the surprising and inevitable conflict with the principle of
the Law and the two great fundamental interdictions that are the interdiction
against the murder of the father and the interdiction against incest, in other
words that of Oedipus.
The prototypic representatives of the neurosis, definite as more or less

permanent state of crisis, are, for Szondi, not the obsessional and the hysterical,
as it is the case with Freud, but the epileptic and the hysteric, i.e. those who react
violently to the (Oedipal) crisis by making precisely crises.
Lastly, the disorders of ego are those that relate to the ontogenesis of the
ego, its auto-ob-tention (Selbst-er-haltung) like its self-preservation
(Selbsterhaltung) and, negatively, the destruction of the relation of the subject to
oneself that leads to the extreme forms of the disorders of identity met in
psychosis and more particularly in Schizophrenia whose prototypic figures are
those of the catatonic [katatonique in German] and of the paranoiac.
1.1.2 The Structural Point of View and the Reference to the Primal
Fantasies.
The merit goes to Jean Mlon for having pointed out what makes the
structure of Szondi, as also to Freud, to establish the homology in fact between
the Szondian vectors and the Freudian primal fantasies. (Mlon, 10, pp. 673-
680)
Primal fantasies as a core in the unconscious (Kern of Unbewussten) and

guides in a preconception -- to what correspond the infantile sexual theories -- of
what occurs with the little man defined as a subject of/with the drives are
12 Methodology
organizers of human desire as this desire precisely plunges its roots in the
fantasy or fantasies.
As Laplanche and Pontalis have remarkably shown (Laplanche and

Pontalis, 6, pp.1833-1868), the primal fantasies are charged to give an account
of the origin and the sudden appearance of the first elements constitutive of true
human desire at the same time as they offer a model to him and give him a form
through the putting of him into a scene where the positions of subject and object
are not given in advance.
If one refers to the Lacanian trilogy of the Symbolic, the Imaginary and the
Real, one can state that the real [reality], impossible to know as such, is the
drive, that the imaginary consists of the series of the idiosyncratic fantasies of
the subject and the thoughts of connection and transition (Mlon, 10), and that
the symbolic system is the whole, the structure, of the laws that govern the
operation of the psychical reality whose primal fantasies, as organizing designs
of the desire, constitute to some extent the matrix.
It is rather easy to see that what is in question in the Sexual Vector of

Szondi is the question of the relation to the body as an object of seduction and
pleasure. The Paroxysmal Vector confronts the subject with the Law, the major
interdictions against incest and parricide, the primal scene representing the
impossible meeting place between two incompatible sexualities: infantile
sexuality and adult sexuality.
The Ego Vector, raising the question of the differentiating identification,

between to be and to have, returns to the decisive question of the difference of
the sexes through fantasy and the theory of castration.
As for the Contact Vector, it is put in connection with the primal fantasy of
regression into the womb of the mother, which Freud always hesitated to insert
into the series of the primal fantasies because he saw there a kind of idealized
mythical transposition of the fantasy of the primitive scene.
Methodology 13
With each Szondian vector corresponds a particular field of psychic

operation with its own problems, in particular with regard to the relation to the
body, the relation of subject and object, the grammatical position of the person, a
certain type of aggressive aim. The passage from one field to another is
carried out through a filter where each time must be elaborated a well defined
type of dialectical conflict.
1.1.3 The Ontogenetic Point of View and the Theory of the Drive
Circuits.
In 1975, Jacques Schotte (14, pp. 20-25) proposed to generalize on the four
vectors of the diagram with the concept of the drive circuit
(Triebesumlaufsbahn) that Szondi had introduced only for the Sch Vector (16,
pp. 389-391).
This concept of the circuit, to Szondi himself, refers to two ideas: on the
one hand that normality or mental health is related to a certain mobility of the
drive life in opposition to the petrification into certain cleavages or certain rigid
structures that characterize the pathological. In addition, the concept of the
circuit evokes the idea of an order of increasing complexity between the
various functions of the ego.
From a genetic point of view, if, at least concerning our culture, the
negative-rational tendency (k -) expresses itself the best throughout the latency
period (between 6 and 10 years), the awakening of the consciousness of desire (p
+: das Wunschesbewusstwerden) takes on a certain amplitude only in the late
phase of adolescence (Mlon, 9, pp. 140-159). There are good reasons to think
14 Methodology
that the ontogenesis of the ego is carried out according to the schema suggested
by Susan Deri (1, pp. 182-204).
Sch
1. O - indistinctness of ego and the other (before one year)
2. + - all powerful magic-autistic ego (pre-Oedipus)
3. - phase of turbulence (Oedipal age)
4. - - latency period
5. - O beginning of adolescence
6. - + adolescence
The subject discovers himself initially in his semblance or his image in a
mirror, which corresponds to the mechanism of projective identification (Sch
O -), then he introjects this image (k +) to make it the core of his ego ideal (Sch
+ -), authority of the body essence endowed with all powerful magic.
Thus the primary narcissism is constituted in a strict sense of the term by

the favored investment of the object-ego products left from the specular image,
which the myth of Narcissus illustrates so well.
This primary narcissistic imago that results in fact from a seduction creates
in the subject the illusion that it is the center of the world and the sole object of
the desire of the other or, which refers to the same, the object -- the phallus --
which is absent in the other.
This imago necessarily will undergo a deflation under the double impact of
the revelation of the difference of generations -- You have no part in this yet! -
- and of the sexes: You lack something or there is something that everyone does
have and of which you could be deprived.
The reaction k - that opposes negation and repression to affirmation and to

introjection (k+) ensures a function of transformation in a paradoxical sense of
Aufhebung, i.e. of a change where the suppression of the old state does not
imply its pure and simple destruction but ensures, on the contrary, its
conservation under a new species; Aufhebung fulfills the double function to
demote the primary narcissism by self-criticism -- birth of the superego -- while
saving this same narcissism by the negation of the insults made to the first ego
ideal (Sch + -, + O) and the transfer of the primary narcissistic libido onto the
secondary authority of the ego ideal (p +) that the subject projects in front of
him like the heir to the lost narcissism of his childhood; in that time it was for
him his own ideal. (Freud, 2, p. 98).
However, behind this authority of the ego ideal is hidden the most
important of all the identifications, that of the father of personal prehistory,
immediate identification, anterior to any object-choice. (Freud, 3, p. 200).
Methodology 15
The taking into account from this favorable point of view is to be

considered as the paramount identification with the father of the origins
(Urvater), prototype of the Superego and the Superman (Uberich, Ubermensch)
and is to be located as well at the origin ( and at the end ) where
one becomes oneself, as an archaic imago (Urmensch) and teleological model
(bermensch) of becoming a man.
This remark is very important because it underlines how much the genetic
point of view is subordinated to the structural point of view that includes it in
accordance with the principle of the ontic-ontological* reversibility, which
means that from the ontological point of view, in the order of being, the position
p+ is at the origin of the circuit, while from the ontic point of view, in the order
of being, p + is at the final stage of the development and the Ego Circuit, which
gives significance to Goethe's adage : Become what you are!. [*ontic:
pertaining to the biologic development of the individual (ontogenesis);
ontological: the treatment of the essence of things or being]
The final identification (secondary) with the father replaces the primary
originating identification.
One understands by the above that in the ontic (developmental) order --

because of prematurity and of the vestiges that specifically characterizes the
human being -- the identification process begins and is anchored in the primary
projection (p -) that consists in locating the ideal of absolute power of ego in an
external concrete object invested with an absolute power, of which the subject
takes part (p -) as Freud shows it in Collective Psychology and Ego
Analysis (Freud, 4), the other being able to be incarnated, in the examples given
by Freud, by the chief, the hypnotist, the love object but also the mother.
If introjection (k+) consists in incorporating all or partly the object of ideal

love with whom the subject takes part (Sch + -), negation and repression (k -)
are done in the name of a higher authority, that of the Superego-Ego ideal (Sch -
+) that calls forth the desexualization and the giving up for a loss the original
object, with, as corollary, orientation of the libido toward external objects and
the abandonment of the primary narcissism (corporeal) for the benefit of the
secondary narcissism (spiritual).
One thus obtains a circuit of ego in the form of eight reversed:

16 Methodology
Schotte proposes to generalize the concept of circuit to the four drive

vectors:
Inside each vector, an order of succession is introduced among the four

poles consisting of the positive and negative positions of each factor.
The circuits introduce an asymmetrical arrangement between the two

factors of each vector. From now on there exists in each vector a factor -- known
as director (m, h, e, p) -- whose internal dialectical is mediated by the Other.
The passage from the first to the last position of the circuit is done via the
second factor that is used as a mediator (d, s, hy, k).
Finally the circuits introduce a temporal dimension, progressive, in the

reading of the diagram and the positions, where Szondi had proposed an order
exclusively spatial. The genetic reading that we consider from now on is
obviously an exploitation of this last property.
If each circuit is the reflection of the whole of the diagram, reciprocally, the
periodic reading, that rests on the sequential order C-S-P-Sch, is supplemented
or enriched; the whole of the diagram that can from now on also be the object of
a reading in circuit.
That means that the relations that the vectors maintain between them in the
diagram are homologous with the relations that are maintained among them
with the positions inside a vector.
The introduction of the circuits makes the drive diagram a structure on
two levels, characteristic that appears fundamental for our actual developments,
as well from a theoretical point of view as in the applications that are made by it
in the interpretative step on the level of the results of the test. The double level
of the circuits makes it possible to introduce the 16 drive positions in a table
with two entrances, which presents them in series (C: m+ d - d+ m -) and in
levels (1: m+ h+ e - p -), evoking something analogous to the periodic table of
the elements conceived by Mendeleev:
Methodology 17
Position 1 Position 2 Position 3 Position 4
C m+ d- d+ m-
S h+ s- s+ h-
P e- hy+ hy- e+
Sch p- k+ k- p+
Now let us try very briefly to describe the characteristics of the various
levels represented by the columns of the table, for which we assume that they
are laid out in an order of increasing complexity.
Level 1 and Contact Vector.
Level 1 relates to a primarily dependent subject, from all points of view,

dependent on what occurs in its environment, consequently likely to be easily
frustrated if the entourage does not respond to his or her expectation.
Level 2 and Sexual Vector.
The second positions of the circuits correspond to a time of autoerotic

retrogression into fantasy (Mlon and Lekeuche, 12, p. 25); it is a specular,
imaginary time. In this sense it marks a first autonomy compared to the
preceding positions.
So on level 1 the idea of environment or milieu prevails, on level 2 appears

the concept of the object, in particular the body perceived as a totality
objectified, isolated from the background, in the field of vision, that underlines
the imaginary dimension of the category of the object because with the object, it
is a matter above all of the investment of an image, the image of the narcissistic
body.
Level 3 and P Vector.
On level 3, the subject detaches himself or herself from the self-satisfaction

of position 2, under the impact of the law: deprivation, exclusion and
prohibition. The passage from 2 to 3 brings into play an operation of negation
of the investments of objects conceived in the second position where prevails the
fantasy dimension. The process of anti-cathexis, counterpart obligated of
repression, gives access to external objects, this time real others. Position 3 is
defined as the legalist-realistic-rational position.
18 Methodology
Level 4 and Sch Vector.
Level 4 marks the appearance on stage of the subject in first person:

subject with plans or projects, a subject that desires, and a subject of his own
word. It is the time of the maximum autonomy of the subject, autonomy that
takes a pathological turn (psychotic) if it is correlative of a rupture with the
environment.
Level 4 is also potentially the level of sublimation and of creation where

the subject projects to be free and responsible for his or her destiny conceived as
a history to be made.
1.2 Indexes
1.2.1 Symptomatic Index (Sy%)
This index measures the relation expressed in percents of the sum of the
symptomatic reactions (ambivalent and zero, and O) to the total sum of the
factorial reactions. Normally, the index value ranges between 20 and 30. A low
index (< 15) is the sign of a great rigidity.
A high index has the meaning interpreted only according to the index of acting.
1.2.2 Index of Acting (S0/)

This is the index that Szondi calls quotient of the tension of the
tendencies (Tendenzspannungquotient) and that indicates the product of the
division of the total of the zero reactions by the total of the ambivalent reactions.
The ambivalent reactions refer to the subjective symptoms, the zero

reactions to the objective symptoms. In a more precise way, the ambivalent
reactions are indicative of a psychic work that favors the activity of thought at
the expense of immediate discharge. They thus belong rather to the secondary
process.
An ambivalent reaction can always be interpreted in the sense that the

subject has made a problem of the question raised by the concerned tendency.
For example, m means that the subject raises the question of remaining or
going away, maintaining the ties or cutting them, etc.
The zero reactions, on the other hand, mean that the drive tension is solved
by the discharge in the behavior, the passage to the act, hysterical conversion,
somatizationor via the repression or of another mechanism of defense that
makes it possible to evacuate the tension at the same time as the problem that
generates it.
Methodology 19
For example, the reactions S + O, P O -, Sch - O, C O +, that are very

frequently met, must be interpreted generally not in the sense of discharge but in
that of the evacuation of the problem ad hoc, for example the evacuation of the
questions of the lack of an object (s O), of the lack of investment (d O), of the
consciousness of culpability (e O) or of the consciousness of the desire (p O).
Usually, the index of acting ranges between 1 and 3. When it is lower than
1, the intra-psychic conflict tends to be solved in the realm of mental thought.
When the index is high, the resolution of the tensions is rather carried out on the
mode of action or of conversion symptomatology.
1.2.3 Tension Index (S!)

The tension index S! is equivalent to the sum of !s. It has meaning only
when combined with the other indexes, as we will explain it later.
1.2.4 Social Index

The social index is so to speak an index of neuroticism because its value
increases with the strength of the reactions that indicate that the subject
sublimates (h -) or harmoniously combines the two currents of sexuality (S ++),
submits itself to the ethical (e +) and moral (hy -) requirements, accepts the
reality within the meaning of reason (k -) and of the need to control (oneself)
(k), and is faithful or preserving (d -) in its relation to the objects of attachment
(m+) that constitute its environmental framework.
The accentuations (!) make the social index fall to the degree that one can
interpret them as the sign of an excess on the level of the drive demands (h+!,
s+!, s -!, d -!, d+!, m+!), generator of frustration, or as well the demonstration of
a radicalization of the mechanisms of defense (hy -!, k -!, p+!, etc.) that tips the
scales on the side of an autarky [self-sustaining] narcissism, at the expense of
object libido.
One establishes the social index in assigning of a + or - sign for each

vectorial reaction according to whether the sign goes in the direction of a
socially positive or negative attitude. Accentuations (!) are always rated
negatively.
The social index is obtained by putting as the denominator the sum

reactions (+) and (-) plus that of the accentuations, and placing as the numerator
the sum of the positive reactions. The whole is multiplied by 100 to give the
social percentage (soc%).
The normal value ranges between 40 and 50. Beyond 50%, the subject can
be regarded as neurotic within the meaning of an excessive submission to the
20 Methodology
requirements of adaptation, to respect for authority, of responsibility and

culpability, etc. An index lower than 30 indicates anti or asocial tendencies.
We give the following table that makes it possible to calculate the social
index, + meaning socially positive. The other reactions are inevitably - .
Table for the Calculation of the Social Index and the Hard (Dur) / Soft (Moll)
Index:
Reactions S P Sch C
0 0 + +
0 +
0 + D D D
0 - D
0 D + D + D + +
D + D +
+ D + D + D + +
- + + D + D +
+ 0 D D D
+ +
+ + D + +
+ - + D D
- 0 D + D D + D +
- D + D + D +
- + D D + +
- - + D D + D
1.2.5 Index of Variability

This index measures the degree of total malleability of a drive structure.
One obtains it by crediting with a point each change of factorial sign and by
making the sum of the changes that have occurred for the eight factors in the
series of ten profiles.
Normally, the index of variability (Var) ranges between 10 and 25. Lower
than 10 means an excessive control amid an abnormal rigidity. Above 30 means
either inconstancy, or lack of control, or disorganization or destructiveness.
1.2.6 Index of Disorganization

This index gives an idea of the intensity of the processes of cleavage.
For each factor, one makes note of the reactions + and -. One draws up a
fractional relation with the denominator of which the total of these reactions is
carried. For the numerator, one indicates the figure of the minority reaction (+ or
-) by adding the sum of the accentuations (!) if necessary to it except for those
that affect the ambivalent reactions (!). One makes the sum of the eight
numerators and denominators. The quotient obtained is the index of
Methodology 21
disorganization whose value is normally lower than 10. Above, it increases

proportionally with the degree of destructiveness.
1.2.7 The Drive Formula and the Root Factors

There are distinguished three types of factors: symptomatic
factors, the submanifest factors and the root factors.
According to Mr. Stassart, a factor is regarded as symptomatic when, in a

series of 10 profiles, the sum of the zero and ambivalent reactions is higher or
equal to 5. The root factors are those for which this sum is lower than 3.
For our part, we preferred to follow the criteria of Mr. Legrand (7, p. 94).
For him, a factor is symptomatic whose sum of O and is equal or higher than
6. A factor is determined as submanifest or sublatent when the sum of O and
lies between 2 and 5. Lastly, a factor is identified as a root factor when this sum
is equal to 1 or O.
The root factors, owing to the fact that they correspond to a drive tension
held relatively constant, play a dynamic part in the psychic economy.
For example, a subject who gives the reaction k - constantly is someone in

whom repression constantly exerts its action, a subject who gives d+ all the time
is someone who is perpetually in search of new attachments, etc.
1.2.8 Drive Positions

The theory of the circuits invites one to think that there exists an affinity
between the drive positions the reactions -- that occupy an identical row in
each vector.
The question arises of knowing what the positions have in common:

1 C : m+ h+ e - p-
2 S : d - s - hy+ k+
3 P : d+ s+ hy - k -
4 Sch : m - h - e+ p+
One can say, for example, that e - is the contact-thymic [thymic =

emotional lability] position of the vector P, that k - is the neurotic-adaptive-
realistic-legalist position of the Sch vector, but it is necessary to be able to
grab hold again as well as possible that which specifies these quartets.
1 C and reversal into the opposite (Die Verkehrung ins Gegenteil)
2 S and turning towards one's own person (Die Wendung gegen die
eigene Person)
22 Methodology
3 P and repression (Die Verdrngung)
4 Sch and sublimation (Die Sublimierung).
First Positions
They are those where the subject is the most dependent on the
environment, where the need for a container, an envelope, a shoring up, a
support, for a protector from excitationis the major need. What here in
question is: the need for attachment (m+), exclusive love (h+), the rage (e -)
tied to frustration, and projection (p -) as the most economic defense put
into motion in the situations of extreme distress (Hilflsigkeit).
The distress is indeed what threatens if the object of support, which
Szondi so precisely named Haltobjekt [holding object], suddenly is missed.
In German, Halt means stop as well as prop, support, succour, sustain,
keep, cohesion, solidity the Haltobjekt is this object that one needs to
be stopped or be held upright and not to let one drift or to collapse.
The reversal into the opposite concerns above all the thymic reversals of
mood (euphoria versus depression, m versus d) but more basically the reversal
of love into hate, defense by hatred, being what dominates the psychic
operation most rudimentarily characterized by a weak autonomy and a weak
differentiation of the ego.
Second Positions
The French translation of Wendung gegen by Reversal against,
which received the blessing of Jean Laplanche and J. B. Pontalis, is not
really correct in the degree where Gegen, in the German language, has
two meanings: against and with respect to. As to Wendung, one
cannot reasonably translate this word by reversal, which evokes a little too
much the reversal of sadism into masochism. Wendung evokes above all
the concept of turn" within the meaning of turn, turning and turning around
much more than of reversal. Therefore, Wendung gegen has basically
with Freud the meaning returning towards oneself, where there is
originally no idea of self-aggression but much more the concept to turn
the libido towards oneself that constitutes the essence of narcissism. What
Freud presents as the second possible drive destiny is, without doubt, that of
narcissism, more especially as Drives and Destinies of the Drives (1915)
is written in the course of For the Introduction of Narcissism (1914).
The second positions correspond, in accordance with our translation of
Wendung gegen, with the turn of the libido to the place of one's own
person, i.e. with the narcissistic "turning toward" such as Freud described it in
Methodology 23
For the Introduction of Narcissism (1914), turn that Lacan magnified in his
mirror stage (1937).
The subject adopts an autoerotic conserving position (d -) that is strongly

marked by anal retention, at the same time as it falls in love with its double --
its specular image -- produced in the primal scene of seduction (s -); he remains
fixed at this scene, tends to reproduce it in spite of the interdictions that are
opposed to it, puts himself forward towards and against all (Geltungsdrang), is
compulsively pushed to put himself in a spectacle (hy +: Sich-zur-Schau-
Stellen) while portraying himself as a character (k +) within the sense of the
Latin Persona that means mask, the mask in question being intended to
perpetuate the image of a glorious body, object sufficient for himself and at the
same time as the missing object -- phallus -- for the other.
The hieratic poses of the catatonic, even if they have became rare today
(whereas they were very frequent formerly), illustrate perfectly this compulsion
of the subject to be portrayed as statues of himself or herself (k +).
The accent put on body narcissism, still safe from castration, is what one
finds in the core of melancholy, of perversions, especially the masochist and the
fetishister, of the most specific character traits since they have a traumatic-scar
basis but also, in part, in sublimation, in so far as this aims at creating objects
whose perfection is supposed to join the unaltered perfection of the specular
imago.
Third Positions
These positions proceed in the direction of repression on the condition of
understanding this as the operation that consists with negating the narcissistic
specular imago -- imaginary by definition -- and with turning away as a whole
from all that is imaginary by investing preferentially in material reality (d +),
by orienting the libido in the direction of the domination of the objects outside
of the ego (s+), by controlling the erotic affects by rejection of any kinds of
sentimentality considered to be ridiculous (hy -) and by massively favoring the
perception of exterior reality that becomes the standards for all reality (k -: A
fact is better than a Lord Mayor). This position can be considered impartially
as realistic, legalistic, rational or fatalistic.
It is the position that we call neurotic-normal, that which prevails

absolutely during the latency period and that, later on, with the help of a certain
regression (passage from m - to m+), characterizes most of the general
population. As it is the majority pattern that pays court to the media, it is enough
to turn on the TV to have an idea about it.
24 Methodology
Fourth Positions
These positions are in connection with sublimation in the sense where
sublimation implies a certain detachment in relation to the environment (m -), a
desexualization with a transfer of passion (h -), a certain need for
reparation as Mlanie Klein described it so well (e +) and the transposition of
primary narcissism onto the court -- secondary narcissism -- of the ego ideal
(p+).
Sublimation -- as the clinical facts so often show is close to psychosis, in

so far as the desexualization and the withdrawal of object libido that it implies --
always risks opening up the vacuum of a psychosis.
Jean Mlon proposed to calculate the proportions of the four types of drive
positions, which makes it possible to have an idea of their quantitative
distribution, to measure their respective weight and starting from there to work
out an original typology that takes into account the idea of drive destiny.
According to whether one or the other of the first, second, third, or fourth
drive positions is relatively higher compared to the others, one can describe
some cases of simple figures that correspond to easily identifiable and
structurally organized clinical pictures in a well differentiated manner:
1. The ideally balanced table where all the positions are found in equal
proportions:
1234
2. Seriously unbalanced tables in the sense:
a) 1 2 3 4
where the extreme dependence with respect to the objects of the
environment easily involves disorders of mood and behavior (thymo-
psychopathics),
b) 1 2 3 4
where the narcissistic demand is exacerbated, determining perverse
behaviors or freed from any respect for limits, particularly sexual ones, intrusion
being the rule; this is the case in hysterical extravagance;
c) 1 2 3 4
where legalism, realism and rationality are constantly called upon,
producing the traditional conditions of the obsessional character neurosis;
Methodology 25
d) 1 2 3 4
where positioning is typically schizoid, as one can see it, especially in
adolescence, in the disease of idealism, and in many of anorexics mentalities.
3. The most frequent neurotic-normal tables, associated with these
positions:
a) 1 2 3 4
characteristics of the adapted subjects within the meaning of common
socialization, combining the submission to the moral interdictions (hy -), the
respect for reality (k -), the active investment in the objects of the outside world
in their material concreteness (d+ s+), the emotional dependence with respect to
the objects of support (m+), a strong need to be loved (h+), an intolerance for
frustration with a propensity toward rage (e -) and the prevalence of the
collective concrete ideals (p -) over the ideals of personal development in the
spiritual or ethical meaning of the term;
b) 1 2 3 4
characteristics of the sublimating subjects with whom the desexualization
(h - s -) and the withdrawal to being outside of the world (d - m -) are
compensated by the narcissistic need to create (k+ p+) and the impassioned
exaltation of affects (e+ hy+);
c) 1 2 3 4
rarer situation of the obsessional subjects in whom the isolation between
the thought and the affects has the effect of making mental all the problems,
particularly those of the control of reality (k), of the possession of the object
(s), of the attachment to the things in general (d) and the expression of the
affects (hy ).
1.2.9 Forms of Existence

From 1960, in collaboration with Armin Beeli, Szondi developed the
method of diagnosis known as the forms of existence. There are 17 of them that
corresponds each to a particular constellation of the eight factors of the test.
With each form of existence corresponds a relatively specific diagnosis that
returns to the great traditional syndromes of psychopathology but also in tables
considered as normative (forms 16 and 17).
For more ease of use, we used the shortened form of the Computerized
Diagnosis of the Modes of Existence worked out by Felix Studer and Jean
Mlon, which we reproduce further on.
26 Methodology
1.3 Periodic Interpretation of the Drive Circuits
We will still largely call upon the thesis of Martine Stassart (15) to clarify
this interpretation.
This interpretation takes account here of the sense of the meaning,

progressive or regressive, that occurs in each vector, work on the drive, in
agreement with the theory of the drive circuits, which it exploits according to its
own logic.
Each vector thus produces four periods indicated by Roman numerals,

according to whether the factor more charged in + or in -, called dominant,
belongs to one or another level -- or period -- of the circuit.
Methodology 27
The Periodic Reading of the Circuits

C S P Sch
d m h s e hy k p
I 1 0 + + 0 - 0 0 -
2 - + + - - + + -
3 + + + + - - - -
4 + + - -
0 0 0 0
II 1 - 0 0 - 0 + + 0
2 - + + - - + + -
3 - - - - + + + +
4 - - + +
0 0 0 0
III 1 + 0 0 + 0 - - 0
2 + + + + - - - -
3 + - - + + - - +
4 + + - -
0 0 0 0
IV 1 0 - - 0 + 0 0 +
2 - - - - + + + +
3 + - - + + - - +
4 - - + +
0 0 0 0
For example, in the vector of the Contact (C), if m+ is an occupied

position in a stable manner and quantitatively higher than d+ or d-, one poses in
theory that one is found in the first period of the circuit of the Contact; if d-
dominates, one is in the second period and so on, the fourth period implying that
the dominant position is m-.
The factor dominating can be qualified for modulating in the sense that it
controls, determines, and modulates the meaning that the complementary
reaction takes, the reaction d in the example given here.
28 Methodology
According to whether the reaction in d is zero (O), negative (-), positive

(+) or ambivalent (), the dominant-modulating reaction m+ remains, one
considers that one is in the first times -- or moments or stages -- (C O+),
second (C - +), third (C ++) or fourth (C +) of the first period of the circuit of
the Contact drive.
When the infant is at the breast or when the breast is close, immediately
available, the need for clinging to the mother can vary in intensity -- from m+ to
m+!!! -- but the question of the lack of an object does not arise because the
events occur as if the infant absolutely did not doubt that the object, real in fact,
is at any moment available. If the object comes to be missing, the infant will
express his or her need for the breast by agitation, cries. And, as Freud very
rightly noted, that will change, since this is above all his or her mood [humor].
Although the term used by Freud is here, not Stimmung [mood; in tune] but
Gemt [disposition], it is good for the basic way of finding oneself to be --
well or poorly -- of Befindlichkeit [feelings], and that it an issue in the Contact
vector.
It is only in second time of the first period of the circuit of the contact (C-
+) that in retaining (d-) the real breast engramme, its memory trace, the child
will be able to hallucinate the breast and to obtain an autoerotic satisfaction. In
other words the passage into d- implies the entry concerned the work of the
representation and retrogression into the fantasy that underlies autoerotic
satisfaction.
The second time of the first period of contact (C-+, I 2) can be considered
hallucinatory, autoerotic, narcissistic or imaginary cases. It is a time controlled
by the pleasure principle.
In the third time, the failure of hallucinatory satisfaction on the one hand,
the necessity imposed by reality -- the Not des Lebens -- or authority on the
other hand, will push the child to seek in reality (d+) an object of replacement --
an Ersatz -- likely to enable him to find a satisfaction similar to the first
satisfaction. As long as the wish to find again this satisfaction dominates the
drive life, one does not leave the first period, dominated by the tendency m+.
Thus, the reaction C ++, I 3, is that of a subject who is perpetually in

search of an object from external reality that could return lost happiness" to
him.
This third time of the first period of the circuit of Contact can be
sometimes considered realistic, objective, necessary or illusory, but always
driven by the principle of reality in the sense as understood by Freud.
Methodology 29
It is because the first object, the real breast, is lost forever and can be
found again neither in hallucination nor through its innumerable Erstze
[substitutes], that a fourth time has come to succeed the first three.
In this fourth time (C+, I 4), doubt is set up as for the possibility of never
finding an object that would make it possible to find the first and complete
satisfaction. The object is lost for good. The ambivalence that has occurred in
the search of the object (d) causes eventually the crisis (C > C O) that
leads to call into question the principle even of the ideal of the first satisfaction
and the object of which it was the bearer, i.e., finally, the primal mother,
Urmutter.
If the subject continues its evolution in the cycle of the Contact drive, one
enters into the second period, whose first time is characterized by the narcissistic
return to one's own body.
If, as we did for the first period by calling upon the mythical relation to the
breast and we hold here for a paradigm the installation in the anal phase of libido
development, we represent the first time of the second period (C - O, II 1) as the
moment when the child in imagination forms a union with his faeces
experienced as a narcissistic prolongation of his own body, invaluable product
among all products, as the miser forms a union with his purse and its contents,
the mother with her child, the father with his family, the workman with his
work, the artist with his work, the man with his fatherland, his or her religion,
his or her ideas, etc.
The second time (C - +, II 2) where d- controls or modulates m+,

corresponds to the need to join again the contact with the surrounding world,
narcissistic sufficiency that characterizes the position C - O having become as
intolerable to it as was C - + of the first period. One sees well here that,
according to whether one is in the second or the first time of the circuit of
contact, the same reaction C - + receives different, even radically opposite,
meanings. This is one of the major difficulties of the interpretation of the Szondi
Test; one easily sees this from this example,
Because the demand to the other or the desire for the desire of the
other fails in a manner similar to what occurred in search for an object of
replacement (C++) and because the subject eventually comes from that to think
that it would do better without the others and thus would withdraw from the
world (C - -, II 3), doubt emerges on the question of the relation to the desire for
the other (m), confounded here with ones relation to the world -- the world of
worthlessness for him or her whether I would be there or whether that I would
not be there! -- this doubt about the question of the relation to the world, of its
importance, of its value or its necessity, introduces the subject into the fourth
time of the second period (C - , II 4).
30 Methodology
We could prolong these considerations until the end and provide the most
illustrative possible examples for the fourteen following periods.
We hope to have been sufficiently clear so that our procedure will be

understood when we will utilize this method. Still, let us say that in accordance
with this theory, the most specific positions are, according to the periods, for
each of the vectors:
CI1 that is to say C o+
S II 2 that is to say S + -
P III 3 that is to say P + -
Sch IV 4 that is to say Sch +
The above could be translated in the following way: a subject is never as

much in the contact position that in C o+, sexual position than in S + -,
ethical-morale than in P + - and subject than in Sch +.
The fourth time of each period is always, as we hope to have made clear,
the moment when the subject returns to himself, puts questions about what has
suddenly made a problem in a particular area and thinks about it, in short comes
from there to place himself as subject of the drive as much as subject to the
drive, even subject against (gegen) the drive, which induces us to retain and to
characterize this moment with the qualifier of subject, the third time that can
be retrospectively described as object, the second of narcissistic, and the
first of pre-object. Other qualifications remain possible with the condition of
sticking to groups of homogeneous or homologous concepts, such as, for
example, the series posed by Freud in his study on Schreber:
autoeroticism > narcissism > homosexuality > heterosexuality;
or elsewhere:
constancy principle > pleasure principle > reality principle > beyond
the pleasure principle;
ego-reality of the beginning > ego pleasure (Lust-Ich) > ego reality
(Real-Ich) > final ego-reality (Endgultiges Real-Ich).
1.4 Average Profiles
The average profiles, such as we consider them, is an innovation based on

our knowledge. They are not explained in the thesis of Mr. Stassart.
We make the sum of the rough choices in each polarity of each factor with
both the foreground and the background [The background is the Experimental
Complementary Plan (E.K.P.) not the Theoretical Plan (Th.K.P.) that is the
Methodology 31
opposite of the foreground]. Then, we make the sum of + for the foreground and
the background and we obtain a sub-total for +. We do the same way for -.
We make the sum of these two sub-totals to obtain the number of total
choices for the factor with the foreground and the background. This total is done
the same for all the factors. Then we convert into a percentage for the total and
the sub-total.
fo bk T fo bk T fo bk T fo bk T
h+ 12 9 21 s+ 29 4 33 e+ 15 17 32 hy+ 7 21 28
h- 21 18 39 s- 18 9 27 e- 10 18 28 hy- 14 18 32
fo bk T fo bk T fo bk T fo bk T
k+ 12 17 29 p+ 15 18 33 d+ 16 17 33 m+ 14 17 31
k- 10 21 31 p- 12 15 27 d- 18 9 27 m- 17 12 29
[fo = foreground bk = background (E.K.P.)]
Thus, the total for h = 60. Therefore, (39/60) x 100 gives us 65% for h-. In
the same way, the sub-total for the foreground gives us 12 + 21 = 33. And
(21/33) x 100 gives us approximately 64% h- with the foreground.
Finally if we do this procedure for all of the factors, we obtain: 1 - a total

percentage for the most important polarity of the factor, 2 - a percentage that
gives the most important polarity of the factor for the foreground and 3 - a
percentage that gives the most important polarity for the background.
For example, by considering only the highest percentages, the total for h is
65% in favor for h- ; it is 64% for h - for the foreground and of 67% for h- for
the background.
Once all these percentages are calculated, it is invaluable for knowing to

situate them compared to the accentuations. It is in this sense that we had the
rather simple idea to take again the basic proportions. What is especially
interesting is to know the higher limits of each stage (, !, + or -, !, !!, !!!).
is obtained by a ratio whose higher limit is 3/2 (or 2/3). Therefore, with
5 choices, 3 are placed as the highest level: if we divide 3 by the total of the
choices (5), we obtain 60%.
! is obtained by a ratio of 4/2 (or 2/4), therefore 6 choices to the total: 4/6
= 66%.
Reactions + and - within their higher limit are obtained by a ratio of 3/1 or
1/3, therefore 4 choices to the total: by dividing 3 by 4, we obtain as higher limit
75%.
32 Methodology
An accentuation is obtained by the ratio 4/1 or 1 /4: thus 4 /5 give us 80%.

Two accentuations: 5/1 or 1 /5: thus 5/6, i.e. 83%.
Let us summarize:
: up to 60%
! : from 61% up to 66%
+ or - : from 67% up to 75%
! : from 76% up to 80%
!! : from 81% up to 83%
!!! : from 84%
The average profile in this case will be:
Total: h! s e hy k p d m
Foreground: h! s+ e hy! k p d m
Background: h- s- e hy k p d! m
We are sorry to have taken as an example a monotonous profile with a

majority of but this is not the case for all profiles and for the outstanding
differences that are made clear quickly.
The analysis of the average profiles should be done as usual since the basic
proportions are respected.
In the same sense of simplicity, we chose an interpretation in the term of

position in the drive circuits for each factor with the foreground and with the
background on the basis of figures obtained by the sum of the rough choices.
That gives us figure 1 (first position) for h+, m+, e- and p-.
figure 2 for s-, d-, hy+ and k+.
figure 3 for s+, d+, hy- and k-.
and figure 4 for h-, m-, e+ and p+.
The translation of the preceding table gives us this:
Fo Bk Fo Bk
h 4 4 65% 4 s 3 2 55% 3
e 4 1-4 53% 4 hy 3 2 53% 3
p 4 4 55% 4 k 2 3 52% 3
m 4 1 52% 1 d 2 3 55% 3
[Fo = foreground Bk = background (E.K.P.]
We see from the start where are located the more fusional positions (1),
those where the realization of oneself is most advanced (4), those where the
pleasure principle is dominating (2) and in those where the reality principle
prevails (3).
Methodology 33
We grouped them in such manner to see the factors' conditioners or

directors (h, e, p, m) and the factor mediators (s, hy, k, d) vis--vis each other.
The factor mediators are those by which, in the circuit, one passes between the
two extremes (positions 1 and 4). A factor mediator in 2 is closer to a starting
state (1) while a factor in 3 is closer to a final state (4).
We can finally supplement this small table by the total percentages that give
the most important polarity of the factor and that is retranslated in terms of
position in the circuit by a figure ranging between 1 and 4 that accompanies the
percentage.
2. Three Levels of Analysis

The first level consists of general data that locate the creator in his
development: they are some reference marks. Following come the indices of the
test. This is the macroscopic point of view.
The second level is characterized by the average profiles and the

interpretation according to the positions in the circuits. This is an intermediate
level.
The third level is the move into the microscopic point of view. We will
endeavor through the comments to capture the possible significances of the
various profiles. We will see in what ways theory can clarify the interpretation
of the beacons of the creative process. We will stick to a selection of profiles
judged to be the most enlightening. Thus we would not be tied down with an
analysis profile by profile with commentaries because that would be tiresome
and more cumbersome than useful since the mass of information would be
enormous.
The Accompanying Framework

1. Final Purpose
This framework was used in order to be able to determine various likely
aspects in the process of creation. The idea is to stuff the profiles with
information likely to clarify them. We did not know how to establish criteria of
evaluation parallel to the testing. We trusted our personal experience that is the
fruit of a great concentration for several years at the side of people prone to be
creative. A heading Commentaries finishes the framework. It is used as blank
space for non-formulated features in quantitative terms.
This background though incomplete and subjective has the merit to launch
some landmarks with which the creator will position himself.
34 Methodology
2. Description
This framework consists of seven continuums and we look at each one from
a bipolar aspect of what we suspect to be important in creation.
Each continuum includes two paradoxical [antinomic] poles of which a

maximum is fixed arbitrarily at 100% on each side. In the middle of this
continuum resides the point zero where the two poles meet without either one
or the other prevailing. The subject is invited to mark on the continuum where
he is positioned. He or she can do it as he or she wishes (one or two crosses for
example). The subject can also make comments on his or her choices.
The instruction stipulates to the subject to mark the continuums depending

on his or her frame of mind at the time of the testing. However, especially at the
beginning, we noticed that the subjects marked according to a kind of
assessment of the last days that preceded the testing. We are unaware to what
degree this bias of evaluation of our subjects has affected the precision of the
data.
Continuums
Continuum Number 1
Two poles: the world of the others and one's world with oneself.
The world of the others includes the collection of the rules and social
conventions in force: the desire for sharing with others, for being available, for
not having too many personal requirements. The world turns and one with it in a
communion. It is also the strength of the view [regard] of the Other on oneself.
The reality of the others and the probability of social reality are things in which
one participates.
One's world with oneself includes all that is made specifically part of
one's world. This is the interest for one's personal concerns. Ones personal view
is stronger than that of others. What relates to the Other is eliminated; what only
remains is what concerns oneself. The verisimilitude of social reality is refuted.
There is no more participation.
Continuum Number 2
Two poles: attachment and detachment.
It is the point of view of the Other that is used here: attachment to the Other
and detachment in relation to the Other.
Methodology 35
The attachment concerns what connects us, with the result that one tends
towards something and that one approaches someone or some thing. It is the
establishment of a process that binds us to this someone or thing. The
detachment disconnects us from this thing or person; one moves away from
there; that releases us from our relation with this thing that becomes less
important, almost invisible.
For example, in the relation with the Other, the attachment is expressed by
the fact of thinking about the Other, of wanting to be with the Other, and of
having difficulty being separate from him or her; something is missing when the
Other is not there, and internally, a force drives him or her to find the Other
again.
The detachment will be expressed by the reverse of the attachment. In

particular, by an intense flow of questions that puts in suspense the participation
with the thing thought about. A question opens a conceptual breach in the
participative bond with a thing. The area of the questions is all the more original
as the detachment operates. There is a kind of "magic in the air; one does not
"stick to reality. This is the strength of one's own view of oneself and of things.
The verisimilitude of the world is eliminated in the area where the detachment
acts.
Continuum Number 3
Two poles: the desire for conforming and the desire to create.
This is the tendency to return to one's allotted place or to leave it. This is
the difference between convergent thought towards the standards and a thought
diverging from the standards.
Continuum Number 4
Two poles: the feeling of dispersion of oneself and that of unity in oneself.
The feeling of dispersion would consist in feeling vague, confused,

incoherent, as if one were parceled out bit by bit. There is a lack of internal
unity. The things do not go from oneself; one badly has to gather one's
nougats. The feeling of unity is opposite to that of dispersion. We will be able
consequently to have an idea of the subjective schisms.
Continuum Number 5
Two poles: anxiety and interior peace.
Anxiety or the absence of anxiety prevails. By anxiety, we understand what

the majority of people understand. We do not seek to be precise as to the
36 Methodology
definition of an anguish; we simply want that the creator marks near the pole
anxious when he or she feels anxious. That signals to us his or her difficulties.
Continuum Number 6
Two poles: to exist everyday spontaneously or exist everyday with effort.
To exist with effort daily is to make an effort to maintain the different

things that make the daily routine as one goes about, washing up, getting up,
preparing a meal and eating it, returning a visit, going to work,. All these
things require an effort when one moves towards the pole to exist with effort,
an effort greater than usual.
To exist spontaneously is to live everyday in a spontaneous way, without

there being a question of making an effort; that rolls along, it is automatic, life
runs on and one with it.
Continuum Number 7
Two poles: the absence of a creative flow in oneself or a creative flow that
is intense.
Creative flow consists in this flow of ideas, thoughts, images, soundsthat

would resemble a river that one feels to flow in one's being. All these things
would have as a characteristic to be in phase with the creative research of the
person. The flow of this river is variable.
For example, an intense flow for a composer would be an overflowing

imagination in order to put in song an idea, a feeling. The words would flow
abundantly, rich in powerful associations, percussion.
We indicate in the comments that creative production is different from

creative flow in oneself in the sense where the production is the concrete
realization of a finished work.
Methodological Approach
1. General Information
A methodological approach is a question of finding recurring information
and a guiding thread through the various parameters put in place. Or what is
constant, and what is a variation. For example, for Jeanne, this inconstancy
follows very closely the various stages that she considers necessary to create or
to renew contact with the Other.
Methodology 37
The stable and redundant reference marks are often absent: that moves a lot,
that is variable, and that evolves and adapts to the new data of their experience.
The emergence of a favorable idea with the creative process can occur at
any time; the capture of this idea, on the other hand, can occur later. Patrick
captures the whirling movement of his spoon in his coffee and modifies the
movement of his brush when he paints. Jeanne is taken by an interesting form
by looking at peelings.
Very often, the tiredness of the body comes to stop the process. The rhythm
is variable because each day brings its harvest of modifications for which it is
necessary to adapt, and the creative process does also. Therefore, it is not a
necessarily continuous-homogeneous process, and the profiles, even with fixed
intervals, will not capture successive stages that are followed in Indian file.
Sometimes, nothing will be done during a week; another day, two hours of the
day will be devoted to creation and the remainder of the day will pass and finish
with one in front of the TV in the evening. Other times, a creative thrust will
require more time for oneself, and the person will be unavailable for three days.
Therefore, we observe specific, impulsive creative times and what we will call
the most continuous creative periods.
To determine a very variable process in time is difficult. Rhythmic

creation differs from one person to another and within a person. That can
make the research of the guiding thread very complex. The question
becomes: how to encompass something that does not have a straight course?
By continual travelling back and forth among the theoretical elements,
the clinical perspectives, and the reflections of the creator and ours and
thanks also to the richness of a long time experience as well as an always
attentive listening -- all that is incorporated in a meaningful constellation
around which revolves what will be registered later on when the
configuration of the core allows it.
All that raises the question of the framework of interpretation from the time
of the testing. One starts with a theory that makes it possible to understand more
or less what happens. Then, the interchange between the theoretical and the
empirical ends in a refining of the framework that becomes more and more
precise. That is facilitated when the creator has a view and an experience of his
creative life. It is a matter to some extent of a perception of oneself consolidated
by a capacity to verbalize this experience. That requires a suitable vocabulary.
Sometimes, our subjects will be precise, sometimes they will be very vague.
We hope to find these precisions from the seasoned veterans of creation.

They traversed the roads of creation and its pitfalls to arrive at a better
management of their process, i.e. a greater control, from where comes the term
of sculptured creation. On our side, our experience of life in a creative
38 Methodology
environment is a major asset to accompany these people at the time of the

testing. Only so that the creator may speak to us about his experience, he must
have a certain confidence in our procedure.
The psychologist is not always welcome among creators, and this attitude
seems, sometimes, justified by unhappy experiences. It is not rare that a
creator finds himself in the remote regions of society especially in his youth
and finds that he must encounter psychologists for unfortunate events without
being able to communicate his manner of being for innumerable reasons, but
first of which is the absence of a real meeting between the psychologist and the
creator. This dissertation is an attempt to surmount this wall.
2. Interviews and Testing

The laying out of the test in the meeting went through a demystification of
the psychiatric approach in order to lead to a more philosophical approach. The
reason for this is simple: generally, the word psychiatry is associated with
control and repression in the mind of the majority of the people whom we
met.
The testing was placed within a framework where the interview and the
meeting came first. These talks, generally, had a function of reinsurance as well
for them as for us: this space for talking opened up a common space. We insist
on the fact that it was our curiosity and our thirst for more that led us to speak at
length with them. We tried to be the least academic as possible.
We little standardized the meetings in order to have a greater flexibility with

what occurred (the amount of time depended on their availability, the course of
the interview took the color of what was happening that day, the questions
emerged as the exchange of ideas took form) apart from the fact that, for the
majority, the testing took place at the end of the interview in order to give first
place to the aspect encountered than to the study of the viewpoint on creators.
Therefore, roughly speaking, the interview was followed by the testing

itself, sometimes still followed by a discussion. We went along with their
subjects generally. We were not always able to shift the topic from the test.
These cases illustrate the fact that it is not desirable to force a frame of mind not
very compatible with the test for the simple reason that that indicated to the
creator our respect for his or her sensitivity. Generally, these people spoke about
their creation and explained to us their experiences.
It is interesting to note that, from the point of view of the creator, the fact of
meeting a student who is making his dissertation introduced the dimension of a
person with their similar age, their own manner of speaking, and their own
inquiry into the sphere of the creator. This is not negligible for creators who
Methodology 39
often try to escape the influence from reality and the Other: our body is a space
and time impossible to circumvent from their perception; the presence of the
vibrations of our voice and our gestures will direct his or her sensibility towards
a seizure of which rightly he or she tries to go beyond.
That means that when the creator met us, he or she prepared his or her
mentality to receive us and sometimes his or her creative push can be so strong
that, sometimes, we could simply disturb it by our presence.
Thus, to move towards a creator is also to introduce the dimension of the

Other into his creative universe; it is sometimes difficult to anchor him or her in
reality because of his galloping sensitivity.
A last point relates to the use of the Szondi test to determine a process.
Jeanne formulated the fact that it is embarrassing of suspecting among these
people (photographs of the test) the problems, that is to say, to see themselves in
the abnormals. To approach creation with the faces of abnormality was for
Jeanne misleading in the sense where she can deduce that abnormality is
appropriate to determine the creative process; this is what she rebels against.
That required personal work by her to get beyond this barrier. She concluded by
saying that it is necessary to forget their abnormality although that leaps to one's
attention. Finally, for her, all rests on the confidence that she puts in our
procedure.
This matter shows that the use of a test, the procedure of the dissertation in
itself, can cause an unconscious selection of the information received in the
sense of a screening of the essence of the creative phenomenon. The
establishment of the confidence of our subjects on the basis of personal
integrity is for us a methodological point of first importance.
40 Methodology
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dans Jacques Schotte. Szondi avec Freud. Sur la voie d'une psychiatrie
pulsionnelle. Bruxelles, De Boeck-Universit, 1990.
14- SCHOTTE J. Recherches nouvelles sur les fondements de l'Analyse du
Destin [New Researches on the Foundations of the Analysis of
Methodology 41
Destiny]. Notes de cours 1975-76. Archives Szondi, Louvain-la-

Neuve.
15- STASSART M. Adolescence, post-adolescence et processus dcisionnel -
une tude szondienne [Adolescence, Post-Adolescence and Decision
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Hans Huber, 1963.
42 Theoretical Approach
Theoretical
Approach
Theoretical Approach 43
TABLE OF CONTENTS
THEORETICAL OUTLINES ................................................................................... 46
1. Definition.............................................................................................................. 46
Difference Between Creativity and Creation ........................................... 47
2. Personality of the Creator..................................................................................... 47
3. Theoretical Panorama of the Outlines...................................................................48
4. Heroic Identification of the Creator ...................................................................... 51
5. Workings of the Unconscious and the Conscious in Creation ................................ 52
6. Phases of the Work of Creation According to Anzieu ............................................ 53
7. Szondi Theoretical Approach - Empirical ............................................................. 55
FOCUSING ON THE C AND SCH VECTORS....................................................... 59
THE EGO VECTOR ................................................................................................ 59
p -............................................................................................................................. 60
k +............................................................................................................................ 61
Illustration Through the Adolescent...................................................................64
p +............................................................................................................................ 65
k - ............................................................................................................................. 66
The k -Position and Society ............................................................................... 66
THE C VECTOR...................................................................................................... 67
m - ............................................................................................................................ 67
m +........................................................................................................................... 68
d+ ............................................................................................................................ 68
d -............................................................................................................................. 69
THE DIAGRAM OF THE CYCLE .......................................................................... 70
1, AXES ................................................................................................................... 70
2. QUARTERS......................................................................................................... 71
1. Quarter k + p - ..................................................................................................... 71
1. Passage from k- to k+........................................................................................ 72
2. The Break [La faille]...................................................................................... 74
2.1 The wound with the other ......................................................................... 74
2.2 Hate............................................................................................................. 76
2.3 Possible Psychoanalytical Meanings of the Break [La Faille] ...................... 78
Symbolic Murder of the Father.................................................................... 79
2.4 Philosophical Interpretation of the Break [La Faille] ...................................80
2.4.1 Que philosopher est apprendre natre ............................................ 80
2.4.2 Comments .......................................................................................... 83
2.5 Illustration of the Break [la Faille] by a Profile............................................ 87
3. To Perceive Is to See the Difference..................................................................89
4. The Sensibility and the Perception..................................................................... 90
5. To Startle [Sideration]....................................................................................... 93
6. Detachment or Disengaging ........................................................................... 93
7. The Capture ...................................................................................................... 95
8. Sensibility and the Work of the Senses .............................................................. 99
Meanings of the Specularity ............................................................................ 100
9. Sedimentation ................................................................................................. 101
2. Quarter k + p + .................................................................................................. 102

1. Relation with Oneself...................................................................................... 102
The Absolute Aspect of the Narcissistic Relation...................................... 102
The Relative Aspect of the Narcissistic Relation....................................... 103
2. The Creative Fiction Is a Differentiating Fiction.............................................. 103
3. The Search for a Lack of Differentiation ......................................................... 105
4. Essence: the Total Choice................................................................................ 106
5. In What Way Is an Other a Creation? ............................................................. 110
6. Autopoise ...................................................................................................... 110
3. Quarter k - p + ................................................................................................... 111
1. How to Go Beyond the Desire for Omnipotence? ........................................... 113
Analysis of G. Bonnet on Narcissism............................................................... 114
A. The Disappearance and the Cult of the Phallus..................................... 115
B. Nemesis and the Punishment of Narcissus............................................ 116
C. The Evil Eye or Shock in the Recoil..................................................... 117
D. Realism of the Unconscious and the Disappearance ............................. 118
E. History of Leonardo de Vinci ............................................................... 119
F. The Recoil and the Narcissistic Apparatus ............................................ 120
G. The Shield of Perseus........................................................................... 121
H. The Other, Love and Nothingness: a Waltz in Three Time ................... 121
2. Effects on the Creative Process........................................................................ 122
2.1 The Disappearance of Oneself ................................................................... 122
2.2 The Limit to the Creative Process .............................................................. 122
2.3 Attachment ................................................................................................ 125
2.3.1 Hypnosis - Love - Point of View of Freud........................................ 125
2.3.2 Theoretical Base .............................................................................. 126
2.4 Dialectical of the Attachment and Detachment........................................... 129
2.4.1 Philosophical Interpretation ............................................................. 129
2.4.2 The Thought Must Be Braked .......................................................... 129
2.5 Love of the Other....................................................................................... 133
4. Quarter k - p -..................................................................................................... 135
ARTICULATION OF INTERPRETATION ACCORDING TO MALDINEY -
MLON ............................................................................................................................ 137
1. Fusco and Catatonia.............................................................................. 138
2. Work-Made [Faire-oeuvre] .................................................................. 139
3. Ego Systole and Ego Diastole ............................................................... 140
4. Ontogenesis and p - .............................................................................. 141
5. To Create and Tension in p ................................................................... 142
6. The Fault [Faille*] and Psychosis ......................................................... 142
7. Abstraction and Einfhlung [Empathy*] ............................................... 142
8. Crossing of the Fault [la faille] ............................................................. 144
9. The k Function...................................................................................... 144
10. The k - Position .................................................................................. 145
11. The k+ Position .................................................................................. 145
12. Identification with the Primitive Father............................................... 147
13. Limit to Creation ................................................................................ 149
DISCUSSION ........................................................................................................... 150
PASSAGE FROM THE LACK OF DIFFERENTIATION TO DIFFERENTIATION

IN CREATION................................................................................................................. 168
1. Facts ............................................................................................................... 168
2. Principle.......................................................................................................... 169
3. The Degree of the Creative Process ................................................................. 170
4. The Threat of Jocasta ................................................................................... 170
Myth of Oedipus and Jocasta .................................................................... 171
5. The Course of Individuation = The Creative Course ........................................ 175
6. Creation as Psychic Work Producing the Difference........................................ 176
7. Symbolic Castration ........................................................................................ 177
8. Sculptured Creation......................................................................................... 179
ILLUSTRATIONS................................................................................................... 181
BIBLIOGRAPHY .................................................................................................... 186
Theoretical Approach
Theoretical Outlines
1. Definition
There exists many approaches of creation and we think that each approach has
its type of definition.
During his seminars, Jean Mlon (18) proposed this:

Whoever says creation means a break with something repetitive. The
creator is alone since he belongs apart from the repetition.
With this point of view, we are from the start projected into the assumption of
our report. Indeed, the break with the repetition supposes a logic of distance. A
distancing is placed with respect to what is repeated. We can also encircle the
known, the social-like repetition of conventions and rules whose representational
inertia is one of the principal factors.
Once apart from the repetition, the creator only finds himself alone not to
repeat. An individual says no and rejects the scenarios that make the majority of
people to function; he must find for each day that passes his ration of meanings to
continue. He knows the stakes involved in such a break. Not only that he generally
will take his distances in relation to others, but that he goes to distance himself also
from his personal representations that slow him down in his progress. This is a
double schism with the root, i.e. faith in the other (con - fiance [confidence]: with
la foi [faith]).
Often in the nudity of his being, the creator passes by the small door of
destiny, alone among the others and alone in himself.
If we are to exist and to be human, creation is not human and it does not form
part of the human species that obeys the repetition of the human program; on the
other hand, a being can take on this opening to the tangent of the spirit.
To create is a drama because it carries its flaw [faille]. The human being
functions with a weakness [dans une faille], and the creator does not forget this.
Somebody often tells us that the human species is a species that does not have a
chance. And if this misfortune were a chance? That must resemble in that the
point of view of a creator.
Difference Between Creativity and Creation

According to an extract of Proust, Didier Anzieu (3, p. 4) says that:
Creativity is defined as a collection of predispositions of the character
and the spirit that can be cultivated and that one finds if not in
everyone, as ideologies tend to mislead with the latest fads, at least
with most people. Creation, on the other hand, is the invention and
the composition of a work of art or of science, answering two criteria:
to produce something new (to do something that has not been done
before) and to see its value recognized sooner or later by a public.
Thus defined, creation is rare. The majority of creative individuals are
never creators: what makes the difference, as what Proust says of
Bergotte, is the disengagement [le dcollage].
We will reconsider this disengagement [dcollage] fully because as the

extract states it is what makes the essence of creation and, for this reason, we will
concentrate our report around this disengagement [dcollage]. For more clarity, we
will designate it by the term detachment.
2. Personality of the Creator

We take again the description that Godefroid (14) gives of the personality of
creators:
The creative individual is, indeed, primarily a nonconformist. It is
his independence of judgment that ensures the possibility to him of
exploring ways in which the others do not dare to risk for fear of
ridicule.
All the system of education set up by society is centered on
conformism. It is the surest means to ensure cohesion among the
members of the group, but it is also the most radical way to prevent
any blossoming of a creative thought.
In the social area, he is not integrated easily into the life of a group
although he is open to others and relatively popular. In the same
way, he agrees to share the values of the others only if they
correspond to those that he supports. He is however not very
dogmatic and has a quite relative view of life and the world as
well as meanings given to his actions. he is an eclectic person,
always curious and anxious to integrate data gleaned from
different areas. The creator loves to have fun, having always his
head filled with fanciful ideas. He prefers what is complex and new
with what is simple and usual. His perceptions of the things are
unceasingly renewed.
He has preserved generally the gift of wonder proper to childhood
and is able to be moved before a flower as before a revolutionary
discovery. He is, generally, a dreamer who can pass for a fool by
the fact that he will express his emotional life while accepting it
and while integrating the irrational facets of its behavior.
We have highlight in bold characters some words in order to draw attention to

them. We could summarize them as the capacity sufficiently to maintain a personal
relationship with its meanings, the capacity of integration, the going beyond
rational thought as an interpretation among others and the relative facet of its
conceptions in relation to those of the others.
The description stipulates that the creators have perceptions unceasingly

renewed on things. We see the influence of the creator on his meanings in his own
usage as his continual work on his perceptions.
3. Theoretical Panorama of the Outlines

Michel Mathieu (3) made a fast panorama of the authors of traditional
psychoanalysis on the creative process. He quotes Rosolato G., according to his
book, Essais sur le symbolisme [Essay on Symbolism], Gallimard, Paris, 1969,
p. 121:
Thus Freud has staked on the neurosis, and one can, indeed, ask
himself while wondering as Rosolato did about the divergences
that exist between Totem and Tabou and Un souvenir denfance
de Leonardo de Vinci, which is exactly the type of mental
operation favorable to creation: Would hysteria and
obsessional neurosis have thus their role jointly to play in the
artist? Would there be some contradiction there?
Michel Mathieu begins again in his turn (3, p. 85):
One can also follow Chasseguet-Smirgel in her lucid but
dangerous arabesques on the anal introjection of the penis of
the father. Returning to the frozen ground of perversion, we
find ourselves in company of Rosolato who supports, of
course, his own theory: it is perversion (...) And there is
Mlanie Klein (...) Beyond neurosis and perversion, in the
abyssal universe of hate and love, the parceling out and the
reparation.
But Chasseguet-Smirgel directs her search for a psychoanalysis of art towards

other directions than that of the anal problems towards the Kleinien position of the
artistic creation articulated around the concept of reparation that she borrows from
Mlanie Klein. She is often quoted and we will speak about it with Michel Mathieu
who synthesizes her thought (3, pp. 85-86):
the psychic development is established in the very first
times of life by a position known as paranoid, where the being
archaically is delivered to a Manichaeism of the object: the

good is opposed to the bad. Gradually, in a position known as
depressive, the overall character of the object is grasped, the
subject thus discovers in itself this permanent totality. From
acceptance of such an ambivalence, even chosen, will be born
the culpability where will be taken the sources of the fantasies
of reparation, fantasies aiming at always restoring the good
totality in imaginary prey to the sadistic attacks.
Chasseguet-Smirgel as follows describes her position in connection with Klein

(9, p. 90):
The creative act will constitute one of the favored methods of
achieving reparation. The concept of reparation of the object
constitutes thus the foundation of the Kleinian conception of
the creative function.
But Chasseguet-Smirgel orients the creative act more towards a reaction

formation than a true sublimation according to Michel Mathieu (3, p. 86):
Classically, the sublimated drive loses its repressions and
counter invests, in that it is connected with a mechanism of
defense.
Mathieu continues by underlining in the thesis of Chasseguet-Smirgel the fact

that she postulates two categories of distinct creative acts; one pursues the object,
others the subject, and it is this last category that reaches sublimation. Finally
Chasseguet-Smirgel poses the hypothesis of the passage from a form of a repairing
creation of the object to the reparation of oneself.
Let us return to the conception of M. Klein, who stated that that the creation is
structured starting from the fantasies of reparation. The subject seeks to repair the
effects of its destructive fantasies on itself or its objects of love (3, p. 91):
This mechanism aims at saving from the disaster created by
the imaginary sadism of the child on the mode of the spitting
out, the devouring, etc. the body of the mother or, still more,
the combined parents (...) It is with this archaic fantasy of
destruction of the combined parents, image of the primal
scene, that the child must be opposed, giving up again,
gathering the scattered objects of its violence. The position
known as depressive is resolved in the degree even of the
reparation, a stable identification of the ego with the object
become beneficial being established of the same body. And its
success, Mlanie Klein will state, supposes the victory of the
forces of life over the death instincts.
Thus, during the ontogenetic development, sadism is vanquished, the child

comes to the genital stage by the reparation.
Then, we observe the role of the anal eroticism in creation. Indeed, the
experience of the passage of faeces from the interior to the exterior is structuring
(Anzieu, 3, p. 28):
in so much that the succession of the suffering and satisfaction
and in so much that a produced object (the faeces and, on their
model, the work) can be invested with love (a gift) or
aggressiveness (a weapon).
Anzieu thinks that the Id of the creators is characterized by his great drive
force. As for the ego, he thinks that it is the essential and quasi-constant agent of
the work of creation, in so far as he is endowed with the following characteristics
(Anzieu, 3, p. 29):
capacity to start the regression and to control the results of it,
capacity to idealize his own omnipotence identified with that
of the mother, capacity of fantasizing starting from the
defensive conflicts, capacity, finally, to symbolize
symbolization (in other words, of passing directly from a view
to a transcription).
The topic point of view according to Anzieu shows a conflict between the ego
ideal and the superego (Anzieu, 3, p. 29):
The conflict between the ego ideal and the superego is intense,
with nevertheless frequent predominance of the first over the
second. The ego ideal of the creative genius makes possible
the mental transgression of the prejudices, the taboos, the
heritages; he exonerates himself of the transgressions; he
preaches on revenges to be taken: the work for its creator is a
revenge over childhood, over the family, over society, even
over the human condition. But the superego does not fail to
continue through shame, inhibitions, the feeling of impotence
to create, and the devaluation of the products of creation. The
self-punishment, so acute in the creators, is the revenge of the
superego for having yielded to the temptations of heroic
identifications proposed by the ego ideal. The glorification of
oneself as a producer of a work -- of a work produced starting
from the psychic wounds and bearing their marks -- gives the
example of the way in which the ego ideal regains again the
upper hand.
The transgression of the paternal interdiction, illustrated by the myth of Icarus,

is very precisely the marked seal of the dead and hovers over the shadow of the
creator.
4. Heroic Identification of the Creator

Heroic identification is a term created by Daniel Lagache (Anzieu, 3, p. 3):
To create, as a first condition, requires a symbolic connection with
a recognized creator. Without this connection, and without its later
disavowal, paternity of a work is not possible. Icarus must always
owe his wings to some Daedalus.
But this heroic identification is also masochistic (Anzieu, 3, p. 24):

Besdine at length studied the identification heroic-masochistic
in the creative genius. The need to be made to suffer while
being worked to death is at the same time a way of expiating
oneself by the excess of work for the excess of an old and
major fault: Greco-Latin mythology described this dialectical
with the work of Hercules. The purpose of the pursuit of the
exploit is to transform the culpable into a hero. But the need
for punishment returns sooner or later, and the failure comes to
prohibit or counterbalance the exploit.
The springs of this heroic identification are centered on death and the figure of
the father. Thus this identification shows its defensive color. Gelly R., 1969 in La
personnalit professionnelle de laviateur, Revue des Corps de sant des Armes,
May 10th, p. 587 states:
Desires to outdistance the father and distresses over death,
such are the two principal psychological elements in the
foreground in the post-Oedipal phase. At this point in time will
enter into play new mechanisms of defense that end in what
one can call the heroic identification.
This identification consists in taking for a model a real or imaginary character

who has the characteristics to achieve exploits that the majority of the human
beings would be unable to do.
Mr. Mathieu thinks that (3, p. 107):

The creator oscillates between two levels of identifications: an
imaginary level, to which his ideal ego seeks to carry out
fusion with the all-powerful and omnipresent mother, and a
symbolic level, where the father is introjected and interiorized
in the form of the couple superego and ideal of the ego.
5. Workings of the Unconscious and the Conscious in Creation

We will leave the final words to Jean Guillaumin (3, pp. 212-213), who
considers that the creative work itself is centered on an organization established in
the economy of the ego:
one gives oneself to the task of the study of the processes of
intrapsychic [intra = inner] mediation, and that of the place or
of the system of operation in which is worked out the process
of the contributions of the unconscious and of the Id to the
profit of the ego (...) Because the essence of the operations
founder of the art is situated, whatever the psychic material
that he uses, on the level of the intervention of the psychic
instruments of an ego, that order its unfolding.
Speaking about the conscious-preconscious unit, Jean Guillaumin thinks (3,

pp. 212-213) that:
Acting, as one knows, in the manner of a filter, which makes it
possible to soften -- all in their preserving a representation
proportional to the unconscious demands -- the drive demands
admitted into consciousness, the unit authorizes, by releasing a
great quantity of reinvested energy, an important activity of
exploration and mental experimentation on the
representations. This one leads then to the development of
satisfactory relations, because economically of better
regulation between the various elements and levels of psychic
life. It is not to be doubted that the ultimate development --
and even all its realization of the work of art depends on the
handling of this apparatus by the ego of the artist. (...) Art
obviously results from a certain type of utilization of the
psychic filter, that it is necessary to specify, and who presents
among different characters that of leading to particularly
important effects on the narcissistic level. But to place under
this angle the psychoanalytical study of the creativity does
this have anything distressing or degrading for the artist? That
leads, on the contrary, to having a high regard for the skilful
mental design and the marvelous functional availability to
which corresponds its capacity to create beauty.
Then, J. Guillaumin making the unconscious second by subordinating it to a

conscious-preconscious system can only explain why such an unconscious will be
employed for purposes of creation. For him, it is the quality of the psychic
apparatus of selection and appropriate transformation that transfigures the
unconscious in the creative act or not (3, p. 213):
The approach by the Unconscious is not made obsolete for

all that. But it subordinates itself henceforth, as less central,
less relevant, with a course that can only explain why such
an unconscious will be employed for purposes of creation,
which, fallen into other hands if one can say that, dealing with
a psychic apparatus of selection and of transformation less
suitable, and for example less fine and less stable, had never
generated art, but only, perhaps, failure and neurosis.
We find again this concept of intense management of the internal

representations by exploration and experimentation. In the same way, the
underlined fact of a selection and a self-managed transformation strengthens us in
the hypothesis of capture and putting into form with a private usage of its
sensibility and its representations respectively (located in k + and p +).
Finally, J. Guillaumin returns to the unconscious its original place in the

creative process (3, p. 237):
If the ego organizes and alone controls creation, it is from an
elsewhere; it is from the Id that the ego draws substance and
desire in order to create. The desire remains the last word for
the psychoanalyst as undoubtedly for the creative artist.
To conclude this matter, we will leave with the words of Anzieu:

If it is true that the regressive moment in the work of creation
mobilizes a narcissistic identification with the maternal
omnipotence, this same work in its later phases, requires an
eminently active interior attitude, without which the work
remains in a larval state and the discovery does not pass
beyond the stage of obscure intuition. (...) There, according to
the conscious ego, the will, and the secondary psychic
processes would be and are only decisive. (Anzieu, 3, p. 26)
6. Phases of the Work of Creation According to Anzieu

To be a creator is to be capable of a fast and deep regression from where
unexpected correspondences are returned, archaic representations -- in the form of
images, of affects, rhythms -- of the primary psychic processes, correspondences,
representations that will be used as an organizing core for an artistic work or a
possible scientific discovery.
This process breaks up according to five stages that Anzieu (3, pp. 14-16)
described:
1 - Regression: achieving of a regressive movement, related to an internal

crisis and mobilization of archaic representations.
According to Anzieu, this regression can cause the fear of the unknown, of a
disturbing strangeness, of a metamorphosis. The regression also should be
supported, i.e. the fantastic productions and feelings released by the regression. To
support them is not to feel invaded by them in a catastrophic overflow and
decompensation [lack of functioning of a diseased organ]. It is about a regression
controlled by the ego where there is the double capacity to regress and to fantasize.
In this stage, solitude is the setting. In the regression, each one is alone with
himself or herself: from whence the necessity of a strong narcissistic over-
investment in order to be able to support it.
2 - To perceive while deciphering: clear perceptive capture of some of these

representations, allowing to fix them in the preconscious as an acting organizing
core.
According to Anzieu, this phase is inhibited by the feelings of shame and

culpability and the weight of the knowledge acquired bundle of perceptions of the
new things. The creator is assailed by doubts because what he is seizing can be of
no value and pure personal delirium without any interest. It is often here that
intervenes a close person who is a witness and gives the confidence necessary to
the creator towards his or her own inner psychical reality to counterbalance his or
her deviance. This privileged interlocutor allows the recognition and the sharing of
that seized by the creator. Consequently, the material takes in the eyes of the
creator a more objective reality. It is a great importance to be able to share his or
her secret. This friend procures the essential positive illusion that reality rejoins the
desires of the creator. We speak in connection of this illusion about a maternal
relational space or container.
Anzieu has recourse to the concept Winnicottian of illusion. The mother,

while taking care herself of external reality for the child, brings to this last the
illusion that this external reality agrees to his desires; a positive illusion because
she brings the child to a progressive taking into account of this reality, of which, on
the contrary, he would be diverted so that upon the departure of this external reality
did nothing to inflict a permanent denial of his internal reality.
This illusion according to Winnicott is a space where there is a continuity

between the pleasure principle and the principle of reality (Anzieu, 3, p. 16):
the work, by its reality and by its effects, proves its
persistence in us, since early childhood, of the universe of the
illusion and satisfaction in the necessity where we all find
ourselves, in order to support the difficulty in living and of
reconciling thus one time or the other of the pleasure principle

and the principle of reality.
3 - To record: detailed adaptation of the image, the affect, the rhythm thus
captured in a material (writing, painting, music, etc.) that one acquires or has the
mastery and/or according to a familiar knowledge (mathematical, chemical,
botanical, linguistic, socio-cultural, etc.), the greatest creations consisting in
innovating as for the material or the familiar knowledge.
4 - Work of composition: the choice -- or the innovation -- of a genre, the

work of a style, an internal design of parts into an overall organization entering in a
symbolic resonance with the archaic representative nucleus.
5 - To produce to the outside: the completed work, becoming an object

external to the creator, is subjected to a reality-testing of a particular type that is the
judgment of the readers.
Always according to Anzieu, it is here that the creator definitively detaches

oneself from the work; he faces the reactions, the judgments, and the criticisms
with indifference.
We will finish this quick panorama of the basic elements that help us with
better determining a type of psychoanalytical approach to creation. We could
observe that the ego plays a role even if the material is of an unconscious origin.
This psychic activity in creation can be approximated by theoretical elements that
will be more or less arranged in such a manner to better understand the articulation
between the empirical such as we have lived and observed and the theoretical
elements of the Szondi Test.
7. Szondi Theoretical Approach - Empirical

Someone who creates will bring something new, i.e. something of
unknown and of the inconceivable starting from something known and
conceivable. If p- is the knowledge common to everyone, the first movement
consists in starting out of p- and then to move away from it.
As he carries with him all alone this movement as denier [ngateur ] of the
known, he tends towards a position where he installs himself as the carrier of this
knowledge. As Nietzsche said in Zarathoustra: He is always a denier, the one who
must be a creator. (7, p. 216)
This one source in an ideal that he has made his own. It is thus constituted
gradually little by little into an alternative to the known. The place of this
elaboration is his imaginary space and his tools those of his psyche. More
precisely, we will see that it is about his own translation/formatted of sensory
feelings that is internal and/or external.
The framework for such a self-managed edifice is instituted in a relation with

oneself as it draws the elements through him to nourish and shape his ideal
represented in p+ towards which the creative movement tends.
Thus, the trajectory of the creative movement would start from p to

make ones way forward to p +.
In an autocentric movement, the creator organizes a representation that will

allow the installation of other things that are not yet conceivable.
p is the theoretical knowledge common to all. It is the base common to all the
motorists that allows them to use the car. Thus, the use of a car requires an
ensemble of representations common in usage in a society and at an epoch. There is
an openly collective dimension in p. In the Rorschach, the k p persons give the
most banal answers. We will speak about this again through the thesis of Jean
Mlon in connection with the quarter k+ p+ and of the relation to oneself.
For passing from p to p+, there exists a mediator: the factor k. That supposes
that p and p+ function like two separate entities and that the passage of the one to
the other supposes a mediator. According to the theory of the circuits, k+ is the
mediator that makes the individual leave factor p. Thus, p would be a factor
condition: p = collective condition (primacy of the Other) and p+ = condition
suitable for oneself (primacy of oneself).
k+ mediates the movement that moves away from the common

representations situated in p.
We will see that it is about a reappropriation of the persons imaginary space.

This movement towards the imaginary is built on the base of an oppositional
no [to say no to something or someone] registered in k+. To move away from
these common representations, it is necessary to fix them in a kind of star-distance
[sideration] that makes it possible for the creator to work from above.
Without distance, there is no looking upon.
This is the function of an oppositional no: to fix something, to be detached

from it, and to make it perceptible to the senses. It is a little as if one took a
photograph of something mental, and by doing this, to observe what one has
photographed allows one to disengage oneself from the perception hitting one by
the act of the photograph. Without reference mark fixes, no distance because this is
an approximation based on the distances between. To fix allows one to perceive
the distance when one moves away.
The movement of the thought can move away from its object of
perception only in so far as it is an object of perception and in so far as the ego
does not participate with this object (thus, no p). That supposes that the
subject of perception differs from this object. This differentiation rests on a
detachment of the subject in relation to the object of perception.
This operation is registered in the oppositional no: I say no to something.

And the more I say no, the more we know that we are detached from what is the
object of this refusal. The reappropriation of his imaginary moving off is by a
refusal that institutes the I in the operation of oppositional no. The role of the hate
is paramount, and we will see that with Jean Baudrillard (6).
Thus, it is a fixed reference mark that enables us to estimate the distance

between this reference point mark and the ego. In order to fix something mentally
and even in the act to perceive, the I says no and strikes this something by its
negation. The oppositional no becomes necessary when the distancing operates on
things strongly anchored in us, i.e. strongly registered in our act even of perceiving
and of thinking: in other words, these are the things in which we strongly
participate.
The essential idea is that the creative process implies a permanent revolution.
To make the space to be able to create; therefore, it is necessary all the time to
engage in a process of destruction from where a new construction emerges.
We postulate a fault [la faille: a break in a structure, a flaw] whose role from
a macroscopic point of view is to aid perception to free itself from itself.
It is through the fault. rupture in the participation with the other, that this
fissure develops allowing the visibility of the obvious. A fault, which perhaps
happened to a child abandoned by his parents as Georges experienced it at 4 years
of age who was adopted. That can be such a strong depersonalization that it is vital
to cut the bond to the other in order not to disappear in the other. There is also and
especially the wounds of love, the dramas like divorces, mournings,.
We undergo a break. That falls on us from out of the blue. Moreover what
gives it power is that we are not prepared to assume a similar rupture. We all
without exception undergo ruptures in our life. How is it that certain persons start a
creative procedure to surmount the rupture and that other persons choose another
way? It is a question that we will leave open.
This distancing of the mental in relation to the known must in some part
operate on a mental fixation. A view of the view is set up: visions that make
visible the visible (there were the years that I lived with him and I was never able
to understand it; it is when he stepped over the limits that I really saw things and
then I said no).
The expression to take something into account [se rendre compte de quelque
chose] means comprehension of this thing. The full interpretation of the expression
says in fact to give account to oneself (rendre in the meanings to give without
restitution). If we tighten the analysis on the word compte, that becomes in the
sense of closing the accounts [comptes] in order to end with a total (at the end of
the count [compte ]). This concept to arrive at the final account [compte] (to do
his accounts [comptes]) requires a final limit that makes it possible to determine a
time frame, for example, one year. It implies that something ends. It is precisely
this limit that, we think, is intrinsic with the expression to take something into
account [se rendre compte].
A limit is placed on the perceptive act and the one that is returned (the look of
the look) on that which has been perceived and experienced. This look of the look
can emerge only in the condition of being detached from the basic look taken
inside the movement of looking. In order to make visible the visible, the laid-down
limit intervenes in order to divide the look of the look in a perceptive unfolding (to
look at oneself looking at something) and with this intention, it is necessary to take
account of it, i.e. to be hit with a mental photograph (limit placed on the
perceptive act) of something and to demand accounts of it.
Thus the creative process and the process of limitation are basically anchored
in a common root: without the act of limitation to the attachment, no detachment.
In the same way, without the act of limitation to the detachment, no concretization,
i.e. the completed work.
The unlimited consists in putting a limit on the limitation. If unlimited is

the source and is expressed in the imaginary, it could be deduced starting from the
mental act that consists in placing a limit to the strength of reality and the look of
the others on oneself in the premises of ones thought. By reality, we understand
the limits of spacial and temporal reality included or not in the Other, the non-ego
that we interiorize. And the look of the Other would be limiting to oneself in the
sense where the Other is that which is not oneself; therefore, that which can deny
the share of its altrit [otherness] is the inflational movement of ones own
thought.
FOCUSING ON
THE C AND SCH VECTORS

We are more specifically interested in two vectors -- C and Sch -- for our
dissertation. We do not forget the two other vectors in our interpretation. This
focusing on the ego and contact results from a choice carried out in the spirit of a
tight analysis, and we think that these two vectors are more favorable to detect the
creative reference marks in someone. We will give only some information to
introduce this interpretation of the factors for two reasons: 1 the methodological
part is rich and already gives many theoretical elements, 2 spread throughout this
dissertation are clarifications on the factors according to our interpretation.
The Ego Vector

The Sch vector relates to all that has to be seen with respect to the relation of
oneself with oneself. The ego is above all a relation. At the beginning of his Trait
du dsespoir, Sren Kierkegaard writes that the ego is the relation of a relation,
which indicates the direction of this relation: relation of oneself with oneself. The
ego is something that is distinguished from another thing. And that raises the
question of the Other and the self.
The Szondian factor of p+ to be all is exactly on the level of the individual
while p (i.e. to belong to the whole but the whole that is not oneself and the whole
that is outside of oneself) is to think that one only feels well if we participate with
the whole (the religious position).
On the Sch level, the problem is that of to be or not to be. To be, it is necessary
to exist. p is the factor to be and Szondi says that k is the factor to have. But we
can retranslate the factor k as the factor of existence in the sense where if one does
not even exist, the question of to be does not even arise.
It is the one who exists that raises the question to be: Why do I exist?. One
can raise the question for oneself at any time: Why are we here?. Here, we are in an
activity that concerns above all the ego. Thus k is the mediator to be, to have is the
mediator of to be; one cannot be without to have. It is necessary to pass in to have
to be able to be.
Schizophrenia is the properly human illness, which one meets only in

humans. If there exists a catatonic behavior in the animal, it is not devised by a
relation to itself. To function, one must cut oneself into two in order to speak and to
think at the same time.
The schizophrenic is somebody who lost the relation with itself (Compare: The
specular [mirror] relation). The schizophrenic has lost contact, he is no more in the
world and does not know anymore what is the world. We are in the world, and it is
for that we are alive. The world is different from an object. The world is
indefinable: the world is in oneself, one is the world and one forms part of the
world.
p
Szondi speaks about participative projection or projective participation. Eros is
the reunion of what has been separated. Consequently, the tendency p is to be
interpreted with these meanings, i.e. in the meanings of an attempt of the ego to
find something from which it had been separated at the beginning.
It is a matter of a desire of the ego for not being separate from the world but of
being in participation with the heart [lme: also the soul] of the world. Primitive
mentality is characterized by the no-distinction between what is me and what is
not me.
The meanings of projection is that there is a projection of this need finally for
omnipotence. What dominates the desire of the ego basically is this desire of
omnipotence. One never wishes but for only what one has lost.
The most primal position of the ego, that which animates it basically, is that to
recover the omnipotence, and one is never as eager to recover omnipotence than
when one is impotent and when one feels lost in existence. Then, the need emerges
to participate in something that justly makes it so that one feels not separated from
the rest of the world.
p is the most profound tendency of the ego. When one speaks about the
infantile omnipotence, that is what one indicates: the narcissistic ego infantile
omnipotence. In fact, this ego-there does not exist as such. The child at this stage is
the center of the world; it does not feel separate from the rest of the world; it forms
a unit with the rest of the world. We all have lost this cosmic feeling of belonging
in the world.
p is given by approximately 50% of the population. The subject who gives p

has a need to participate in all that is beyond one. That means that his ego is not
sufficient for him or her. He or she is not self-sufficient. Obviously, this is
unconscious.
One could also say that it is the micro-manic [micro = small] position in
opposition to megalomanic [megas = great] (the inflative position). p will be
found in a crowd of things and, in the normal population, that means nothing other
than this need to take part of something and this need to be attached to something
that represents the omnipotence and that is not oneself and to make oneself a part
of it. It is that which is most important: to belong to.
Therefore, one could say that p is the first psychic operation, that which will
consist in creating representations that make it possible to work out intolerable
feelings.
The baby being abandoned in his cradle is one of these situations. What
happens in these moments? We are persecuted. Therefore, to fabricate bad objects
or terrifying representations and to hallucinate in a negative manner (bad,
malicious,) this is a psychic work that contains something.
This fabrication of bad representations makes it possible to support the

situation best because the anxiety can then be attached to a representation. The
worst being to experience an anxiety, a kind of primordial anxiety, a distress. One
needs in these moments to believe or to imagine that one has a persecutor for
example. We do not need to be primitive for that. As soon as that does not continue
and that functions all alone, the process gets started. It is banal that one does not
stop doing similar things.
Projection is neither good nor bad. It would not have to be understood only in
the meanings of persecution: nothing happens, I invent a representation where I
find the cause and where I put the cause of my discomfort, and, presto, that is
better.
k+
k+ is the second stage in the genetic circuit of the ego after the ego has been
part of the first, primal position. In p, one deals with mental operations of level 1,
i.e. the operation of the most elementary psychic apparatus. The 2nd stage occurs
in k+ and thus relates to more elaborate psychic operations.
The term introjection indicates to us that it is an operation which consists in

making to pass to the interior and projection is making to pass to the exterior.
Therefore, introjection presumes that one interiorizes something. What will
constitute ego is a new mental operation that will produce the ego as a
representation of itself. According to Lacan: it is the fascination of oneself by
oneself from where comes the mirror stage.
Let us define autoeroticism as a self-sufficing [autosuffisante] satisfaction

thanks to a representation that brings pleasure. There is no autoeroticism without a
world of fantasies; autoeroticism nourishes fantasy. The Freudian conception of
narcissism rests on the idea of the circulation of libido, the energy that, at the
beginning, goes towards the object (for the child, it is the mother but here, the
concept of a not-separated object is not evident); then, the libido returns towards
oneself and this constitutes narcissism.
For Freud, it is thus above all a matter of the circulation of energy, of libido.
The ego must become autonomous and that is only possible if it is sufficiently fed
with narcissistic libido. At a given time, the child taking itself as an object of self-
love can separate itself for the first time.
The libido starts with autoeroticism and then one passes to the narcissism that
is a capitalistic operation (it takes everything for itself). Only it is necessary to love
if one does not want to become ill. That explains why one goes from narcissism
despite everything; one ends up bursting like the frog that wanted to be like an ox.
At a given moment, boom!, it bursts and one finds nothing any more. Then, comes
the choice of an object.
To get to the root of k+, it is necessary to see it as a capitalistic operation of

recovery of narcissistic libido.
From the time when there is ego and when the ego attracts towards itself all
the libido that before was directed towards an object that was not really an object,
one can say that ego is the first object (Lacan: the ego is above all imaginary).
What is introjected? Introjection is the operation that allows what Freud

evoked in narcissism, i.e. the concentration of libido in the ego. Libido can
concentrate in the ego only because there are introjections. Finally, the ego makes
itself with the image of the Other.
Primary narcissism is built on nucleuses so that this narcissistic libido can be

fixed. For Lacan, the nucleus is the image of the ego and it is the mirror stage. The
individual is condensed in his image.
What feeds k+ is also the desire to be loved or to love oneself. What is this
object that is lost in k and that one tries to find again? It is the image of oneself
such as he or she was loved and idolized by the parents. The subject k+, basically,
is the one that would like to capture again this image and truly to possess it. That is
impossible obviously. There is no possibility of going to seek ones image behind
the mirror.
If we concentrate on the concept of image, the question of seeing becomes

fundamental and the question of the object is also a matter of seeing and of having.
The history of Narcissus is very telling. He did not know how to be detached from
his image; he wished to see it and to have it and he dies because of it.
Narcissus is also the patron of poets. In the myth when he dies, there is a
flower that pushes forth at the place where he disappears; he is also a figure of
creation in a certain manner.
What is a catatonic? He is a spectacular subject that remains hours holding the

same pose physically trying after a few minutes. He has an extraordinary force to
hold the posture without moving three days straight. The catatonic phenomenon is
truly the mad attempt to find again an image of oneself and to incarnate it in a
definitive way. The catatonic tries to find himself again through his posture.
k+, through this image of a catatonic, is to copy an attitude. Szondi evokes the
concept of the persona. This term means initially in Latin a mask. The subject in
losing his ego is no longer a person.
In k+, there is thus this concept of a nucleus that makes it possible to

crystallize the narcissistic libido that finally will feed the ego. The catatonic, for
example, through the catatonic pose poses himself, it is necessary to be posed. In
the very symptom of the catatonic, one can capture again the meanings of that
which he wants to say: I pose. That implies the idea also to impose a character
and that returns us to this concept of the persona, i.e. the mask that is more real to
some extent than the person.
We understand better what function incarnates the catatonic: a function

of fixing.
Szondi offers all kinds of illustrations of this position k+. He says initially that
it is the ego that opposes and that says shit!. It is the stage of no in the child. That
supposes that he or she has introjected something that enables him or her to say no;
otherwise, one would say that this is the stage of negation. To be able to say no, it
is necessary to have introjected otherwise one cannot. The no that we find here is
obviously not k-; that is another no than this one. In fact, no is to be taken in the
sense that it is a distinct operation that makes it possible for a subject to be posed,
and, rightly, one finds again this concept of the pose in the opposition. That also
introduces us to the notion of the object, i.e. to throw something in front of oneself,
to constitute oneself like an object.
The simplest way to seize again what k+ means is to think that one is k+ each
time a character is constructed. The very positive side of the character is that which
makes it possible to understand this formula of Szondi that states that catatonia is
the form of cure of paranoia. One understands this well because the paranoid is not
a person; he is not able to constitute himself as a character. If he achieved that, he
would be a catatonic and he would have crossed a first stage. That which is in k+
asserts its autonomy in a certain manner thanks to its character.
k+ would allow the capture, the putting into form and the construction of its
image of oneself caused by a relation with oneself that has its source in ones ego
ideal located in p +. It is an I who is related to an image (I look at myself) and
that is different from the I in p + that falls under a reflexive relation with oneself
(I think of myself). k + opens a relation with oneself through an image of
oneself; it is in these meanings that it opens a specular relation with oneself in the
sense where one refers to an image to locate ones own movement.
Illustration Through the Adolescent

The adolescent in our view expresses this opening of a specular relation to
himself or herself since this is in the phase of constructing an image of himself or
herself in order to locate his or her movement of being -- his or her search of
identity. It is in the search of an image of himself or herself that corresponds to that
which he or she believes to be. This search of an identity does not skip the laying
out of ones own universe. That can be divided into two facets.
The first is concerned with the representations that it brings into play in order
to be situated in the society. This is the side p + of his universe. The second facet is
concerned with all the sensory facets of his universe. Indeed, he works out from the
world all around him a specific sensory environment proper to his search of
identity. It is a matter, in fact, of all the information that is collected by his senses
in his universe. That goes from the posters to the musics while going over to his
clothes and to his manner of speaking and of holding himself without forgetting the
quantity of objects that occupy his personal space. There is a true sensory bath
specific to the adolescent that sends back to him unceasingly, through his
sensibility, an image of himself of a sensory nature.
The interaction of these two facets, (k + p +) is that all this sensory bath is
truly a very powerful mirror that returns an image to him that he selected. In
extreme cases, it is a mirror much more powerful than a conventional mirror.
Indeed, this last returns an image only when he looks at himself in it, while the
sensory mirror returns his symbolic image to him with each glance and at every
moment lived in his universe. If he had been suddenly locked up three days in his
room for example, his universe would return to him a massive amount of sensory
information during all this time that would flood his mentality and would end up
forming a deposit more and more in representations built with these sensory
elements. It is in this sense that we speak about a specular relationship between the
subject and his sensory universe in the meanings where his universe returns an
image of him to himself through the sensory configuration that was formatted by
the laying out of this universe. We can speak about a sensory style specific to the
image of ones imaginary self that one wants to capture by the position k +.
The capture and working of a sensory material suitable for oneself are injected
into a representation of oneself in which are deposited these sensory elements.
Since the configuration of these sensory elements is due only to his own imaginary
will (k+), the effect of the look of the Other (p-) tends to be eliminated and the
representation of oneself more and more is built with his own look (p+).
It is as visible in the adolescent as in us as we announced above. Selection of
his music, his posters, his clothes, his speech, his food, etc. show that he withdraws
from the common sensory bath the personal elements that contribute to forge his
personal stamp in life.
The selection, the capture and working of these elements are in agreement with
the image of himself that he has the desire for creating and building. This filtration
of all the days of this common sensory bath is fundamental to nourish an identity
specific to oneself. What k + has seizes and put into form will be maintained in
suspense in his mentality and will feed a representation by a kind of sedimentation
of the sensory of the representational. There is an injection of this material into a
representation of himself.
The creator uses his meanings and his sensibility in a way specific to him. We
often see the same thing as he but without paying attention and that does not
leave a trace because that was not captured. It is question of paying attention, being
attentive, and being available with our manner of feeling the things that are also
subtle and subliminal. The process of paying attention increases the density of the
perceived elements and gives them sufficient weight to be collected and maintained
among all the rest even if we are alone in perceiving this way.
To be able to do this, it is necessary to have self-confidence, to accept its

imprint and to be able to pull aside without the vision of the others abolishing it.
p+
p+ is a position that authorizes a beginning of individuation in
the sense that the subject is constituted there while doubling
himself or herself from an image of the Other that can be as
well his or her own specular image (Mirror stage according to
Jacques Lacan)this alienating image allows a subject to
discover a ONE, unified, with the image of the Other, a
complete being. This is why p + refers to the need for
completeness and bisexuality. (Mlon, 20, p. 98)
This image will become later the Ego ideal. It is in this sense that Mlon says
that p+ corresponds to the spiritual ideal.
p + goes toward the meanings of the lack of differentiation because it tends

towards an increasingly great potentiality to be everything. It is inflation. A p +!!
shows an inhibition to carry out a choice: the person does not move because he
oscillates through his multiple possibilities of choice without choosing. He is
constantly in the potentiality to do everything: everything is possiblethen what to
choose?
k-
A simple k- image would consist in saying that it is the eraser that erases
what is formulated on the imaginary tableau created with k +.
It is in this position that the ego breaks its image of itself created by its
imagination and destroys the specular relation with itself. It is, consequently, in the
image of the Other that the k - individual will seek in reality his or her image of
himself or herself. k - institutes a specular relation with the Other: You, what are
you considering? You have the look of those human wrecks? One does not speak
like that in Dupont! Extinguish this music of a nutcase! Do you hear the aberrations
that you formulate? But you are delirious!.
It is the sensory eraser that erases the imaginary dimension registered in the
image of oneself and that cleans it of its fantasy nature or improves it while
removing what is not appropriate. In the latter case, it is rather a matter of k where
the two tendencies act in concert.
The k - Position and Society

k - would be also a use of its sensibility indirectly in the service of the
ordinary. Thus, to capture the same thing as the others, it is necessary to have
conforming senses in order to capture this thing. In our perceptive capture, it is
nevertheless necessary to have a framework of interpretation of our senses in order
to be located on the same baseline as the other persons.
Moreover, it is not all from having this collective framework; the investment
and maintaining of it by granting a certain primacy within himself allows himself
to adapt easily. This expresses the idea that the more this collective framework is
invested, the less we require effort to agree with the others; the fact that it is
automated makes it possible for our attention to be spared an exhausting mental
concentration. Its investment is carried out to the detriment of our own framework
of personal interpretation. By slowing down our imagination sufficiently to level it
to the common standards, k - with its negation makes its senses to be appropriate to
the common use in the culture and with the representations in use in our society.
The k - adaptation places a limit to our putting into personal form of our senses: k -
denies the function k +.
It is sufficient to go to live a few days in a culture radically different from ours
to feel the weight of this sensory tuning. To a lesser extent, to fit in a team that has
its own codes asks at the beginning much attention to capture the way in which this
team functions, its vision of work to be achieved, and the small subtle things that
form a common sensory baggage. It is all this sensory work of leveling of ones
sensibility in relation to that of others that we suppose in k -.
In the school situation of examination, the distress warning signals related to

this situation of great stress are often standardized (made common) in the sense
where the common representation in force that tallies with this experience states
that: It is normal to suffer, that happens to everyone who passes through it and
that finally, it is common and necessary to go along with it: this is how your exams
work; if not, you are not made for the studies!.
The personal sensory experience related to this situation is standardized, i.e.

leveled to a common standard that tends to eliminate what would prevent the
intellectual performance. This way of treating ones senses makes it possible to
lead to undeniable results.
We are led finally after many years to break this rhythm at less to take account
of the sensory signals specific to our vision of the world. The pressure exerted on
us being the weight of the look of the Other on ones image of oneself.
The access to this common representation is strengthened and enriched more

especially as our putting into sensory form agrees with this representation, i.e.
accentuates in our putting into sensory form that which goes with the meanings of
the Other and weakens what moves us away from the others.
The C Vector
In the C vector, the goal of m+ is well being, to find oneself well and calm;
each one has his own way of being well (to sleep, to speak, to be satiated, to eat:
each one has his choice). The m- has chosen the ascetic position, I do not need
anything (Compare to the mental anorexic), the less I have, the better it is, I
feel good because I do not depend on anything. The well-being itself is an
absolute; there are two absolutes: that of m+ that is in the fullness and that of m-,
the complete ascetic who does not need anything. The means for the well-being
resides in d.
m-
The m- person is the monk who isolates himself to concentrate on his being
and cuts his contact with the world. The ascetic position of autonomy. No demand
for contact. This is a being disconnected from the world.
The tendency m - corresponds to cutting contact. Its most positive effect is to

make oneself free and to take up ones autonomy.
Kinable (15, p. 201) specifies:

It is more primarily about the possibility of taking the personal
initiative to make his play individually, possibility of being
oneself ones own possibility that Maldiney has rightly qualified
as the silent and always threatened possibility.
m+
m + is the resumption of contact, the inscription in a demand for contact. It is a
being connected to the world. (Mediation of oneself through the Other.)
The tendency m + means the taking of a close contact that binds the person to
his or her environment.
Kinable quotes J. Horn (15, p. 157): The tendency m + is the basic tendency
and to some extent the queen function, that which the others contribute to
structure it and that where the essence of the operation, all in all, does without even
making contact.
According to J. Mlon and Ph. Lekeuche, the accent is put on the movement
that imposes contacting one to ones environment; and when the entourage appears,
the contacting person disappears in the fusional contact.
m + and m - express the dialectical world of feeling by locating
the extreme limits of the experience (15, p. 167).
The tendencies d - and d + are mediating between the two primaries (m + and
m -). If m + is the queen function where the operation of making contact is played
out, J. Kinable adds that the factor m - is the director as the factor of separation.
Kinable (15, p. 157) states that the d -/d + polarity intervenes as a mediator
owing to the fact that it allows the working out, in this area, of the question even of
choice.
d+
It is very interesting to consider the factor d because it joins together pro-
creative characteristics.
It is the accelerator of thought that uncouples the mooring ropes
of the attachment to things.
Desire to accelerate, to take off, to uncouple.

The tendency d + is the requirement of shifting in view of a

replacement. d + shows the wish for a new contact to come that
mobilizes the contacting person while making him outline
himself the movement of his future; here there is the will to
change ones life because the old one is not satisfactory any
more. (Dessoy, 11, p. 168)
According to Kinable (15, pp. 193, 198):

It is the same question of the attachment to the lost primal
object that is closed again over the past in d - while it opens on
the future in d + to formulate the instinctual requirement here
in activity, let us think of this injunction of the agent of the
police force: TO CIRCULATE!. Whatever your path, your
destination, no matter where, but go forward, do not remain
there.
The search for something signifies the distance from what satisfied before. To
leave the known one supposes the mourning of something known that made us
function before and that does not make us function any more, we do not want any
more of this known. To make a search is in some sort to lose the bond with
something to which we were attached. We necessarily do not have a different thing
in compensation for it, there is a time delay inherent in the process of the search.
However, in the inquiring diagnosis of the depressive forms of existence, we find
d +.
According to Anzieu, creation is connoted by depressive facets (3, p. 12):

To create, Mlanie Klein has understood that first the creator
has to repair the object loved, destroyed and lost, and to restore
it as a symbolic object, symbolizing and symbolized, i.e.
ensured of a certain permanence in interior reality. It is, by
repairing it, to be repaired oneself of the loss, mourning, and
sorrow.
d-
d- is the brake that moors us to things and that makes us faithful. Either
faithfulness or the slowing down of the excessive movement of thought in the sense
that one gives it: to slow down the thought in order to use it. Patrick, very often
giving d-, stated: I am not able to manage all the information that comes in
through the 6 senses. It is the clinging to the interior object that one does not
want to lose.
d- is to have contacted and to stick obstinately to this first contact while trying
to retain it and by this preventing the possibility of contacting a new environment.
The person is not any more directly taking on things but is focused on his last
catch. Szondi speaks about the tendency to preserve, to persist, and to stick to the
old object.
Kinable stated in connection with d- (15, p. 176):

(...) like the tendency to get rid of and to challenge the new
(refusal to let oneself be summoned by it in order to put oneself
in search of this new thing or person) in order to stay, to remain
there, not to seek and to refuse any change about it.
The Diagram of the Cycle
1. Axes
We have chosen the ego vector as the base for our diagram in the sense where
Jean Mlon (18) stated:
The comparison that one has since always made is the
comparison to psychosis. That means that if there is an analogy
to the pathological level, it is necessarily to psychosis that
creation must be put into relationship. The ego according to
Szondi is represented by the psychotics, i.e. those who have a
problem on the level of the ego.
Mlon refers to Henri Maldiney (17) who himself was inspired by Wilhelm
Worringer (Abstraction and Einfhlung, Klincksieck, 1978). Two axes are set
up. The first relates to the representational facet -- Abstraction -- and the second is
centered more on the sensory facets -- Einflhung [empathy with, sensitivity,
understanding of] .
The idea of the opposition between the two axes is a recurring
idea in Maldiney because he opposes the two great forms of art:
Abstraction and Einfhlung [Empathy]. These two concepts are
drawn from an article of Worringer that goes back to 1911. k +
is the formal position; it is the position of putting into form
[mise en forme]. k going in the sense of the destruction of
these forms. (Mlon, 18).
The representational axis is the axis of the factor p while the sensory axis of
putting into form is that of the factor k. We thus lay out the ego vector according to
two axes -- the axis p and k -- each that have two poles: the pole of lipsit [the
self, the individual, I] and that of laltrit [the Other, they]. k+ and p+ are the two
positions of each axis for lipsit. p- and k - are the positions that illustrate the
pole of laltrit on the two axes.
Axe sensoriel
p+
k+ k-
p-
Axe reprsentationnel
[Axe sensorial = sensory axis; Axe reprsentationnel = representational axis]
On the axis p, the I is in p + and the they in p -. His own look at his
representation of self is in p + and the look of the others on his representation of
self is in p-. It is the representational axis that relates to an image of oneself
according to two poles: through his own look and that of the Other. With the axis k,
it is about the axis of putting into sensory form. It relates to the sensory baggage
according to two poles: that directed towards oneself and that directed towards the
Other.
The access to the representation passes through the sensory and the emotional.
The sensory makes a lever for the representation. To change representation, it is
necessary to gain access to the sensory lever by a reshaping of ones senses. To
play another part, the actor must initially not incarnate the preceding role
anymore.
2.Quarters
With the two axes we can break up the general schema into four quarters: k +
p -, k + p +, k - p + and k - p -.
We think that each quarter constitutes a stage in the course of the creator.
1. Quarter k + p -
We can design two aspects according to whether one looks from the point of
view of k + towards p - or that one looks at oneself from the point of view of p -
that looks at k +. We think that the nature from the points of view between these
two positions is sufficiently different to make them to be considered.
To locate the aspect of k + turned towards p -, the position of R. D. Laing is

rather explicit within the framework of the current of anti-psychiatry to illustrate
the point of view of k + compared to a p-. Indeed, one of its broad topics consists
of what the experience and the behavior considered schizophrenic would represent
as a particular strategy that a person would invent to support an unbearable
situation.
But Maldiney is more categorical to underline the combat of Titans that

hides sometimes in the search of lipseity [the self] faced with laltrit [the
Other]:
The delirium is a combat of the Ego for existence, in order to
maintain a certain precession [going first] of oneself to escape
stagnation of its own possibility, delivered to the helpless
supremacy of a destiny of no meaning and to the fatal
consciousness of being made and of being taken by
another or others or by the altrit anonymity. The effort to be
oneself through a presence in check of oneself is registered in
the delirious language. Undoubtedly one pays attention to the
common language. But how could the common language
become the language of a world at the margin of the common
world? How especially the capacity-being of a man threatened
in his ipseity [individuality] could he try to bring into the light
of day, in words absolutely his, by means of the concepts and of
the categories of the ordinary language of communication,
which is repugnant, by construction, to the expression of the
singular? (Maldiney, 17, p. 65)
To enter virtuality by detachment makes one dismiss the influence of reality

and the wounds to oneself coming from a world that can harm his world in himself.
The detachment is an invisible barrier that protects the ego by a capitalistic
withdrawal of the libido from ones objects.
The aspect of p - turned towards k + is the point of view of the social (p-), and
according to it, the look of k+ is disputed more. Indeed, a free and uncontrolled
activity, controlled by pleasure, is incompatible with an economy based on saving,
self-control and precaution.
It is here between these two points of view -- that of k + and that of p - -- that
we find a schism in the nature of the viewpoints [des regards] that clash. One of
these viewpoints is a judicious managing that eliminates the conflict:
Any schizophrenia is a psychic organization ready to last and a
defense against the catastrophe. (...) This psychosis is thus a
managing. (Racamier, 25, pp. 50-51)
The other viewpoint [regard] is that of a society on an individual who belongs

to a system of laws and rules valid for all.
1. Passage from k- to k+
This is the passage of the half-circle k - to the half-circle k +. What occurs
when one passes from k - to k +?
One regresses in relation to the circuit of the ego. One leaves the reality
principle to enter the pleasure principle. Reality leaves the place to the imagination.
The sacrifice of the self is erased to the profit of a narcissistic position. We pass
from the negation of oneself to introjection. We in turn pass from a centrifugal
movement in k - (directed towards the Other and a distancing in relation to oneself)
to a centripetal movement (directed towards oneself and a distancing in relation to
the Other). The center of perceptive and sensory gravity moves from the other
towards oneself. A great movement of internalization is set up. The libido leaves its
objects and invests in the ego. The ameba retracts its pseudopodes.
One passes from a self-critical no to an oppositional no. In k -, the potential

self-destruction nourished in a kind of hate of oneself is transformed into an
omnipotence potential introjecting person of everything and nourished with a kind
of hate for the Other. The hate seems to reinvest what the libido had abandoned and
the libido seems to reinvest what the hate had abandoned.
The oppositional no person is necessary in this process to preserve his or

feelings and his or her vision of things and to go further in order to perceive
another thing. The oppositional no of k+ (No!, I do not want to function any more
like that even if two-thirds of the planet does so) that is in opposition to something
is different from the k no that criticizes and that negates (what I tell you is
bragging, pay no attention), i.e. which denies its own words. The oppositional no
person forms a reaction against something. The self-critical no deconstructs.
To be opposed to something that is harmful to us, it is imperative to know to

detect it, to understand it, and to encompass it in order to apply to it the negation
that separates by the uttering of no. How to be opposed to what does not have a
form, a face, a trace? Without this recognition, there is no opposition.
Very often, we have only a mixed intuition mitigated rather than a full and
solid recognition that directs our course. The stage that consists in transforming this
vague intuition into an effective and certain recognition of what can harm our
identity is by far the most difficult stage to cross. All the procedure of the creative
act will consist in capturing by means of putting it into form, through color and in
words that of which one had the intuition.
While thus passing from k- to k+, one passes from an anti-creative reaction to
a pro-creative reaction. Indeed, the attachment to the Other yields its place with the
detachment. For the k+, the Other tends to virtuality [that which is not realized;
that which does not have actual effect; potential existence]. This contamination of
this virtual facet suitable for the detachment will also invade the rules and
conventions of the Other. The law of the Other tends to become invisible.
Questions appear and will fit in relational cement with the Other and, like the roots
of the trees, these questions will fissure and tear apart the relation with the Other
until the block of stone breaks into pieces under the pressure of the roots. The
questions abound and the answers tend to being more precise and also more
distinct; certain questions obtain answers that will not any more be called into
question: choices are made. After a string of questions and answers, the view [le
regard] toward things changes; the interest given to things changes. Then, a new
viewpoint [regard] appears; it has came silently.
k- tends to render virtual the world of the individual in his fantasy and
narcissistic realm and to give a feeling of reality to what relates to the world of
others. k+ does the reverse; it makes virtual the Other and what relates to it and it
gives a feeling of reality to his own imagination. With k +, the senses and
perception are quasi educated to take only into account what interests the creator,
the rest holds on to that which it is: remains.
2. The Break [La faille: also the fault, the rupture, the fissure, the
flaw]
The break could be defined as the discontinuity of the participation and as a
crisis in the object relation.
2.1 The wound with the Other
We observe in the personal history of the creators during their youth the fact
that they felt in their relation with the Other a negation of what they were. They
would have undergone the look of extinction, the look of Gorgon. If the persons
who denied them were the most important, then the interior blow is unspeakable.
As Corneille said, the more the offender is beloved, the greater is the offense.
We will let the words of Alberoni (1, pp. 118-119) describe for us what each
one of us perhaps can most fear in ones life.
Little by little, in order to no more desire the person whom he
has loved, he will have to find in himself the reasons to release
himself from this love and he will have to seek to rebuild what
he has experienced, investing with hate for all that was. By the
hate he will try to destroy the past. (...) He must achieve the
absolute transgression that consists in destroying what is the
base of any value and of any hope. Then, all desire abandons it
and the ego, which has lost its ontological dimension, is pushed
back into the universe of appearances. Nothing has any more

value and nothing does not any more have meanings. To act, he
can only copy the gestures of the others, the everyday gestures
such as he sees them and repeat what he knows to prove
feelings that he had learned and to pronounce words emptied of
their contents; it is petrification. The only true, deep feeling that
he has experienced, marked from the painful stamp of
authenticity, is nostalgia, the nostalgia of a lost reality. And to
deny oneself nostalgia, one is constrained to fight with the past,
to feed in oneself resentment and hate. He had known the good,
the being who says yes; the bad, then, was only not to be. Now
he must build the bad as being, the being who says no, the bad
like the power of the negative.
The being who says no, because to say yes would be to disappear. Energy
deployed to create resembles to be mistaken there with these colossal energies that
are sourced in total despair and in vital urgency, when imagination starts to
imagine its own scenarios of destruction.
Nobody knows where a point of no return is. The only signs are
an interior revolt, a despair, an anticipation -- sometimes for a
few hours -- of petrification. (Alberoni, 1, p. 136)
When the countdown started, the point of no return was in front of one, then
like a last mischievousness, a playful jump, one diverts the energy of the urgency
into a project that will crystallize what remains of his own forces. The hate is
always a good adviser in these moments. Hate as the ultimate essential reaction.
This extract locates how the hate can be essential for leaving the petrification.
Georges near the age of four was abandoned by his parents who could not
care for him any more. Jean-Marie was a teenager disjointed in relation to his
environment, he was stared at and he stared at the people there at thirteen; he
knew that he would leave his social environment because he did not feel any more
at home there. Violence was usual for him by several methods going up to the most
subtle: blackmail of a mother with death. Jeanne also knows violence, struck by her
father for not having obtained 80% (she had obtained 79%) at school; she
remembers another incident: having been pursued by her father with an axe in his
hand, she took refuge in a church. JP had been in prison and had known the deep
malaise of believing in values that society hid. Joseph was struck with
poliomyelitis in Africa and lost the strength of his legs. He passed his childhood
and his adolescence in hospitals. Pierre, Zphyrin, and Anne always felt
displaced seeking their significance through marginality and the forgotten.
Znon d'Ele was rather in the norm, a boy who followed the others and who
did not feel the necessity of a creative course. Little before being registered at the
university, he went to find his father to inform him of his decision. For him, this
was a big step since the shock of the divorce of his parents had left him confused.
Arrived at the home of his father, he speaks about his decision and at this point in
time his father, speaking to him with the warmth of a benevolent father, says to him
that he is absolutely not capable to do higher learning and who even advises him --
benevolent council -- to give up all these ideas that are not made for you. It is
shortly after that Znon felt profound shock; his father had not paid attention. A
few years afterwards, Znon had wolfed down book after book and had found
himself with a first license [bachelor degree] at a university. Since this
conversation with his father his internal search became a necessity for him. All his
world was shaken.
These elements underline the shock and the violence that expels the creator
from his old world.
At the beginning, the question then is in the relation with the Other: to be or
not to be? Afterwards, following more wisdom, the question becomes: how not to
be in order to be? That is, how to reconcile the negation of oneself in relation with
the Other in order to exist with this other? What in oneself cannot be modified and
what in oneself can be? The answer is to know oneself and creation is a path
among the others.
2.2 Hate
The rage while being situated in a reflexive process that engulfs becomes a
tool. A rage for the rage is sterile because not workable. Hate is a powerful factor
of individualization. To discover the object in the hate creates a state in a process
of the emergence of ones own perception without which there would not be an I.
Let us see in what way hate is productive of an altrit [an Other] according
to the expression of Jean Baudrillard.
I hate and this hate does not have an object; there is a passion
without an object. It is as if I express or I assume. It is the
kind of expression where the words creates themselves. They
are formulated in the first person, but the object has
disappeared. The hate is a subject without an object that speaks.
(...) The hate is perhaps something that remains and that
survives any definable object. (...) The hate remains an energy
that lives on with all definable objects. The hate remains an
energy, even if it is negative or reactionary. The hate belongs
to this paradigm of a reactionary and reparational passion: I
reject, I do not want any of it, I will not enter into the
consensus. That is not negotiated; that can not be reconciled.

(Baudrillard, 6, p. 20)
Indeed, I have hate, and it is like a kind of final capital. But there is
nevertheless a kind of altrit [otherness], somebody opposite, that can be always
negotiated with in one way or another.
Returning from Australia, Baudrillard notes that:

The aboriginals -- anthropological extreme, but revealing --
have kinds of visceral and deep denial of what we can represent
and of what we can be. As if these people had also hatred.
There is something of the irremediable and of the irreducible.
One will be able to lavish all the universal charity on them of
which we are capable, trying to understand them and to love
them; there is in them a kind of radical altrit [otherness] that
does not want to be understood and that will never be.
(Baudrillard, 6, p. 21)
The hate described here is not comparable to the hate of the classes according
to Baudrillard. The hate of classes is different:
This hatred had an objective; it could be theorized and this has
been done. It was formulated, it had a possible action, and it
bore a historical and social action. It had a subject, the
proletariat, structures, the classes, contradictions. (Baudrillard,
6, p. 21)
According to Baudrillard, the communication, while becoming universal, was

accompanied by a fantastic loss of the altrit [otherness]. There is no more other.
Perhaps that people seek a radical altrit, and the best way of revealing it, as
exorcizing it is perhaps the hate, desperate forms of production of the Other. In
these meanings, the hate would be a passion in the form of provocation and
challenge. The hate is something strong; it must provoke a poignant adversity.
The hate would be also the violent reaction to the fact that there is no solution
and that there is no possible resolution of all the problems that history had posed.
That which remains of the energy would be reversed into a
negative passion, a rejection, a repulsion. The identity today is
in the rejection; it hardly has any more a positive foundation. It
does not remain any more but with the anti-determiner by the
expulsion of the other rather than by relation or emotional
dialectical with him. (Baudrillard, 6, p. 22)
But Baudrillard goes further: he embeds hate in the human species as a

reaction of life deeply engraved in us.
Perhaps the hate is vital, vital in the sense that if you do not
have any more an enemy, an adversity, an antagonism, at least
virtual, it is the worst that can happen. Remove from a species
its natural predators, and it destroys itself. There is a vital
transformation, a kind of balance that implies that there is an
other, and a malicious other, an enemy. If one does not have to
defend oneself any more, one ends up destroying oneself. This
is what I called depredation, depredation in the sense that one
is deprived of predators. Hate is perhaps also an ultimate vital
reaction. (...) There is a residue that is not treated because it is
not treatable; it becomes inevitably residual and negative, and
changes naturally into hate. (Baudrillard, 6, p. 23)
It is, we think, this force that is underlying the creative course. We think we
are able to locate it in k + in partnership with e -. This hate appears in the profiles
when the creator is opposed in his search often in relation to concerns coming from
the other persons. On the other hand, when he can give himself to creation, the hate
seems consumed by the process. We even think that the hate can take the face of
d +! which, in the case of Anne, would mean: I cannot hate the others without my
being made to feel guilty; then I transfigure the hate by an intense search that
unceasingly cuts the ties that are created. We will try to clear up this last point in
the analysis of the results.
The qualitative jump of no of the catatonia in its negative aspect (k-) into its
positive aspect (k+) that passes from critical no to oppositional no is also a passage
from an anti-creative position to a creative position.
The idea would be that the oppositional no person realigns the individual if he
is associated with a center of p + gravity that enables him to enter into creation.
The emotional engine that gives this coherence and this cement of the person vis--
vis the world would be the hate. Hate as the ultimate generating vital reaction of
the altrit [otherness]. The enemy is in front of oneself and no more in oneself;
the combat can start.
2.3 Possible Psychoanalytical Meanings of the Break [la faille]
If participation originates in fusion with the Other, the stage of pre-subject--

pre-object, the relation mother-child; then, the break [la faille] considered as a
rupture of the projection-participation is a process that originates in the separation
of the mother with the child.
If we take as established the psychoanalytical fact that stipulates a desire of

returning to the origins, to the womb of the mother, in a world without tension, of
total plenitude; we can consider without too much digression that the incestuous
desire is one of the principal methods of this desire of returning to the origins.
The break [la faille] becomes thus the reactualization of the non-participation
and, to extrapolate, it is also non-satisfaction of the incestuous desire in reality and
the incompleteness that will follow from this. We wish to state that the break [la
faille] would be the total impossibility of being able to satisfy in reality the
greatest and most powerful of our unconscious desires: the desire for union with
ones origin.
SYMBOLIC MURDER OF THE FATHER

The creators say no, they react against. This would be a symbolic murder of
the father because of saying no to the others. However, reason, the law (of the
others) is inscribed in the figure of the father.
To create is always in a certain way to kill somebody, the
killing being facilitated if this somebody has just died because
one can kill him or her with less feeling of guilt. One of the
largest internal obstacles to creation remains indeed culpability.
(...) The creative course, let us repeat, is not unequivocal:
according to the types of geniuses, or productive times, to
create, for them, consists in killing symbolically a death person
and, for others, in killing symbolically the living. (Anzieu, 3, p.
10)
The culpability of the creators is strong and as Michel Mathieu stressed it (3,
pp. 104-105):
This culpability is attached to the fantasy act that the creator
perpetrates on the person of the father: a symbolic murder. As
through the symbolic murder of the father, it is the question of
the Oedipal identification that is in play -- here am I -- indeed,
at the heart of the problem. (...) The sudden appearance of the
creative energy would aim at surpassing the father, replacing
the investment of the object by a transformation, total or partial,
of oneself.
Michel Mathieu (3, p.112) goes further in proclaiming that:

For Freud, the artist kills the father symbolically; he becomes
through that a recognized hero of the public.
Classically, the murder of the father is a matter of affects initially. If this

should be located in some part in the Szondian schema, it is from the side of e -. It
is initially an affect. The idea of the murder of the father is generated by the fact
that there is an obstacle that, suddenly, emerges on the path of the realization of the
desire. The father is the object of hate only because he comes to interpose.
The conception of Chasseguet-Smirgel starts from a Freudian conception of

the artist as an anarchist who refuses the law and who refuses to be subjected to the
common law. He does not want to be k - because to be k - would be like saying one
accepts the common reason.
2.4 Philosophical Interpretation of the Break [la faille]

2.4.1 QUE PHILOSOPHER EST APPRENDRE NATRE [WHOEVER
PHILOSOPHIZES IS TO LEARN HOW TO BE BORN]
This is the title of an article of Eric Clmens on the thought of Max Loreau
entitled La gense des phnomnes [The Genesis of Phenomena] in the editions
of Minuit, Paris, 1989.
Max Loreau is located in the phenomenological tradition all while introducing

a conception that tends to put him at the end point of phenomenological thought.
Undoubtedly, his thought tends towards the phenomenon, of
which he inflects already appearance as innate, but his stand is
reinforced with what this genesis cannot have a place, for
philosophy itself is in a logical fiction. (Clmens, 10, p. 78)
According to Clmens, Loreau thinks of phenomenon as formation, history,

appearance, becoming -- but excluding of any form, of any end, of all views or all
givens and of any presence or any appropriation.
Besides to determine always comes back to deny or to deprive,
a venerable philosophical story, and to deny a determination
and to deny a negation does not make change of course. The
rigorous criticism that leads Loreau faced with any negative
ontology [in philosophy, the nature of reality], all retreats,
any regressive or destructive method (...) appears to me
logically unanswerable. It follows from that that another
thought can only be itself a beginning in order to think the
beginning, the genesis, the emergence. If necessary to be
specific it is not in any case the search for a point of origin that
would be the oldest, but well its requirement is to be itself a
movement of birth and origination? (Clmens, 10, p. 79)
Thus, according to Clmens, the method of Loreau is based on a logical

criticism that requires that what is rejected does not serve for negative reference
and does not dictate with a wrong side what will be the progressive thought; it calls
on the contrary, in any consequence, with the pure and simple disappearance of
what it criticizes.
In short, it passes logically and methodically from the criticism

of logic to the genetic fiction. Better: since the logical
consequence of criticism is the requirement of nothing of the
presupposed, of the given view and of denial-reversed, it
obliges with the creation and with the original shaping, which
can be said only to be like fiction, since nothing of the original
imagination, but without ever giving up the rigor: what makes a
philosophical fiction of it. (Clmens, 10, p. 80)
The question is not: is there or is not there a world? but: how does it emerge?
The genesis is at the same time splitting and formation. The
question becomes consequently: what made at the same time
the irruption and the formation -- and of what kind can it be as
anterior to oneself? Neither things, nor even bodies, nothing
else than the words, which are nothing before being uttered. It
is not a question to say that before the genesis there is nothing:
before the genesis there is nothing to say. But it is a question of
saying the genesis that is nothing and can be only nothing.
However, from a different point of view, the word is never
given, it is a movement of becoming: the genesis is rightly the
genesis of the word -- first approach of fiction. Not in the sense
of the utterance, but the word as dissidence or discordance
whose rupture involves another relation to the language that is
the given, constituted, determined language. (Clmens, 10, p.
83)
According to Clmens, when the word is not folded back on an already-seen or

already-heard, it does not belong to what is visible, it carries in it an other element
that occurs in the visible one. The word breaks the continuity of the visible and the
unity of the view and of the seen, the only way of establishing the contact with the
visible. In the uttering, it makes itself heard, it is hearing that means to move
away to within oneself, to lay out and consequently produce a gap in the visible
without which this one would not be seen: for the procession of the sight, one
needs a view of the view that interrupts and discerns (Clmens, 10, p. 83).
This double differenced, in the utterance and the vision,
introduced a double fiction by a double contact: the utterance
causes a contact with the visible that involves a contact of
visible with itself. And this double contact is entirely
imaginary; it is a fiction of feeling and logos [the word: in
Plato: the god of ideas] that forms what one could call the
unlimited body of fundamental imagination. All separations --
of sight and other meanings like front and back -- formative of
the body born from there and do not cease being born: the
fiction is the perpetual change without which no phenomenon

appears. (Clmens, 10, p. 83)
The fiction is thus according to Loreau the infinite self-becoming [lauto-

avnement] of the logos of the body. But how does this rupture made its formation?
How does the dissidence of the word become fiction? How doesn't it remain with
this yawning abyss and with chaos open between front and back and seeing and
not-seeing?
The logos, the occurring word, the utterance takes place only on
the mode of as if: the thought makes as if the logos were not
yet, although it makes use of it. It is the same condition so that
anything new and inventive emerges there. This implies that the
word does not answer to any end and to any determination,
therefore it can only appear gaping chaos that it opens. But at
the same time, it opens itself, it is placed outside itself, it is
made logos of logos -- thus relation and first formation.
(Clmens, 10, p. 84)
The rupture produces the discrepancy that by the distance from oneself
with oneself operates a returning where the difference becomes a formative
relation: such is the essence of the genesis and its fiction.
The formation is indeed a view, but a doubled view, a view of the view (from
a distance), a view imagined originally by the word that frees itself and clarifies
itself.
Only the cry, the utterance of the inhuman, which does not say
anything, but which draws aside from itself and deviates from
itself, can make a return on oneself and understand what it is, to
address oneself to oneself -- to become oneself, to become
human. (...) If the fiction is indeed the self-construction of the
beginning, the logos of the logos is the fiction since in it the
logos is the fiction of the logos. (...) The fiction is rolling up on
oneself of the logos, through this fiction of oneself, self-
construction of the logos. (Clmens, 10, p. 85)
The fiction is recounted in two times. Initially, logos of the moment is a

dazzling rip and cry that hollows the vacuum. Then, it can continue only in the
vacuum thus created, that to traverse it and to be discovered there by discovering it,
to be logos of logos whose movement of differentiation generates phenomenality.
Only, the instantaneous effect operates for establishment of the logos among the
phenomena of the world. (Clmens, 10, p.85)
to think becomes to be born, give birth to, to think is the
fiction of birth where the being and the thought, the
phenomenon and the saying appearing as co-births. Always
threatened by indifference and death, the fiction is the infinite

birth of the difference, of the body, of the language, of the
world of the man who is finished only for infinity. (Clmens,
10, p. 86)
2.4.2 COMMENTS
Each person has a logos that constitutes the collection of lived experiences, the
collection of the ideas to which this person adheres, the theoretical base on which
each one performs ones choices in life, which gives meanings to the actions that
we carry out in our life.
The break [La faille] could be conceptualized as the rupture of the logos and
the rupture of the continuity of the logos. New logos, if all goes well, will install
itself, i.e. the logos of the logos. More precisely, logos of his old logos, like a view
of the old view. It is henceforth a question of seeing oneself seeing the things, to
see oneself understanding the things. The new logos is in a mta [in between]
position compared to the old logos.
This logos of the logos will be built gradually. The essence of what one lived
is altered in a new logos. The passage of old to new would be this fissure [faille]
where the elements are suspended in the course of the things by the thought.
The logos is generally a collection of representations. Those calibrate

perceptions so that they agree with the image of oneself that one wants to promote.
To find a new logos then requires an altering of its representations. This is possible
if ones sensibility allows the construction of such representations. What wants to
be expressed in order to nourish the new representations is undoubtedly necessary
to reconfigure ones own perceptive capture as its putting into form in a design
different from the old way.
The break [La faille] would be this experience-limit that inexorably leads us to
detach ourselves from to what we were attached, with this logos previous to the
break. The break makes a distance of oneself to oneself.
In the uttered word, we find, according to Max Loreau, this view of the view.
This star-like distance of the visible that becomes perceptible through an outside
thanks to the word.
The break ejects us from our logos and the load-bearing word leads us towards
a precession [going first] of saving oneself in the act of uttering its new logos.
When this is made a body, representations, and finally a new image of oneself, we
will have found an identity.
To say to oneself: I would like to be such or such a thing or I will manage

to achieve my goal or I was this way, but henceforth I will not let myself any
more be like that; this leads to a relation to oneself by means of a word that
expresses a self in the state of becoming. This self in the state of becoming is in
filiation with the subject that states the I of discourse, but this self anticipated and
uttered in the word is a self that carries the mark of an altrit [otherness]. This
altrit results owing to the fact that the object of the discourse is a self that one
has constructed, it is a self that does not exist yet. Its altrit [otherness] rests on
the concept that the I of the discourse is offered towards an image of a self that will
be integrated in a reflexive relation with oneself. But it is initially necessary to
consolidate this image in a formation. This I who is the object of the discourse is
not accessible as I-reflexive but as an I-image anticipated from oneself in a creative
fiction of oneself.
Let us see in what Henri Maldiney detects the altrit [otherness] registered in
the object of creation (17, p. 62):
What Schelling called the objectivity of the work and that is -
- more radically -- its reality, is imposed on us, like any reality,
in a meeting. Any meeting is meeting of another, of an altrit
[otherness]. (...) But the altrit [the other] of the work of art, in
its radiant and fetching manifestation, has this of the specific
and the paradoxical that it is a transparent altrit [otherness],
and not opaque like that of the thing. (...) The characteristic of
esthetic perception is not to be intentional. Structures
constitutive of our presence with it and, through it, all --
beginning with our driving space -- are the same structures of
the work. Our opening to the work is a co-presence at the
foundation of participation. It blames directly the question
indivisibly ontological and ethics which is most fundamental of
existence -- that of the relation of lipsit* and laltrit [the
Other]. [*lipsit: oneself; in philosophy: that which makes a
being oneself and not the other]
Thus, this word between oneself and a self becoming makes it possible to
create a relation with oneself. This precession* of oneself allows an exchange
between two entities: that which express the movement to being and that which is
the object of this movement. It inscribes between oneself and oneself a specular
relation with oneself. Indeed, it is I-reflexive that creates and anticipates another
I and to anticipate it creates an I-image as when we look at ourselves in a mirror:
I see in the mirror an image of myself that I can use to guide myself. It is in this
sense that the word can make emerge a specular relation with oneself. At the same
time, this word installs between oneself and oneself a real exchange that makes it
possible for I-reflexive to occur of itself because this word prevents, in the best
case, from closing itself with oneself in a mental autarky that does not evolve any
more -- being satisfied with itself. [*precession: a movement of a rotating body that
-- from the exertion of two bodies proceeds on its course]
This word puts a distance between oneself and oneself and by doing this, it
registers a fissure [une faille] in our unity. To accept this incompleteness that
pushes us with going towards others opens in us the possibility of changing. But,
for that to occur, it is necessary to accept this fissure of our unity in order to have
the required time to pass through the transition between what I am now and what I
will be afterwards.
This incompleteness is basically intrinsic to the movement of the desire. The

thought of Lacan tends in this sense; listen to one of his disciples (Nasio, 23, p. 52).
Where the desire does not achieve its goal, I want to say where
the desire fails, a positive creation emerges, a creative act is
constituted.
The desire rests on a lack of something, it aims the spirit towards something. It
is concomitant of this fissure [faille] in us. We could even dare to add that without
this fissure [faille], there is no desire.
For this reason Lacan characterized the desire hysterical and,
therefore, any desire as fundamentally dissatisfied, since it is
never realized fully; it is realized only with fantasies and
through symptoms. It seems important to me to stress this
always dissatisfied character of the desire. (Nasio, 23, p. 49)
It is in the sense that the most powerful unconscious desire, the incestuous
desire, the desire for returning to the origin is generated by an insuperable break
[faille] and that could be formulated as follows: If I exist as a differentiated being,
it is because I am the movement that separates me from my origins, i.e. the point
where all turns over towards the lack of differentiation. In other words, the break
[la faille] is not the result of the omnipotence of the incestuous desire. According to
Lacan, any desire diverts this fundamental tension into multiples of small wishing
tensions.
Therefore, where the word -- a word of the exchange with an altrit is

registered in oneself or in the other -- stops, the precession of oneself grows
blurred. There is no more opening in anticipation of ones own being.
To abolish the indivisible space between the desire for a return to the origin
and its satisfaction is to become again fetal. To maintain this indivisible space is to
register in our being the rupture [faille] of the desire; it is to maintain the impetus
of the desire, i.e. the movement tending towards others and things.
To bear ones fault [faille] is to carry ones destiny-choice as a differentiated

being who moves away, the heart in the soul, of the lack of differentiation of the
beginnings where time was folded up in only one movement.
Henri Maldiney (17, p.61) allows us to make the connection with the Szondian
system. Let us leave the last word to him:
The ego pontifex oppositorum, builder and promoter of
bridges between opposites, builds initially its own interior
bridge. The first break [faille] that it has to cross and on which
all the others depend is that which it is. It constitutes a line of
fracture and division corresponding to the diffraction of the Ego
according to two plans of presence: that of the analysis of the
destiny named destiny-constraint and destiny-choice. According
to the first the ego is only drive, i.e. nature. According to the
second it only exists in a strict and full sense of the word: it
exists to anticipate itself through its instinctual constitution that
it goes beyond all the possibilities that open in itself in this
precession of oneself. It is starting from this issue that it
originates. (...) Whether it crosses the break or not, it gives a
meaning to the break [la faille]: a meaning of direction from
nature to freedom.
This word of the destiny-choice will be load-bearing if it remains and if it is

registered and materializes into a putting into form. This capture of this word
injects in it a materiality and a density that makes it pass imperceptibly into the
concrete.
So that this word destiny-choice takes shape, it needs a body articulated

according to written words, words uttered again and again, gestures, movements,
colors, forms. This plastic facet (Roget definition: Who has the capacity to
give form) of the creative word is the mark of his furrow in the mental.
The anchoring of the new logos (which has its source in the word uttered in the
precession of oneself in the place known as the fault [la faille]) in reality thus
behaves as a plastic stage.
It (the work of art) only exists to cross the fault [la faille] that it
opens in itself, while realizing, in the evidence of its
appearance, the impossible passage of freedom to nature. (...) It
requires and exceeds the operation that produces it. This is an
act of freedom. However the work is presented as a
objectivity that goes beyond the subjective side of the
conscious and free activity. We can follow indeed in it the paths
of its creation. (Maldiney, 17, p. 61)
If our life is of a distracting continuity, it is not very favorable to creation

because the motivation to find a logos is not felt because the actual logos fulfills its
role well. The persons who enter into creation very often do not have a choice.
They feel badly at ease and do not find their center of existential gravity within the
model recommended and developed by their society. If they want to continue to
function as they wish it, they must reinvent a new logos that will become their
personal myth.
The fault [La faille] would take its place as the solution of continuity between
the basic look [le regard basal] and the look of the look [le regard du regard], the
passage from the inside of a system towards the outside of this system. The basic
look can be described as the participative look; it is a look inside the things and that
tends clearly not to break away from this thing. The look of the look is a perception
on this first perception: that tends to break the participation.
If the I of the creative discourse and of the creative fiction is an I that

takes its essence in the looking at the participative looking, it can be only in p+.
The creative fiction being either with a participative looking (p-) or with a self-
constitutional looking (p+). On the other hand, the root and the source of the
creative intuition can be only in the flux of the world and in the universe as
containing all our individualities, i.e. in p -. The trajectory of creation is
consequently that which goes from the root to I thinking about its root. From the
material to the abstract, a vast movement of making a distance is organized in order
to make emerge the human thought bearing the spirit of creation.
From the fetus to the psychoanalyst man, the thought procreates his trajectory
in order better to play the Play of Creation, a play that consists in surpassing
oneself more and more and whose finality consists in knowing the program that
makes us function so as to push still further. The destiny-choice is perhaps to arrive
at the point of his program in order to create the continuation. All art to create
would then consist in not entering a dead end, i.e. to repeat indefinitely the same
thing.
2.5 Illustration of the Break [la Faille] by a Profile

This is a profile outside the course of Anne, dated 7/28/95. She says herself
that she is attracted by fusion and she fights against it. Concretely, that means for
her that she is in lack of the Other and that she wants to plunge into it and to
forget her personal search. She feels bad. She presents symptoms as a swelling in
the throat and of esophagi-gastric acidity; she has been anorexic for a few days.
She tends to drink many beers and to leave in debt at bars strongly attended by a
multitude of people wanting to have fun.
She presents an ego k + p -. Her comments summarizes the situation: I have

brilliant ideas for my dissertation, [k+] and she adds but I am afraid that they will
not be accepted within the framework of the academic view. (p -).
profile: Av = h -! s 0 e hy k 0 p 0 d + m -
Ar = h 0 s e 0 hy 0 k +! p -! d + m
[Av = Foreground; Ar = Background [E.K.P., not Th.K.P.]
We can schematize her profile like this:
h -! p+
d+
m-
k+ ! k-
Faille
p-!
From the start, we see with the foreground, an empty ego in Sch and the
affects in P in a catastrophe position: all the positions are present as if facing a
threat.
By referring to the positions on the cross, we see a tugging between a specular

reference in the glance of the other (p -!) that is at this time the only judge; and, a
secondarily in k +! that pushes strongly for a strictly private use of her senses and
her perceptions for the capture of a representation that is alas personal, i.e. situated
in k +. It is thus incompatible for Anne to accept this personal assumption without
calling in question this viewpoint [regard] of the Other.
However, on the side of the affects is indecision, a superego faced side by side
with the hate. Indeed, the superego e+ hy- and the hate not censured e- hy + are
both present in e hy. The affects are not for her a great use to slice through this
situation because they say yes and no. What to do: to act or to submit? The same
thing is the blocking in the questioning situated in the ambivalence in factor s.
The question is: aren't these brilliant ideas too disturbing in one way or
another for ethics and the viewpoint of the Other, specifically the university and its
famous requirements? Finally, one can pose the question: what am I worth? My
ideas that I believe brilliant are they indeed brilliant? It is in these remote regions
where one feels pushed to one side and repulsed from the other side that the choice
is imposed especially when the stake is high. How to choose?
It is at this crossroads that the affects can slice through and decide between
those that are accepted and those that are denied in order to leave the place to the
viewpoint of the Other whatever be their reason.
What affect can slice through the situation? The answer is the hate that says no
to the other and strengthens ones own being in the defensive in order to preserve
what the individual regards as essential. The productive hate for the laltrit as
Bachelard puts it.
Or then in fact the superego says drop it, the stake is not worth a candle.
However, precisely with Anne, who has a rather powerful superego that makes her
feel guilty and that prevents her from yielding to her hate, this affect that could
help her not to waste time while being blocked. Indeed, she does not want to let go
of her ideas, but she does not know how to do it. She knows herself to be subjected
to the influence of her superego: Each time I was aggressive with somebody, I
must repair even for my animals tricks; then, I say the things with the smile. That
sticks!.
It is the choice between keeping silent under the common viewpoint [regard]
and to be afraid of it and the fact of assuming ones being, ones sensory style,
ones viewpoint [regard] and ones destiny. The second solution requires one to
negotiate with ones superego, to activate less social affects, in short, to make in
some part a symbolic murder of an important person in her eyes and of her
substitutes.
This is an illustration of what we call the fault [la faille], i.e. the moment when
the participation with the other is called into question in important existential
realms. The others have some part in us and imprint a Northern direction. But in
ones soul and conscience, the individual knows at the same time as to what one
feels as ones own being calls it in a Southern direction. One must choose
because the two tendencies are strong and fight to take its share of the cake. It is
all the psychic economy that seems to us at play in these moments.
To pass the fault [la faille] is to lose much and to gain enormously
because henceforth, there are two points of view: that of the others and yours. To
choose a point of view gives the sense of a trajectory. In the case of ones own
point of view, it is the trajectory of the differentiation of the Other in oneself and of
the distance in relation to the Other in order to come closer to oneself. It is a
trajectory that tends towards creation.
3. To perceive Is to See the Difference

Bateson states that at the base of the perceptive act itself, there is a difference.
To perceive is to see a difference. To perceive something mental, it is necessary to
bring about a difference within ones own self. We will reconsider this facet amply
when we speak about the sensory and perceptive capture.
By doing this we redouble ourselves in the act even of perceiving, i.e. to

perceive that which one wants to distance from oneself as being different
henceforth from oneself while still forming part of oneself. All this stresses the
great importance of a reappropriation of what one wants to be within ones self.
One of the functions of k + would be the reappropriation of its mental

fields by a distancing (withdrawal of investment from what makes an obstacle)
that is expressed by the oppositional no to what tends to limit and to close our
possibility of imaginations expansion. That would mean the negation of the
negation of k -, oppositional no distancing itself from the self-criticism no, k +
denies k -.
This is also to enter a narcissistic field.
It seems preferable to us to speak about a narcissistic relation to oneself within

the meaning of a specular relation with oneself rather than to speak about
narcissism and about a narcissistic structure. Jean Mlon (18) thinks that the work,
be it plastic or literary, has always something to be seen as the image of the body.
Therefore, whoever builds his house, builds it according to his image of the body,
but there are obviously people who do not invest like that. But if one is invested,
one builds it with the image of the body.
To speak about a relation induces the idea of a distance to oneself. Jean Mlon
(18) thinks:
that there are several narcissisms and that this narcissism k + is a narcissism
of form and thus that returns us to the first form that is the image of the body. To
put into form is always to find again the jubilation that Lacan evokes in connection
with the mirror stage; it is the same jubilation in front of the work of art; the artist
is a little like a father who would abandon his children.
4. The Sensibility and the Perception

We will try to question the relation between the perception and the world of
senses. We will base our ideas on the thesis of Etienne Dessoy (11, pp. 293-301)
who allows us to enter clearly the world of the senses according to Erwing Straus,
Le sens des sens. Contribution ltude des fondements de la psychologie [The
Meanings of the Senses. Contribution to the Study of the Basics of Psychology]
(29).
If fusion is tested in the world of the senses and that perception detaches the
look [le regard] from its object of perception, this detachment is a rupture in the
link that plunges us within the senses. How is that possible since we bathe
continuously in this sensory bath?
Dessoy (11, p. 293) answers that:
Perceptions are produced by a going beyond the perspective

link defined by each particular point of view and by a going
beyond of the horizon of the landscape. In other words,
perceptions can appear only while being temporarily released
from the senses. Straus insists on this necessity of a jump or a
rupture with the senses in order to reach perceiving. He stresses
that if perception is an objective knowledge, it is only on the
condition that perception is sensory perception and the
determination of the sensory impression. But he warns us: this
determination is not an actual fusion of impression and
lasting because in the process of determination, the immediate
character of the sensory impression is sacrificed; it is in this
meaning that it should be understood that by showing
something, we break the horizon of the sensory experience and
we enter a new world.
Dessoy quotes E. Straus (29, p. 531):
Perception is not a simple summary, a simple repetition of the
impressions of the world of sensation. It is not the summary of
a process of comparison and differentiation; only the rupture of
the horizon of the sensory experience makes possible the
comparison and the determination.
E. Straus insists on the fact of differentiating the sensation of perceiving and

on the fact of not making the perceived an entity that would synthesize or would
summarize the sensation. For him, to sense can appear in no manner as a
prefiguration or a primitive form of perceiving. It makes of sensing a world with
full membership.
Perception is a reflexive process. Straus stresses that the word perception

has also a reflexive significance, in the act of perceiving, I stop the closed-circuit
current of sensation in order to orient myself towards the object, but also towards
myself.
At the same time, if the object is taken as one in oneself, the look [le regard]
that we put in our perception of the object can also be to it taken as one in
oneself. From there is born the idea of a look on a look [un regard sur un regard].
By doing this, the object of perception does not any more concern the subject,
and, in fact, this object does not any more prevent the subject from being detached
from its object.
It is the distinctive feature of the participative look [regard] to consolidate on

the same base that which looks at and the looked-at thing, i.e. that makes the
subject to participate in the inside of the looked-at thing, which makes it possible to
form a unit with the looked-at thing. The prototypic example of this participative
look is the look of the baby with respect to its mother. The amorous look in him is
obvious to understand as this type of look makes us stick to the looked-at thing
without possibility of emerging from the inside of this sensation. It is a look that
tends to the lack of differentiation. Without a difference, there is no separation.
The manner of being in the sensation falls under a ceaseless communication

between the subject and the object where it becomes almost impossible to divide
the two entities in as much the world of sensation obliges the subject to form a
unit with its object. Dessoy speaks about pre-subject in the world of sensation.
On the other hand, it is exactly the reverse of this participative look that occurs
in the look that pursues the trajectory of the creative process. The basic logical
movement of this trajectory is, according to us, the distancing. The distancing is
finalized in the process itself. That means that the process sets in motion itself -- it
is in its nature -- the distancing. It is expressed in the principle of differentiation:
the difference as indivisible distance.
On this trajectory is a passage that corresponds to an exiting of the world of

sensation via the perceptive act. In detaching the look of the subject placed in the
pre-subject in the world of sensation, the perception strikes [sidre] the world of
sensation and makes occur the source of this look as a subject.
It is not esoteric to postulate at this time the establishment of what we could

call a perceptive interiorized center of gravity that imprints with perception a
center of which operates its original filiation. It is the participation with the other
that is destroyed in the sense where it revolves around a center of gravity located in
the relational interval or inside of the bond of sensation that ties the looking to the
looked-at thing. The passage from sensation to perception would be reducible to
the displacement of the center of gravity of our being to the world in us, i.e. apart
from this interval.
In these senses, the rupture of the contact is a push towards
objective differentiation to the condition that the person does
not cease reconnecting. On the contrary, the fusional contact
imposes the lack of differentiation. (Dessoy, 11, p. 301)
In the passage between sensation and perception, the position m + -- especially

if it is associated with p - -- is that which is consistent with sensation, in the inside
of the look that participates, the look that tends to the lack of differentiation. It is
the look that cancels the differences. Its existential center of gravity is located in
the interval.
The position m - assumes the rupture of the contact with the world of sensation
especially if it is associated with a p+. The position m - is registered consequently
apart from the participation, in the look that tends to differentiation, therefore, that
tends to make emerge differences. Its existential center of gravity is interiorized.
As a rupture of the horizon of the sensory experience, it is a position favorable to
the establishment of perception.
5. To Startle [Sideration*]
[*Sideration: to startle; to strike something, to dumbfound; to astonish; to strike
one to the point of the person seeing stars (the etymology of sideration is stars); to
be struck down as by lightening or a blast]
If you are followed by a wandering dog that will not stop following you in
spite of your efforts to dissuade it from following you and if you cannot detach it
from you, you are then obliged once and for all to strike [sidrer] this dog by
showing him once and for all your clear intention in this connection by a kick, a
cry, a throwing of an object, etc. By doing this the dog is focused on you as a
subject and stops following you. Consequently, between you two, a distance is
created, a distance that would not have been possible if the dog had stuck all along
the way with you.
This is a little like the same thing on the level of perception. To make visible
an object of perception, it is necessary initially a striking [sidrer], give it a
contour, a limit, a seizable form by the senses,. Once this sideration is
established, perception can consequently be unblocked and can place an external
look at this object that is seen such as it is.
The refusal of the verisimilitude of things is registered accordingly. Kandinsky

is rather eloquent on this subject:
The disintegration of the atom meant for me the disintegration
of the whole world. In one moment, the thickest barriers
crumbled. All became uncertain, unsteady, weak. I would have
been by no means astonished to see a stone dissolving in the air
and thus disappearing completely. (Dchting, 12, pp. 10-11)
6. Detachment or Disengaging
Marcel Proust in A la recherche du temps perdu [Remembrance of Things
Past] gives us a possibility of introducing this facet.
In order to go for a drive, it is not necessary to have the most
powerful automobile, but an automobile that does not continue
to run ahead and cross a vertical the line that it followed is able
to convert into upward force its horizontal speed. In the same
way those who produce brilliant works are not those who live in
the most delicate environment and who have the most brilliant
conversation and the most extensive culture, but those who
have the capacity, abruptly stopping [all this] to live for

themselves, making their personality similar to a mirror, so that
their life, if mediocre indeed in that it could be mundane and
even, in a certain sense, intellectually speaking, reflect itself
there, the consistent genius in the reflecting capacity and not in
the intrinsic quality of the reflected view. (24, p. 555)
We have here in this extract the possibility of illustrating the distancing

movement of creation by using the metaphor of Marcel Proust on the course of an
automobile. It is a matter, in fact, of passing from a horizontal line to a vertical line
without raising the resistance, i.e. in a solution of continuity in any course. What
Proust proposes metaphorically is a passage between two planes. The important
thing is not to locate each plane in themselves but in the relationship between them.
It is the crossing, not the contents, that is the movement of creation.
How to reach this upward movement on the basis of a horizontal movement? It

is the logic of the movement of the creation that gives us the key. In fact, according
to us, creation obeys this basic logical formula: to move away as much as possible.
The horizontal line gives the movement from which it is necessary to move
away. How to move away as much as possible? The maximum distance is situated
at an angle of 90 degrees. If we are below this angle, we do not move away as
much as is possible. Beyond 90 degree, our distance brings us closer to the base
line. In this case, it is a little as if one took the counter-current but all the while
always locating in the same realm, the same plane. This is what illustrates the two
dotted arrows that lean towards the direction of the base line.
The only direction that moves away as much as possible is the vertical, upward
line. Indeed, this direction is that of another plane. No possibility of approaching
the base line with this direction.
Here illustrated metaphorically and schematically the disengaging, the

detachment, the movement of which the beginning of the creative movement that,
according to us, is to move oneself away as much as possible.
The authors who were interested in the experimental study of
creativity defined this time as that of divergent thought, i.e.
which diverges from the stereotypes and the standards, by
dissociation from the usually associated elements. A correct
description, but impoverishing, of the process.... (Anzieu, 3, p.

4)
If the persons look [regard] follows this upward movement with respect to
oneself, it opens for itself the possibility of a specular [mirror-like] relation. One
can look at oneself living, thinking, speaking, and even reasoning. This is a mirror
to oneself.
The persons look becomes the object of his looking and by doing this, the
looking at the look [le regard du regard] is the result of a qualitative jump and of
another nature according to two different planes inscribed under the same banner,
that of the unity of the creator beyond this specular relation with himself or herself.
We tried to trace the trajectory of the creative look and its principle of
direction in its logical nakedness. Simply and terribly effective, the logic of the
moving away as much as possible infallibly will lead us to return our looking on
our own looking. And, there is only one looking of another nature that can move
away from this basic looking.
The possibility of being affected by this looking on a looking is registered in

the experience of the detachment whose paroxysm is located at the moment when it
is our own looking that is the object of this disengaging.
7. The Capture
Thus, from another side, there is a capture in the sense where what one wants
to promote must be captured in order to be injected in oneself and in order to
collect and to capture in the ceaseless flux of what is happening in order to prevent
it from escaping. Thus, the putting into form that which corresponds henceforth to
oneself will consist in selecting in the sensory and conceptual flux what
corresponds to the new image of what one wants to promote. This is the function of
k +.
In k +, there is seizure of an image of oneself in its sensibility, all the more

strong as its identity is threatened with disintegration. This is what the catatonic
schizophrenic expresses intensely. It has a movement of capture in our perception
and of putting into form of what is judged to be oneself. We will draw from the
immense flood of information that our senses collect at every moment:
By the sensory organs, we collect in the environment a
tremendous amount of information (a billion bits) of which only
one weak part (ten to hundred bits) becomes conscious to us.
(28, p. 274)
Music, ceramics, painting, the sculpturerequires on the whole a perceptive

capturing that is worked out in a personal relation. The creators use their senses for
their use to build an image of oneself by oneself.
By defining us as passive agents of perception, the language
dissimulates how we take part in our sensory experience. For
example, each one of us knows that electric bulbs produce light,
and it seems natural to say to extinguish the light or to light
the light. But does the bulb produce the light? A physicist
would say that the electrons are propagated in the filament of
the bulb that, when it became rather hot, emits electromagnetic
waves that act on the rods and the cones of the retina of the eye.
Under these conditions, an observer situated in an appropriate
way and with the nervous system functions normally, has the
experience of the light. (...) By defining the light as a property
of the electric bulb, the language dissimulates how we take part
ourselves in our sensory experience, since the light is then
defined as an objective property of the world, i.e. independent
of the observer. (Segal, 27, pp. 55-56)
We turn now to Bateson to question the subjective threshold of our

representations.
The thesis of this bookrests on the idea that science is a way
of perceiving and to give what one can call a meaning to the
perceived things. But perception is carried out only by
differences. To receive information, it is necessarily to receive
awareness of a difference, and any perception (of a difference)
is limited by a threshold. The too feeble differences or those
that intervene too slowly are not perceptible: they cannot be
used as food for perception. It follows from that that what we,
as scientists, can perceive will always be limited by a threshold.
That means that all that is subliminal will not bring water to our
mill. Knowledge at every given moment will be a function of
the thresholds of our means of available perception. (Bateson,
5, p. 35)
This is what makes Bateson state that science probes; it does not prove
(Bateson, 5, p.36). Indeed, for him, science can assert only to be entitled to be a
method of perception limited in its capacity to collect the external and visible signs
of what could constitute the truth.
All the subjectivity of our experience is what is proposed here. Just like our
personal knowledge, the collective knowledge rests on a perception oriented
according to finalities. But those of the ordinary oblige our sensibility to seeing
correctly what it is necessary to see or not to see in order to live in society

according to the rules that this society enacts.
Any experience is subjectiveour brain creates the images that
we think of perceiving. (...) The experience of the outside world
is only possible except by our particular sensors and by nervous
pathways. To this degree, the objects are my creation, and
the experience that I have of them is subjective, not
objective (boldfaced by us). (Bateson, 5, p. 37)
The analysis of the Rorschach protocols puts the finger for the diagnosis of
psychotic troubles on the quite relative notion of reality. The teaching of this
reality to the future psychologists rests on some concepts of which we will form
here state according to one of our professors of psychology in the University of
Liege, Chairperson Mormont, in an article entitled: Rigueur et mise en doute de la
perception dans le diagnostic de psychose au Rorschach [Rigor and Setting into
Doubt of Perception in the Diagnosis of Psychosis in the Rorschach]. (Mormont,
22). On the first page, we can read:
It is that we know only what our sensory and conceptual
systems allow us to integrate; we are thus in the impossibility of
seizing and of even guessing the share of reality that escapes
these systems. And consequently, to verify our perception up to
the degree that gives justice to reality that, for us, can be only
virtual and unknowable in its totality and its truth. In fact,
what we call reality is our share of the world that we apprehend
by our senses.
Thus usually, the analysis of the psychotic processes rests on data that are: 1 -
precision of the quality of perception (F+%), 2 - the conformist aspect of this
perception (A%) and 3 - to be in agreement with the collective thought (Ban%).
But even with these criteria, there remain remote regions because always according
to Mormont (22, p. 9):
Empirically, one observes that often the psychologists dismiss
the hypothesis of psychosis if these variables (adaptive triad)
reach satisfactory values. However, certain psychotics (in
particular the delirious that are not dissociated), preserve a
rigorous perception of reality associated with putting in doubt
this perception. In this case, the adaptive triad can be excellent
whereas the individual is openly psychotic.
To preserve a perception of reality rigorously associated with a putting in

doubt of this perception is a frequent process in creators according to their own
statements. If, with Chairperson Mormont, we pay attention not to too quickly label
certain persons in one way or another, it is undeniable that a creator faced with this
kind of evaluation is a particular case that calls for prudence in the analysis.
It is here that we invite the psychologist to remember that it is possible to

function as a psychotic, as a pervert, as a depressive, and as a narcissist
without structuring itself as such. There would be times and situations to which
the creator subjects himself for his own pursuit. Obviously, the creator can go off
the rails but all do not do so.
We will finish here with the thought of Gaston Bachelard (4, p. 10).
For all, it is necessary to become aware of the fact that the new
experience said no to the old experience, without that,
obviously, it is not a question of a new experience. But this no
is never final for a spirit that knows logically to discuss his
principles, to constitute in himself the new kinds of evidence, to
enrich its corpus of explanation without giving any privilege to
what would be a corpus of natural explanation suitable to
explain everything.
Let us return to Bateson because he highlights what, in perception, is

perception. It is the perception of a difference, an intangible concept but however
quite present at every moment of our life.
Of all the examples, the simplest but the most profound is the
fact that one needs at least two things to create a difference. In
order to create the awareness of the difference, i.e.
information, one needs two entities (real or imaginary) such as
the difference that exists between them can belong by rights to
their mutual relation. (Bateson, 5, p. 74)
A spirit, according to Bateson, is a collection of parts, or components, in

interaction. The interaction between the parts of a spirit is brought about by a
difference, and the difference is a nonmaterial phenomenon, to which one cannot
assign a place in space or time: the difference is to be brought closer to the
negation of entropy and the entropy* more than of energy. (Bateson, 5, p. 98)
[*entropy = measure of the unpredictability of energy]
Thus, that which does not change is unperceivable unless we decide to be

changed by relationship to it.
The difference, being of the same nature as the relation, is
situated outside of time or of space. One says that the white
mark is there, in the middle of the blackboard, but the
difference between the mark and the blackboard is not there.
It is not in the mark; it is not in the blackboard; it is not either in
the space ranging between the blackboard and the chalk.
(Bateson, 5, p. 105)
Obviously, a context where there is no perceptible difference between two

stimuli is not a context allowing a discrimination.
In any object, there exists an infinite number of differences. Of this infinity of

differences, we select a very limited number of differences that become
information. In fact, that which we indicate by information -- the basic unit of
information -- is a difference that creates a difference. A perceived difference
constitutes information because a black spot on a white sheet raises a difference
that will create a difference on my retina and then in my brain. Thus, this difference
will constitute an information. The difference is an abstraction; it is contained
neither in the sheet nor in the black spot. It is the relation between the two.
Without a difference and without a distinction, there is no possible relation.

Even in the cases of the relation between a human being and himself or herself, one
distinguishes then the entities that communicate among themselves. Part of the
individual is made a spectator of the totality of the individual of which he is a
participant.
It is the difference that permits the distancing between two things, two objects,
two ideas.
8. Sensibility and the Work of the Senses

If we take the functional definition of the senses, we conceive the senses as
channels of related information that inform us about our internal state and the
environment. Each sense is regulated on a basic level and the variations related to
this level indicate the value of received information to us. There is thus a sensory
reference that is to some extent a zero, a thermostat. Indeed, since the sensibility
is perceptive, we recall that, according to G. Bateson, perception is only possible
with the condition that it is discriminating, i.e. it is based on a perceptive
difference. It is here that the sensory reference plays its part.
There are consequently classically the five senses that relates to the body. But
by analogy, mood (joy, anxiety, anger), the sense of the other and oneself, the sense
of time, the sense of space, the sense of the specularity and in another the sense of
continuity are all of the processes comparable to the functional definition of the
senses. We could continue with the sense of honor that indicates to us if our
conduct is in the traditional, in the image of oneself where if the image deviates
from it; that which is in oneself a related information that informs us about our
representations compared to a reference.
Meanings of Specularity*
[*Specularity: related to a mirror and its reflection]
But let us return more particularly to the meaning of specularity. The

specular term returns us to the mirror but we would say more simply than that
that it returns us to something supposed to give us a representation of oneselves.
When we look at ourselves in a mirror, the mirror returns to us our image. We seize
this image and we make use of it to guide us and to evaluate what we are outside
given that the image is an exact reflection of our external appearance.
If the sense of the specularity is correctly a sense, it must be necessarily

regulated perceptively by relation to a reference. The sense of the specularity is an
analogy of the mirror applied to the realm of our internal, mental, and
representational perceptions.
If we speak of a specular relation to the Other, that would mean that the
reference is the Other. We are, in this case, in a participative relation (p -).
On the other hand, a specular relation with oneself would mean that the
reference is to oneself, i.e. our project of being. We are, in this case, in an inverse
relation to that of participation; this is the individualizing position of p +.
What we highlight in this matter on the specular relation is the primacy of

ones view [regard] or the view of the Other as a perceptive reference to a
representation of oneself. Being understood that what we call the view of the Other
or oneself constitutes this image in this mirror where we look at ourselves
internally to situate ourselves.
In fact, it is the bond in the origin that maintains the specular relation: I look
at myself in the glass and I know that it is me because when I move, the image in
the glass moves. It is thus my will that arranges this image. This image is me in the
sense where the I that looks at me is exactly the origin of this image. Therefore, as
a beginning, this image belongs to me since a change in the origin (to blink my
eyes) is reflected automatically in the image.
Pierre Legendre is more explicit in this respect:

The essence here is to discern that the function of the
mirrorreturns to the problem of the relation to causality.
Thus, the opening of the narcissistic problem to the problem of
the thought is revealed. I will say: if that, this shade of the
image, sends back to your looking according to the Ovidian
formula, is the image of oneself because that is recognized as a
different self, such a proposal includes that the subject entered

into its own division, i.e. it exists there as a caused subject
(underlined by us). (Legendre, 16, p. 80)
From the start, the function of the mirror is announced as a schizophrenic

function but in the higher sense of the term, i.e. which institutes a relation with
oneself, a relation of the relation: the ego function. Let us listen to a continuation of
the above:
One can conceive that, under this relation, the mirror can be for
the person the causes of the self. (...) The reflexivity is the only
possible return of the looking on oneself, the obliged way of the
looking that sees itself: the reflexivity orchestrates the
dialectical schema of the causation of the subject. (...) Of the
kind, the relation of identity, by the stage of the metaphor of the
mirror, introduced the person to causality as external to the
subject. (Legendre, 16, p. 81)
And Legendre states that the subject is caused starting from the image that
makes a return to him or her.
It is, we think, the heart of the creation that gives insight by means of this
specular relation with an other of oneself that gives us our existential causality.
Indeed, since the bond of origin connects the image to its source, the creator reads
in his creation that it comes from him. His creation would act as a mirror that gives
an image to him of what he has become while creating. That would make it
possible to a human being to be created through the images that he creates.
9. Sedimentation
There is art only if the word is laid out and formed in a deposit
in a representation, a form that the matter seizes. (Mathieu, 3, p.
162)
This sensory material selected by our k + forms a deposit in thoughts that

are strictly personal for us (in agreement with our project of being: p+) because
they are constituted by our own sensory history. Each one has ones sensory mode
of apprehension and each person sees events whose results gradually mark an
eminently personal trajectory. It is that which we call a sensory history.
The capture of the senses and the thoughts results in repeating an imprint
that is engraved a little more each day in our mental realm; it acquires a weight and
an importance in our eyes. One turns to it when one looks in the direction of ones
own being. What the mouth is accustomed to say, the heart is accustomed to
believe it as Baudelaire states it. Therefore, sedimentation implies a temporal
recurrence; it acts to maintain something.
This sedimentation maintains the perceptive and conceptual elements to which

we adhere. It is an injection of a material in our image of oneself. This process
stresses the great availability for oneself that it is necessary to have.
2. Quarter k + p +
1. Relation with Oneself
We speak about an autocentric relation in k+ p+. It is interesting to note with
Jean Mlon in his Doctorate thesis that:
The interpretation of Rorschach, which sees in the banal
answers the sign of the participation in the manner of
conceiving of the community, has never been disputed. The
more a subject is a conformist, the more Ban% has the tendency
to rise; the more it is original, or autistic, the more the Ban% is
low. (...) Ban% is highest (>30%) when the functions of
negation (k-) and participation (p-) are coupled. The Ban% is
lowest in the group (Sch) ++. (...) The percentage of the Ban
confirms the adaptive character of (Sch) - - and, on the other
hand, the hyper-originality connected to (Sch) + +. (Mlon, 19,
p. 77)
The relation to oneself is an engine of powerful development thanks to the

detachment of the relationship to others and the strength of ones look on that of
the others. But the narcissistic relation can become an absolute relation in the sense
where the Other is excluded as a specular reference in ones relation to oneself.
There is nothing any more but oneself and oneself: it is in this sense where that
becomes absolute. Because if in oneself, there is no more the negation of oneself,
the system can get carried away.
The Absolute Aspect of the Narcissistic Relation
The absolute aspect of the narcissistic relation prevents the access to what is
not registered in this relation, i.e. the Other. In this sense, narcissism is an obstacle
to self-knowledge that is basically relative. Perception is based on the perception of
a difference. From this perception is born knowledge. If its own perception is
enclosed in an absolute relation with oneself, it is not very probable that the
perception can capture what would be different from oneself, i.e., to some extent,
that could call in question this self. Perception would capture only what the
individual wants to see to maintain his or her absolute relation with himself or
herself.
The Relative Aspect of the Narcissistic Relation
A person postulates a relation with oneself in the sense where, for example, we
anticipate ourselves with ourselves a personal project that we are alone to carry out.
The relative aspect would result owing to the fact that this individual is conscious
that he will have difficulties and perhaps that other persons who judged this project
negatively are not wrong.
It is this amalgam of doubt and personal convictions that maintains the relation
with the Other. Their view [regard] is put between parentheses but it remains a
delicate pattern in the background. Sometimes, the subject will dash towards his
personal belief in his or her choice and will decrease the influence of the judgment
of the others; and at other times, he will doubt so much that it will take two hands
to stop his project.
But, to advance in his creative project, he will have to fit it continuously in a

relation with himself. Within this relation, he or she will waver between two poles:
that of the Other apart from the project and that, omnipotent, of an absolute relation
to himself or herself. It is a good balance between these two poles when the subject
can be confined to a project without losing the relation with the Other. On the other
hand, excesses will push him towards impotence in relation to his project when it is
located too much in the viewpoint [le regard] of the Other; maybe towards the
entry of the mechanisms more psychotic if he evacuates the viewpoint of the Other.
Thus, it is truly the positioning of the individual compared to his own negation
or more precisely compared to introjection of what can deny him what is essential
to situate him when he enters a specular relation to his powerful self.
The creator as long as he does not completely invest his ego in its production,
as long as he makes creation second to more human aspects, and as long as he
counts creation as a means -- he is ensured to remain in a specular relation with
himself that maintains the distance between the imaginary and the reality through
the symbolic system that holds the place of a guardrail. If this relation is fulfilled,
he endorses his creation instead of his being and blocks any process of revival and
of distance in relation to his own productions.
2. The Creative Fiction Is a Differentiating Fiction

The majority of people invest a relation with somebody and live out a desire
for fusion with this Other in reality. For the creator, it seems that, rightly, his ego
feels itself in danger faced with an intense fusional pressure. That is deduced by
reversing the general direction of the creative process. If we know towards what
this one tends, we know at the same time what it moves away from.
Thus, the more creation is indispensable to the creator, the more there is a
danger not to move away from it towards what the creative process moves away
from. This conception of creation rests on a vision of it as a possible mechanism of
defense. It is in the disproportion of the process that is born the intuition of the
observer that consequently suspects the not innocent nature of the process.
That is all the more obvious as there exist creators who cannot tear themselves
away with their creative process to that which he clings at all costs to a life buoy.
The question that jumps at one then is: Are they afraid of something by releasing
creation? And then, in the affirmative: of what are they afraid?
Consequently, in order to know more, we question the creative process itself

and while turning around its direction in the exactly the opposite meaning, we have
the possibility of comprehending from where or from what it moves away from.
The first thing that we will see is the Other (popular masses), the common
run (and the leveling and the lack of differentiation of oneself in the mass), the
collective (>< solitary creator).
The second is a fusion with the Other, the participation with it without any
distancing.
The third thing is reality.
Why vigorously move away from these three elements in the name of an
omnipotent and imaginary I? It is that this I is in danger. More precisely, the ego of
the creator is in danger.
In danger of what? Danger of drowning oneself in fusion with the Other in

reality. More precisely, the limits of the ego are so permeable that it is likely to
disappear in the participation with the Other.
We would say that, in the creators, their ego tends with them naturally towards
openness. Thus, one of the principal activities of their ego would consist in fighting
against this basic tendency to open their ego. That could explain their great
capacity to enter into resonance with people. Their great empathic capacity would
result from this basic permeability of their ego. Thus, the creators conceal a very
great sensitivity that is often at this point excessive so that they lose themselves in
the sensory flood that inundates them.
By doing this, the limits of their ego would arrive at being so porous and so
permeable with the Other that the distinction between oneself and the Other would
become very difficult.
A real effort at paying attention is then necessary to make a dam for this
sensory flow in order to channel it. Putting into form their sensibility is often a
necessity to preserve this excessive sensitivity. This putting into form would
correspond to a systole of ego with a specific use: this is the function of the factor
k +.
From there to use this potential for other things, there is only one step that they
briskly cross while creating.
It is important to moderate the permeability of the ego. The ego can be

plastic*, i.e. there can yield the place to the other while remaining itself. And, in
the extreme, the ego can become porous and, in this case, the creation becomes a
defense against a psychotic mechanism. [*plastic = easily molded or shaped; easily
influenced; impressionable]
Thus, to move away from reality would make it possible for the ego to keep its
borders. The creative process gives the exchange to the desire of fusion while
allowing it to live itself through the imagination. Still it is necessary to create a self
that can be taken for this Other. Once the actors are established on the imaginary
created scene, the great fusion can begin. It is in this sense that the p + can be
taken for a p - and that one sees appearing in the test the people with p - who are
registered under the benevolence of a p + sitting enthroned above the scene.
Thus, the creative process would allow a satisfaction of a desire for fusion
without putting the ego in danger since the place of this lack of differentiation is
imaginary. An imagination held tightly by a p + that orchestrates the setting of the
scene of fusion. The I thinking of p + would have sufficient distance not to be
fooled by its own fiction that is played on the imaginary scene of creation. The
implicit influence of p + in creation is placed hierarchically above this imaginary
fusion because it is from its intention that is born this creative fiction because
creation is above all a fiction.
We think that the creative intention is in p + and not in p -. Situated in p -,

creation would not have a director within the meaning of an external I that thinks
up the course of the creative fiction. And p+ is the most developed position at the
level of the ego.
Since creation is a fiction, we are able to state that one of the elements of this
fiction consists correctly with the fact that the p + permits itself to be p - from time
to time.
3. The Search for a Lack of Differentiation

Hate allows a differentiation because it is producing an altrit [otherness]. It
allows its own space that can become a place of creation. But the creative process
paradoxically seems to nourish the desire for returning to the origins, a desire for a
lack of differentiation.
There is a paradox because it distances one from others in reality in order to

create and, at the same time, it tends towards the lack of differentiation and toward
the Other in ones imaginary. This paradox can be raised by adjusting the reality
and imaginary plans.
If the creator is somebody who has a strong desire of fusion, the lack of
differentiation, he seems to figure out the threat with this desire. He wants, on the
one hand, to satisfy this desire there and, on the other hand, there is a whole
psychic mechanism that tends to preserve the integrity of ego faced with this
tension towards the lack of differentiation.
The idea would be that, in creation, he can live out what he cannot live out in
reality otherwise he really loses himself. In imagination, that remains imaginary
and fusion with the Other preserves his ego that does not risk anything since all that
is imaginary.
4. The Essence: the Total Choice

In k+ p +, the creator would draw from his essence his potentiality to be in
order to resituate himself or herself in the pure movement of the absolute choice.
This potentiality to be, registered in each one of us, would consist with to be
everything and to have everything in potentiality because no effective choice would
be made. The imaginary has this property virtually to allow choices that are not
each time at each moment renewed. Lhomme, ce voyageur disponible [Man, This
Available Traveler] . (Beaujon, 7, p. 192)
The absolute choice is the possibility of choosing everything without choosing

anything.
Not to choose is to have the possibility of choosing everything; it is total

freedom. Freedom because it is not attached; total insofar as one would not choose
anything specific, that is to say everything. This is a movement of thought that
tends towards the lack of differentiation.
We can speak about the opposition between to be [ltre] and being [ltant].
Being is what, from to be, appears on the level of the phenomena. It is what we can
perceive from to be. The being itself escapes us, to be is with the principle of being
but one never has a good grasp of it in phenomenon and, thus, one can only know
that which is of the order of being.
In the viewpoint by what preceded, to be [ltre] presents itself as the negation

of being [ltant] that is sensitive, i.e. accessible to the senses. To be is a
movement of an occurrence tended towards something. Being has this property

to be accessible to the senses, i.e. to fall under a reality that confines it and that
removes from it this dimension of potentiality. In the same way, conversely,
being would be the negation of to be.
To choose an existence is to plunge in being [ltant] -- something that is

maintained and is accessible to the senses. This is to deny the possibility of all the
other possibilities of existence, i.e. the choice allowed all positions. Being would
seem here to be a process of differentiation.
To choose the choice for everything is not to exist in such or such other
direction. This is to be at a crossroad of paths without deciding for one or for the
other. To be [ltre] would seem here to be a process of the lack of differentiation.
To create would be to plunge ones self in ones essence. This would be to

some extent a reminiscence of our being [tre], to remember that one has a
movement to be [tre] transcendent, continuously to happen beyond any choice.
This would be to remember that we can escape all constraints some of which are by
releasing us from our choices of existence. To remember this freedom registered in
each one of us, that is the omniscience of the absolute choice.
The creator would tend towards to be [ltre] while letting himself move
towards the deconstruction* of his choices of existence. He will let come what may
come; he would let go and would not register the free movement of his thought in
reality; he would not choose as much as he has not decided on it. The only limit
that he would set is to limit the limitation. He turns around the process of limitation
against itself. He short-circuits the brakes of thought that, consequently, carries it
away to not finishing. [*Deconstruction involves the close reading of texts in order
to demonstrate that, rather than being a unified whole, any given text has
irreconcilably contradictory meanings.]
After to be [tre] goes in its essence to detach itself from its existence, it
would make a return to its existence by posing certain choices that would be
maintained at all cost. This return could be done only by the negation of its to be
[tre] potential and of this potentiality to be [tre] everything. The choice that the
creators would have made would consequently be actualized as new data resulting
from their return to the sources of their existence. k- and p- move towards a process
of limitation and of differentiation.
In the final analysis, the choice would rest on the desire to give body to his
choices. That would stipulate the space-time inscription of his choices that would
defer to the creator the decision that he took to choose something.
Therefore, to choose and to be held to it (a kind of capture) would logically

make us leave the infinite fields of the potentiality to be [ltre]. Main-tenir
[Main-tenir = literally: to hold (tenir) in ones hand (Main): to maintain] ones
choice is to repeat the same choice. This is to give him initially a temporal body in
the sense where the result of this choice and the object of the choice is recurring.
Then, to register this body in space by giving it forms, colors, and words is to
give to the carried out choice a sensual body, i.e. that can be harnessed by the
senses.
The conjunction of the effect of time and the effect of space makes this choice
real. It takes part with space-time reality and, so it tends to exist. To some extent, it
also tends towards the irreversible. Therefore, the space-time inscription in the
procedure of the choice puts aside the potentiality (which could lead back this
choice towards the imagination and cause its disintegration in the movement to be
[ltre] by the lack of differentiation) by giving a body to the work.
With the inverse -- with remaining too long in creation -- one risks remaining
in a total lack of differentiation.
The creative journey would make it possible to control the impact of the lack
of differentiation and to live that in his imagination. That avoids him from wanting
to live that in reality. The goal of the creative play then consists in preserving ones
ego from an intense sensibility to the desire of the Other in order not to drown
there.
The creative process would make it possible in the imagination to drown in an

Other that would be, in fact, a self created and taken for an Other. The principal
characteristic of creation being to create something of the unknown thus inevitably
different from the Other in reality. That would be equivalent, perhaps, very well to
convince himself or herself that it is not a question of the Other that exists in
reality. There is possibility of confusion between oneself and oneself in creation
because one of his or her two selves is taken for the Other in order to satisfy the
desire for fusion and a lack of differentiation.
The self taken for the Other should consequently have sufficient distance in
relation to the genuine, alive Other in reality and it is in this sense that the creative
act should create something of the new, something of the different, and something
of the imaginary laltrit [otherness] for which there cannot be confusion between
the self-other and the real Other. The new character of creation would prevent this
possible confusion.
Once this self-other is set up, the self begins to enter into fusion with this self-
other and fully satisfies in the imagination the desire for fusion. Afterwards, he or
she has lived this fusion in his or her imagination, he or she should not seek as
much this fusion in reality. The push for a lack of differentiation is calmed; he or
she can find the Other in reality (the real other) without putting in danger his or her
ego.
He always keeps his self-other in him for the situation where a fusional push
has suddenly put the integrity of his ego in danger. This imaginary self-other would
act as a protector of the limits of the ego when faced with the Other that in reality
becomes too invasive. If there is danger of disintegration of the ego in reality
through the relation with the Other, he can find in his imagination all its
mechanism that satisfies the desire for fusion while remaining himself.
This matter would open a door for the explanation of the emergence of the
psychotic process in the creators.
To create the new one in oneself, the Other of oneself would thus correspond
to a psychic defense that consists in preventing any possible confusion between the
imaginary Other created by oneself and the Other in reality with which fusion is
dangerous.
The oppositional no can say no to the Other in spite of the force of the desire
for fusion with this Other implicit in creation because this desire finds its full
expression in the imagination.
At the exit from the creative process, a step towards differentiation in the
relationship with the (real) Other will have been taken. To want to give birth to
oneself by oneself would indicate the desire to be a different self and to exist for
oneself. Conversely, that indicates the implicit primacy of the Other in the
imagination of the creator and the omnipotence of the parental imagoes against
which it is necessary to fight to exist: to reject them is to be in oneself ones own
creator.
Thus, the first stage would be of producing laltrit by the hate as a defense
against a desire for fusion in order to differentiate oneself in reality (the role of the
detachment).
The second phase would consist in producing an imaginary self-other in the

creative process not to be different without putting the ego in danger thanks to the
maintenance of the specular relation.
The third stage would be, after the going beyond the desire for fusion operated
in the imagination, the return towards the Other in reality within the framework of
a healthy differentiation.
5. In What Way Is an Other a Creation?

Jean Mlon (18) underlines the fact that people very often consider that a work
expresses something. In fact, it never expresses anything; it is itself itself. A work
once it is realized is like a person; it is sufficient for itself. It does not represent
anything.
The artist is a kind of medium from this viewpoint. The creator is a medium in
the sense where the creation passes through him and he himself does not know for
that matter how that is done. He lets himself become immersed; it is necessary to
abandon himself in order to create; it is necessary to let come something that one
does not know from where that it comes exactly.
A work is. Autonomous, released from its creator, it does not express anything
except its existence.
The filiation between the creator and the work within the framework of the
specular relation to oneself (in the precession of oneself) can allow the illusion of
the sameness (relation of ipseity [individual, individuality]) between the creator and
his creation. This illusion can make it possible to maintain an imaginary lack of
differentiation between oneself and the other by means of the work. On the other
hand, the strangeness of work and from its origin has this sufficient altrit to
incarnate in imagination this Other that lives in reality.
6. Autopoise
The quarter k + p + suggests a configuration of existence [ltre] according to
a principle of self-emergence. The term that gives form to this configuration is
autopoise [self-creation]. We think that the quarter k + p + is an organization of
an autoplastic and autocentric self. It is the direction of the movements of the
thought and the senses towards a virtual center of gravity located in oneself that
poses the idea of an interpretation of this virtual center as a reference for oneself.
This centripetal movement and this reference in oneself are what one cannot more
significantly present than in the term autopoise [self-creation]. It is in this sense
that we hope that the clarity of this concept will make it possible to illustrate our
subject.
The Chilean neurophilosophers Varela, Maturana and Uribe
formed the term autopoise with two Greek words: auto
(oneself) and poesis (poetry, or creation). This suggests
something that makes itself. (Segal, 27, p. 163)
Andrew (2, p. 359) defines autopoise as the capacity that alive systems have
to develop and to maintain their own organization, the organization that is
developed and maintained being identical to what achieves its development and its
maintenance. Varela (30, p. 13) described an autopoitique [self-creative]

machine as a homeostatic system (or rather composed of stable relations) that has
its own organization (defined as a network of relations) for fundamental
invariability.
The systems autopoitiques [self-creative] are autonomous.
They determine their own operations. If they do not do this,
they disintegrate and die. A system is autonomous when it
controls itself and defines for itself its own laws. (Segal, p. 164)
We think that it is in the quarter k + p + that this concept of autopoise [self-

creation] is carried to its acme.
3. Quarter k - p +
The reaction k - p + is a reaction of a sophist; it is also the reaction of the
rational individual. But it is above all the reaction of a subject who defends his
opinion.
The individual who functions in the myth is opposed to that which is

positioned in the logos; they are irreducible enemies. Indeed, the sophist destroys
myth and what counts is the subject who speaks his mind. That brings us to
Descartes: I think, therefore I am (the only thing that I know is that I am a thinking
thing). The position k - p + is a Cartesian position, i.e. a position of doubt or rather
it is what succeeds the doubt. Descartes states: I doubt everything,; it is really
that which does not believe any more in anything.
The one who is in the mythical position himself believes. k + p - absolutely

needs to believe; in order to exist, he believes. If we adopt the opposite position,
we adopt the Cartesian position: I doubt, it is perhaps true, it is perhaps false; I
decide that the only thing that I know is that I think therefore I am.
p+ is I think. k - p + is the claim of its word of oneself against an imposed

word (I believe in myself as a giver of an answer). p+ is a transcendental position:
I dominate the world.
In a culture like ours, let us say logos (oratio, ratio, proportio [oratory, reason,
and proper relation between parts]), this position is the ideal that is imposed on
each person (Compare the obligation of the dissertation for the advanced student).
One does not have a choice; one is practically obliged to function like that. If one
does not do that, one is outside of the system; therefore, this is a constraint.
The position k - p + is the position that one meets most often in neurotics
because it pertains to what one has tried to encompass: this ambition and, at the
same time, this obligation to be oneself and to free oneself from something that
would be this mythical universe of which we do not take part any more.
In the reaction k - p +, there is an inhibition, but what does it mean to inhibit?

Hemmung (inhibition) is understood in the Freudian sense and in the
metapsychologic* sense, i.e. to perceive the object in its external reality, it is
necessary to inhibit the hallucinatory activity. However, the hallucinatory activity
implies belief: I believe, thus I hallucinate. If I believe, I will end up
hallucinating (Compare: spiritualism, a trance). [*metapsychologic: beyond the
psychological]
The person who puts himself or herself in this position k - p + is inhibited in

the sense where he or she refuses to be in this state of influence where the
hallucinatory capacity is released. Hemmung is the refusal to enter the
hallucinatory process, which explains why k - p + is the position of the individual
of logos, i.e. the rational individual who bases his conduct on reason. k - is a
realistic position.
According to Mlon, when one does a research task, one is all the time
hallucinating. Then, one is obliged to do an anti-hallucinating work; if not, one lets
oneself be carried away.
Creation is the fact that one lets oneself be carried away by something that is
not of the order of p+. The root of creation is necessarily found in p- and thus in
adhesion to what comes to us by the channel of intuition. That implies that one
believes, that one lets oneself be infiltrated by an idea that can be absurd but to
which one adheres to as little as it is. I believe that, it should be done. The one
who is k - p + will not budge, he or she is too realistic, too scientific one could say,
too much a checker, and too cautious to create. To create, it is necessary to be let
oneself be carried away by no matter what.
Hemmung means also that it is fixed, blocked, stopped because it is very good
at stopping the hallucination, otherwise one is autistic, but if one adopts the exactly
opposite position that is to adhere only to what is absolutely sure and certain, one is
not allowed to innovate. There is nothing to do with the above since a creative
thought implies a paradox because to create, it is absolutely necessary to pass by
that position since it is necessary to give up this position and, at the same time, to
restore it. There is all the time a balancing that must take place.
In the population that seeks advice, k - p + is the most frequent. These are the
ordinary neurotics who are the people who suffer from inhibition; they lack
fantasies; one would readily say to them: Let yourself go. They are people who
are perfectly integrated into the system; it is not false to say that they are the sick
from civilization. In fact, they adhere so much to what is imposed on all of us,
which is the Cartesian ideal, an ideal which is very castrating from that point of
view, which does not allow any more any fantasies and which is the purist
scientific ideal. The devastations of this ideal are immense because it is a true
castration at the level of thought.
k - p + is the most widespread position among civilized people in our culture

because they adhere to this ideology of the individual in the sense that it is
necessary to become someone: You must, it is necessary to go to school, to miss
one year and the world collapses. Even if it is true that it is a position of
progress, it is paradoxically very inhibiting because it imposes an ideal that is in the
final analysis unreachable.
The ambition is p+ and the means is the verification, k-. From time to time,
one is k+ also; one lets oneself go. p+, to be everything, is what characterizes the
ideal of our culture, i.e. to be sufficient for oneself, independent, autonomous. It is
a paradox because, how still to form a community when the ideology pushes
individuation to the maximum?
On the other hand, attachment is a force that it is necessary to take into

account as a human because it forms an integral part of our beginning and of our
source.
Thus the entry in the quarter p + k - supposes in the creator the capacity to
deny his creative course as a defense in order to open in himself a space available
for a very real Other. The presence of the Other in his real life, the place that it
gives him is largely dependant on his capacity to withdraw from his personal
psychic economy the libido that he will concede to the Other. To give to the Other,
it will be necessary for him to deduct from his capital of narcissistic libido.
All that is possible with the condition that his defenses allow to him to do it,
i.e. his ego does not feel any more in danger in a relation with the Other. The
condition of clinging to the Other rests thus on unhooking of oneself and of his
creation.
The quarter k - p +, stage of the (neurotic) negation of omnipotence, is the

anteroom of the quarter k - p -, which is the time of the cycle the most in agreement
with the Other.
1. How to Go Beyond the Desire for Omnipotence?

According to Jean Mlon (18):
A profile of a creator in the phase of creation resembles enough
a profile of a psychotic that there is hardly any difference
between the creators and the psychotics; it is known that there
are many great creators who became psychotics. the border

between the two can be very thin. In all truth, artists say firstly
that they cannot be prevented from creating and secondly that it
is a permanent grief. It is nevertheless not funny. If one does
not create any more, that is alarming; therefore, all that is close
to a psychosis. The psychotic is either in his delirium or he is
nothing at all.
Not to enter a dead end is to maintain in oneself the possibility of being able to
go beyond oneself, i.e. to be able to deny the choices that one made in greatest
confidence. To enter a dead end is to block the going beyond and is to be fixed
with a choice that excludes other choices. It is to have a total relationship to ones
choice to the point of no more being able to reject it. It is vital to being able to be
turned back to oneself.
If we pose the possibility of a negation of oneself (k-) with reference to a
related connection to oneself and its absence for an absolute relation to oneself, we
must question the nature of this negation of oneself within the framework of
creation.
Analysis of G. Bonnet on Narcissism

We had on an occasion during the Szondi conference in 1994 at Leuven to
listen to Gerard Bonnet on the subject of narcissism. We will recount his thought.
We are in possession of transcribed notes from a recorder of this conference. My
dissertation guide, Jean Mlon, also present at this conference, also possessed a
specimen of these notes. We could not thus refer to any bibliography concerning
this conference since, for the moment, it is unpublished. We hope that Szondi
Archives of Louvain-La-Neuve will soon publish the proceedings of this
conference.
Narcissism would be the height of sexuality since it is a search in oneself of

the sex object that one initially goes to seek in the Other. This firm nucleus is
always present in the heart of narcissism. There is narcissism through the return of
the libido to ones own sex, even if this libido irradiates then in the whole body.
Because it is really of the legend that states that Narcissus
would have fallen in love with his own image to the point of
sinking into his own contemplation. (...) It is to be in love with
his own sex that requires one to say, a sex that he prefers to that
of the Echo nymph who has made signs of love to him and who
does not obtain the favors that she hopes for. Not that Narcissus
is there completely indifferent to this pretty nymph; she pleases
him; she awakens in him desire but he estimates that what she
has to offer to him is not worth what he has already. The more
that he finds it in him in a manner much more reassuring and

satisfying. (Bonnet, p. 31)
Narcissus died in his contemplation. This is nevertheless the true problem that
is posed in this history. However, if the unconscious is unaware of death, it is not
unaware of disappearing. The anxiety of castration is the fear that our sexual organ
disappears, and, if one is afraid at this point, it is because this possibility of its
disappearance is anchored very deeply in the unconscious.
But, it is very well that is the subject in the history of Narcissus.
This is the young man who disappears, he dissolves literally in
the pond where he contemplates his image. And it is truly
destiny that it is necessary for us today to reintroduce into the
heart of psychoanalysis in order to operate the second
dismantling. (Bonnet, p. 31)
A. THE DISAPPEARANCE AND THE CULT OF THE PHALLUS

Why this disappearance? To answer, it is rightly necessary to go beyond the
legend in order to rejoin it to the true myth. Bonnet relies upon the book of Pascal
Tignard, which is entitled Le sexe et l'effroi [Sex and Fear] where he has analyzed
in a rather traditional way the history of Narcissus.
A hunter is dumbfounded [mdus] by a look [regard] of which he is unaware

that it is his. He perceives it on the surface of a brook in the forest. He falls into the
reflection that fascinates him and is killed by the frontal look. And according to
Tignard, the ancients are positive that it is not the love that he has for his double
that kills him but it is the look. According to this theory, Narcissus would have
died executed by a look, his look. In other words, the error that he made is not to be
absorbing himself in the contemplation of his image; it would be rather the fact that
he was exposed to the look carried by this image and by this sex. It is this look that
comes to strike him in full force.
One can ask what made this look to have been so dangerous?
Pascal Tignard, in relying on the texts of antiquity, provides the first

explanation. That is due to the very nature of this look that is a sexual look, that
which he calls the look of fascination, the look intended for the sex. This is thus a
look that freezes, which sets and which establishes and which only can, in fact, fill
in and divert.
In antiquity, the exhibition of the phallus was judicious to
exorcize this look in order to alleviate it. The old cults relied on
for centuries to fix this look by the exhibition of the phallus
under all their forms to divert the misdeeds of them that are in
the villages, in the fascistic cults and in the mystery cults. It was
a question of displaying the phallus in one way or another, so as
to keep the members in the shelter of the values carried by the

look made to return on them. (Bonnet, p. 32)
According to this conception, the look would be humiliated owing to the fact
that it is diverted from its natural object that is the sex itself.
Unconsciously, we pay homage to God Phallus in the sense of homosexuality;

we pay, at the same time, homage to our own phallus so as to resist all the
threatening looks as we feel are formed on us. It is finally the equivalent of a
ritualized sexuality and codified for internal use.
According to Tignard, finally, if Narcissus died, it is especially because he had

the gall to look opposite this look. That is to say that he wanted to scan this look
and to pierce its meaning. And, it is based besides on the passage of Ovid that
states: Why did I see something? Why do I made my eyes guilty?.
Therefore, Narcissus is punished for having dared to look in face of the

look on the sex and what it means.
The analysis leads us to think that we can be maintained in
existence only insofar as we render to the phallus the worship
that is appropriate to it and in the form that is appropriate for us
through our symptoms. In the same way, that brings us also to
believe that with each time a misfortune or a difficulty happens
to us and, indeed, it is because we refused to subject ourselves
blindly to it. From where resistances and from where this kind
of palpitations of the symptom. I found a phallus, and it will not
annoy me to find what that wants to say. It is to look at the
look. Therefore, it is a kind of way of saying: Do not seek to
know the look that is opposite and one returns to something
rather traditional and that is the fault of Adam and Eve, who
wanted to pierce the secrecy of the Tree of Life. One touches
there, I would say to the sources for the submission to the
leader, the star, the scientist, and the psychoanalyst; with all
these people who make mysteries and to whom we must simply
return a worship in order to ensure our simple survival.
(Bonnet, p. 32)
B. NEMESIS AND THE PUNISHMENT OF NARCISSUS

It is the narcissism as such that is a trap. In the myth such as we derive it from
Ovid and the disastrous fate that is played with Narcissus, with his imprudence, is
not the fruit of chance, his imprudence or even a whim.
Narcissus was a good hunter, he is more accustomed to set traps than to let
himself be caught by them. If he lets himself be caught, it is because he was made
for that, i.e.:
This trap is a drive and it is a retaliatory measure and not just
for anybody, since we state that the story is the fate of Nemesis
in person. Nemesis is the goddess of revenge, of the cold,
terrible revenge for which there is no possible reply. Narcissus
is carefree and a very fine young man, and suddenly here it is
that the nymphs fall in love with him and, in particular, the
Echo nymph. He repulses her and will let her die as she will
become anorexic. Thus what happened to Narcissus, I would
say his narcissism, and indeed, it is presented as an action of
revenge. That is to say Echo and the nymphs called to Nemesis
and Nemesis says that will not occur like that, and poor
Narcissus, he can be nothing there and he is made a flower in an
instance. (Bonnet, p. 33)
That wants to say that, well beyond the problem of the look, the looking on the
sex that is never only a bait and elements of the trap, and indeed, the true problem
of narcissistic love is that this love for our own sex has a price and a
compensation.
From the time when I seek in myself what I would find in the
other, and, indeed, I make disappear this other, I reduce the
other to nothing. More exactly, he throws back into the
darkness the living and dynamic relation that was awakened at
the beginning. (Bonnet, p. 33)
C. THE EVIL EYE OR SHOCK IN THE RECOIL

All the drama of Narcissus and even of Narcissus in the analytical sense is that
at any moment he risks the return to him of disappearing and of the desire for the
disappearance that he inflicted on the Other. And all the maneuvers that are evoked
up to now in the worship of the phallus, looking at the looking [regard sur le
regard], are finally only attempts to delay this payment.
You know the famous phrase of Freud: The shadow of the
object hovers over me. It is in connection with the destiny of
the melancholic person that is the most terrible of
manifestations, and, indeed, I would say rather than the shadow
of the relation to this object hovers over us all. And this shadow
of a relation is indelible in that it is that which woke up us with
love and that at any moment, it can sweep down on us and
destroy us. (Bonnet, p. 33)
There is no pleasure for anyone insofar as we will find in oneself an equivalent

not of the sex of the Other, but of the pleasure which we initially experienced with
the Other. That is to find in us what the Other gave birth in us and that we
appropriate to ourselves.
From the time when I make it mine, and indeed, there occurs
something that is indeed like a kind of putting to death and a
rejection of the initial relation. This is essential but, as of the
moment when the subject is in a phase to find and to want to
profit, I would say that what was set up in the first relation, then
suddenly there happens the repercussions of the act by which he
is separated from his first relation; in other words, Nemesis
takes part by threatening him of the fate that he has made the
other to undergo. Here, in my sense, that means that any
narcissism is also a drama of narcissism. (Bonnet, p. 34)
D. REALISM OF THE UNCONSCIOUS AND THE DISAPPEARANCE

The nymph Echo remains where she is; she is repulsed. Bonnet compares this
process to repression.
What does the word repression mean? At that time, repression
is formulated in term of Aufhebung, to abolish, to remove. In
other words, repression is something that means not simply the
act to imitate but Go! Out of here! Disappear!. In this case,
the term repression is to be taken literally. A little like the small
children who cry when their mom leaves them but also one
often hears these small children say: Go mom, go away! with
an extraordinary self-confidence, go somewhere else, I want to
amuse myself with my buddies or to be all alone. (Bonnet, p.
34)
This is experienced by all children, in the unconscious, in the strongest sense

of the term; it is a terrible realism. That is equivalent to the murder of the thing
and in the unconscious, it is experienced like a set and irreversible act.
Poussin has devoted a picture that represents Narcissus and the nymph Echo
and, in the center of the picture, there is a young boy representing a person who
holds a torch. It is the torch that will light the pyre that will reduce Narcissus to
ashes.
It is extraordinary because, in the texts of Ovid, there is made
allusion in two words to pyre and that, in fact, the pyre is not
used since Narcissus instead will go into the water that is the
opposite of fire. Basically, Poussin understood very well that
the drama of Narcissus is this confrontation with self-
destruction and with You will disappear, you will be reduced
to ashes. (Bonnet, p. 34)
In the myth, this boomerang effect is presented in such terms that is

inescapable. Why inescapable? This is because there is an effect of structure. In
other words, if the desire for libido autonomy is made to return with this violence,
it is also because it is found on the side of these primary relations of the things that
seriously posed problems. They are these things that the adults injected into the
relation without realizing it and that the subject finds in the relation of today at
certain times.
E. HISTORY OF LEONARDO DE VINCI

Leonardo was born from the union of a certain Pierre and his mistress from
that time who was called Catherina. Shortly after this affair, about a year, Pierre
decides to settle down and to marry. He thus marries another woman who is called
Agura; she is eight years younger than Catherina.
Therefore, he marries a new woman younger than his mistress and, at the same
time, he takes along Leonardo to his new hearth when Leonardo was between 1
year and 18 months. As Pierre is a notary and that it is a man who follows custom,
he did not drop his mistress Catherina; he had her marry someone else. On the
other hand, he does not take the trouble, very curiously, to recognize Leonardo,
who remained all his life a bastard. Thus, Leonardo is to have two successive
mothers and a father whom one could call natural and a provider.
In the large pictures of his maturity, with the Virgin and Saint Anne, there are
always women, and women who ought to have normally, like the mother and the
daughter, a difference in age but who have very little difference in age.
Therefore, the first thing that appears astonishing, a young woman who
represents the love of the beginnings, and then, the very little older woman, often
associated with Jean Baptist, or an object that symbolizes a difficult and distressing
destiny. One can thus think that it is not without relationship with his first relations.
Bonnet advances that the picture represents the mirror on which are reflected
the Narcissus who is Leonardo. But there should be there what threatens him and
that looks at him since always and that could kill him if he does not take guard
there.
What threatens him is not the look as such but what has happened in his
primary relations. Therefore, here is how he tries to be released from this by
putting that in the images and separating himself from all the looks that threaten in
order to exorcize them in certain a way and to use them to his own profit.
Leonardo developed his great production at a crucial moment of his life. He

was with the service of Ludovic More in Milan who had been vanquished at the
time by the French legions. In fact, his patron, with whom he owed everything,
disappeared a few years afterwards. He had to change his patron. He entered into
the services of the king of France thereafter.
It is at the time when he passes from one patron to another that
happened to him what had occurred when he passed from one
mother to another. At the time when he looks at the past and
happens to him a revival of this one. It is necessary that he then
put in an image what had happened in the first relation that
served him as a lightning conductor. (Bonnet, p. 35)
Therefore, according to Bonnet, the misunderstanding of the narcissistic

mortifying situations comes rightly from the double origin of this threat. The
subject interprets and it is inevitable, the violence of the threat that weighs on
him like the inevitable counterpart of his desire for autonomy; in other words,
as the return of the act by which he put an end unilaterally to the first
relations. From where comes his culpability (Narcissistic and non-Oedipal).
But that would probably not be exteriorized there if nothing in his life today
had come to make an echo.
F. THE RECOIL AND THE NARCISSISTIC APPARATUS

The destiny of Narcissus is not only one attempt of structure but also the
resultant of a unique history under the original conditions that are specific to each
one and that became really dangerous only as from the time when the history has
made a return to him.
The question is: What can we do rightly to try to give us a respite?.

Then, I believe that it is possible there are two ways in order to
look at and to limit the complaint. There is that of the way that
the myth indicates to us and then there is the way that
psychoanalysis indicates to us. Therefore, the first
recommended thought is a kind of worship for the phallus
and for the sex, and God knows if our civilization of today is
completely on these inventions and that our culture is in the
course of resuscitating these worships not only in our neuroses,
but even on the public stage. And then, the analytical theory
is not so foreign to the worship of the phallus but not in the
sense that we analyze it. We will try to find a device to keep
us from this evil eye and from this kind of repercussion
from the things of the past. It is a question of some share of
constituting an artificial apparatus in order to face these things
that will fall to them from above and that for some would be
unbearable. (Bonnet, p. 35)
G. THE SHIELD OF PERSEUS

The analytical setting would be, for Bonnet, the replay of the history of
Narcissus. When one lies on the couch, we are like Narcissus; we make disappear
Echo who is the analyst. That will be nothing any more but an echo. And then what
occurs?
And indeed, obviously, I expect to receive reprisals because
Nemesis is going to put them in there. Therefore, I put myself
in the situation of Narcissus, I have mirrors and I tell about my
life. (Bonnet, p. 37)
Only, the difference, we know that it is not truth; in other words, one does not
speak about it. One speaks and one speaks about all that distressingly happens
today in order to articulate it with all that that happened during the life of
yesterday.
In other words, without realizing some of it, one replays, one makes a
psychodrama, one replays the history of Narcissus with this difference that at
the same time one is Perseus, i.e. one puts on a shield to reflect (the look of
disappearing; Compare to The myth of the Gorgon). Finally, basically, the end of
the analysis is the time when one interiorized the system, i.e. we are not any more
at the mercy of the distressing look of the Other and that we understand and we
know to make use of it in order to say: Hold, light signal, there is something that
makes a change in me, all is well. We could also say to ourselves: Be calm. We
are not worked up.
H. THE OTHER, LOVE AND NOTHINGNESS: A WALTZ IN THREE TIME

Narcissistic sexuality can be integrated and take place among
the others only insofar as the subject can formulate through it a
certain number of messages that he carries in him in the form of
translations. When Narcissus turns towards the mirror of the
other, he comes to realize, like all the suicides of the world, that
he really could not love and that these questions could not be
posed. Therefore he throws himself finally into the water in
merging himself with the object of his desire. (Bonnet, p. 40)
The greatest paradox of this history is that any narcissistic expression that
turns around is the remainder of a love letter that did not arrive at its
destination.
It is often said that the children who were not sufficiently loved suffer
thereafter from deprivations of all kinds. Let us not forget the children who could
not love sufficiently, i.e. those who could not answer the echo that they believed to
perceive coming from the origins of their life and that however enabled them to
survive.
Of course, they try to understand what has happened but, when
they do not find anything, they run up against the desire of
disappearing that one day or the another they inflicted on the
other and this desire there rebounds to them like a boomerang
effect. I would say that, in all the cases, it is Echo who lies to
them, it is Echo who calls to them, and it is Echo who kills
them. (Bonnet, p. 40)
2. Effects on the Creative Process

2.1 The Disappearance of Oneself
The look of the disappearing [Le regard de la disparition] that the creator
brings to the other persons leads him to a position that brings him closer to
Narcissus. However, according to Bonnet, Narcissus is punished for having made
disappear this Other by rejecting the advances from the nymph Echo. Nemesis
intervenes then in plunging Narcissus into nothingness of his own disappearance,
i.e. his death.
The analysis of Bonnet highlights the fact that this look of disappearance can
be made to return. This is the recoil. To guard against this recoil, Bonnet cites the
worship of the Phallus as a shield. He goes further in postulating that knowledge is
a worship than one dedicates to a judicious omnipotence to protect us from this
look of the disappearing that would return to us.
In this sense, the creator is in danger of seeing being turned onto him this look
of disappearing and to have a presentiment of the effects of it by a self-destruction
of his course. It is here that can be registered the negation of oneself. But, just as
Perseus repulses the look of the Medusa with his shield, the creator can repulse the
look of the disappearing that would be made to return on him while being protected
with a shield. This shield would be his works and the worship of his works without
which he would vanish.
2.2 The Limit to the Creative Process

In the ruin inherent in excess, the Greeks saw the action of Nemesis.
The excess inflicted on the nature of things causes energy able
to bring back them to appropriate limits. The Greeks have
called this energy Nemesis. (Beaujon, 7, p. 81)
Designating at the same time a divinity and a feeling, sometimes a proper

name and sometimes a substantive, the word Nemesis (or nmsis) is derived from
a Greek word meaning to divide and to distribute. The feeling of the Nemesis is
that which determines and appreciates without indulgence the sharing of things
and, finding it badly done, rejects this distribution and calls for another. The spirit
animated by the feeling of Nemesis understands that the order of the world is in
question and that going beyond the limits will set in motion the force that will
reduce the committed excess.
In all the areas where our activity is exerted, certain limits seem
vital necessities, or regulating principles. If thus one gave the
name of Nemesis to the collection of the forces that regulate
and limit human enterprise and that is likely in the case where
one would ignore the limits and be made to feel as a kind of
recoil or devastating flow of energy backward, one would
transpose into the current mode the exact significance that
Nemesis took in the eyes of the Greeks. (Beaujon, 7, pp. 81-82)
To contain what must be contained: this is the complete problem of the limit.
To contain is not necessarily to repress or to restrict: it is to be included in a vaster
reality. (Beaujon, 7, p.17)
That calls for a dialectical process that could be described as a vision that
covers the fields open to experience so as to discover the elements there by which
they link, in their opposition even, the extremes of this field.
The word dialectical (dia, through) finds here the significance
that the Greeks gave it: search of the truth by the opposition of
points of view and the dialoguing persons the path of the
distance between these points of view. (Beaujon, 7, p. 160)
Thus, the limitation with the creative process rests on a threshold that consists
in not going beyond an excess. This being understood as the preponderance of a
force in relation to another, both being dependant upon their dialectical nature.
What genuine excess would be threatened to the creator?
But it happens that the image stops the vision and captures the
intelligence, instead of promoting them. The image is disguised
as an absolute and becomes an idol. The myths of the nation,
the race, indefinite progress, and revolution prove their power
by history. The myth (a developed metaphor) is a misleading
discourse in the degree where, managing to turn the attention
onto a certain image, the myth frees this image from its
limitation and thus removes the capacity of it to be incorporated
into a higher synthesis. (Beaujon, 7, p. 50)
The complete man appears as a crossing, a crossroads between two worlds, a

node of relations. The most necessary act for him is most difficult: to realize his
unity. He cannot be conceived without the multiplicity that is the extreme opposite.
One and multiple: such is revealed to us with our own eyes. But it is the images of
oneself that are so absolute that they do not suffer any comparison with others
going so far as to deny their own negation. And in that, k + is the negation of its
own possibility of negation, k-. A creator must circulate in these two positions if
not his k + will carry it towards a form of absolute relation with himself that will
then land him in the arms of Nemesis, in fact, a self-destruction located in k- and to
the degree of the imprint of the k+.
It is truly a safety measure of being able dialectically to divide his being

between the conviction of being able to be everything and that of being only a
finished nonentity and an error on two legs.
From this plurality, the dialectical works out the organizing
principle, the limit, suitable to unify what, from his single
movement, would slide into the unlimited. (Beaujon, 7, p. 180)
One impoverishes reality to the exact degree where one removes oneself from
ones dialectical nature.
If man is a dialectical being, his normal state is the drama, i.e.
the play of its interior plurality. There is no dialectical without
drama. (p. 206, 7, Beaujon)
If we leave the desire of control of the creator on his internal world, arriving to
an extreme, his encompassing vision must be able to transcend his desire for
control. This vision must comprise the antithesis of oneself: a radical altrit
[otherness]. In other words, to deny itself without abolishing and being integrated
in something vaster than oneself. Concretely, the creator releases the pressure and
enters a laissez-faire or let one act [laisser-agir] favorable to an introjecter that will
allow a synthesis. Therefore, the desire for excessive control hems in the spirit in
one facet by denying the other facet.
Thus, it seems that faced with the desire for omnipotence of a human being,
nature answers by a desire of self-destruction that has its source in the same
unconscious root. This would be a principle of balancing thanks to two antithetic
forces that would lead the creator to succumb in a way to an emptiness that can
become the way to an abyss. This one would be understood like a signal; a
luminous indicator is ignited; it is time to rejoin the others. To exceed this course,
there is no more balance and there is an excess and working against nature.
If nature has registered in the depths of us the relation with the Other within
the center even of our body and of our beginning; we think that our nature cannot
bear a process that tends to deny in an absolute manner this relation with the Other.
It is, it seems to us, that we read this, above all, in the myth of Narcissus. The
formula of this logic once amplified and carried to its height would become: Any
entrance of omnipotence calls for an entrance of self-destruction in a degree
proportioned to the omnipotence. A system endowed from an autonomous
capacity of ridiculing of the system (Michaux, 21, p.117)
2.3 Attachment
2.3.1 HYPNOSIS - LOVE - POINT OF VIEW OF FREUD
All the hypnotic processes have in common a capture of attention. It is a
matter of tiring the attention by means of weak and regular sensory stimulations.
Attention, in the broad sense, corresponds to the setting up an awakening of our
senses. However, in hypnosis, we observe a harnessing by the hypnotist of these
senses. Whereas the hypnotized behaves with respect to the outside world like a
sleeper, i.e. diverted all its senses from it, he is awakened with respect to the person
who plunged him into hypnosis and only hears and only sees him, and understands
and answers him.
According to Freud, this phenomenon called hypnotic relation has

characteristic consequences:
But there is not only this reduction, so to speak, to the world of
the hypnotized with the hypnotist. In addition the fact that the
first becomes completely docile with regard to the second,
obeying and credulous, and that in a quasi-unlimited way in the
case of deep hypnosis. (Freud, 13, p. 15)
Envisioned under the aspect of putting into sensory form, hypnosis clarifies in
an obvious way the diverting of oneself from ones own senses in a relation with
the Other leading to a true transfer of representations:
The hypnotist says: You see a snake, you smell the perfume of
a rose, you hear the most beautiful music, and the hypnotized
sees, smells, and hears what is required of him by the suggested
representation (...) He behaves completely as if that were real,
manifests all the corresponding affects, and can if required give
an account, after hypnosis, of his perceptions and his imaginary
experiences. (Freud, 13, p. 16)
Thus, the harnessing of the sensibility of a person by another person leads to

the hypnotic process that is characterized by a powerful obedience and credulity.
There is literally a transfer of representations of a person to the other on the basis
of a powerful common sensory bond.
It is at this point of our subject that we locate the common sensory baggage as
the primordial basis of the attachment, i.e. the sharing of his senses and his
representations with other persons.
There is a libido investment with the object of attachment. We presuppose that

the more common the sensibility is to both persons who are attached one to the
other, the more is installed between them an obedience to the Other, credulity
towards the other, and the abandonment of oneself. To illustrate this concept of
attachment -- common sensory division -- let us return to Freud:
One can notice in passing that apart from hypnosis, in real life,
a credulity like that of which hypnotized gives proof with
regard to his hypnotist is found only in the attitude of the child
with regard to the loved parents; and that this way of granting
with such a submission its own psychic life onto that of another
person has a unique but perfect equivalent in certain love affairs
characterized by a total abandonment of oneself. The union of
exclusive attachment and credulous obedience generally counts
among the traits characteristic of love. (Freud, 13, pp. 16-17)
2.3.2 THEORETICAL BASE

In the Anglo-Saxon world, the concept of attachment made its appearance
following the work of Bowlby on the deprivation of maternal affection, work
inspired by those well-known of Spitz on the hospitalized. In 1958, Bowlby and
Harlow published two articles each one of a different orientation but convergent on
the bonds that link the child with his mother. These two works, according to
Bucher, can be regarded as starting point of this psychology that caused many
researches both in ethologic and in genetic psychology.
K. Lorenz and R. Zazzo contributed their share afterwards. Less known was
the contribution of the Hungarian School with in its center of the men like
Ferenczi, Balint, Hermann and Szondi. I. Hermann devoted his work to the
attachment based on ethologic observations. Szondi grasped the importance of the
work of Hermann and inserted these observations into his own research:
To Szondi comes the merit to have grasped the importance of
work of Hermann, and to have drawn from it the conclusions
that were essential: that the phenomena of clinging and of
attachment are highly significant, as certainly first outlines of
socialization, but more still as a basis of the complex psychic
structuring of the human being. (Bucher, 8, p. 331)
Here is sealed the destiny of individuals through that of other human beings.
But it is not sufficient thus that socialization takes place. The one, in the full
meaning of the term, depends nevertheless on a symbolic law that alone founds the
social dimension of others.
Even the symbiosis of mother-child is not a phenomenon that arises strictly
from Contact, It would find its basis in the vector of the ego, namely in the
function p - of participation (Bucher, 8, p. 332).
The dependence of the union mother-child is transformed gradually into an

object relation, i.e. intermittent with regard to an object that to him or her confers
essential care and food satisfactions, and of which the child recognizes little by
little its existence as a non-ego element.
This recognition and this becoming conscious is possible
insofar as the child gives up the dual participation (reaction p -),
and directs himself towards the pole of an individualized self-
assertion (p +), where the desires are not any more projected
and lived in the other, but assumed in their ambitendencies*.
(Bucher, p. 332) [*ambitendencies: a tendency to act in
opposite ways or directions; the presence of opposing
behavioral drives]
Let us reconsider now with this subject this force that attaches us to the
others and that is located at the root of our being. We can usefully refer to the
Winnicottean concept of holding and of maintenance. It would be according to
Winnicott the experience of the dual union and of the primary relation, which
confers on the child, from the continuity of reliable maternal care the sense of
security allowing him a structuring integration of the ego. This one then becomes
ready to support conditions of anxiety resulting at the same time from internal
instinctual experiences and discontinuity, even of the temporary disintegration of
the states of unity already acquired.
Szondi proposes a concept equivalent to that of holding, that of Halt, to

hold, to retain, to support or to maintain. Szondi affirms the importance of the
Haltobjekt [support object], a support object that carries us, that confers the
security to be able to have a reliable support and ones own; and still it is a matter
of objects to which he or she can hold and by which he or she is maintained.
Bucher announces that Szondi, unlike Winnicott, insists more on the effect that
the maternal holding produced on the child than on the activity of the mother
herself.
This effect results in the putting ones self on its feet, a
spinal column that holds the individual and allows him to
hold himself in front of others. As far as the degree to which
then object relations are constituted, the substitute objects can
be invested that, in their turn come to corroborate the support
and the self-confidence of the subject. (Bucher, 8, p. 335)
At the beginning, the attachment with the mother rests, in the other, on the
illusion of being the Other and vice versa. This illusion appears in the vector of the
ego under the reaction of participation (Sch O -): the child creates for itself the
maternal breast; it is the breast and from the effect of the magic omnipotence that
characterizes the participation.
In what of this illusion is to be found again in the dynamic that makes us tend
towards the Other?
To speak with Winnicott: the beneficial experience of the
primary illusion provides the child with the capacity of (re)
creating substitute desires for the first desire, and this by the
means of representations and fantasies giving aid to the primary
illusion. It is enough to point out the positive aspects that
Szondi as well as Winnicott confer on this transformation of the
illusion: imaginative, artistic, and scientific creativity, the
relationship with the arts, religion, the spirit, and human values
in general. (Bucher, 8, p. 337)
What is indicated here is, we think, the feeling of working in a human

communion that gives to each being his participative dimension. This feeling
answers in an echo the more powerful feeling of union with the mother, a kind of
logical premise to all mental activity whatever it be. The attachment is the rich
time of the irreducible bond to the Other.
From the Szondian point of view, the attachment registered basically in the
contact is essential to establish object relations.
The C (contact) vector represents this drive that has as its
specific task the search for the object; that its tension comes
from its internal bipolar articulation; that it is nourished by
specific (but hypothetical) energy sources; and finally, that its
satisfaction consists in the establishment of object relations, but
in close interaction with the other six drive needs, and
particularly in drive alliance with the two needs for the S vector
of sexuality. The vector of the Contact thus occupies a
particular place in the drive system. It would constitute initially
the base of this system, in the sense where is essential its
entering into action, establishing bridges so that the other
drive tendencies can reach satisfaction. (Bucher, 8, p. 339)
Whether this bond is an instinct or a drive, that goes beyond our scope. The
important thing in our eyes remains the obviousness of a power that pushes us
towards the others. We indicate there the term attachment while knowing that
this term returns to a process that is built primarily with the whole beginning of the
life of a child whereas we speak about a force that acts at any age of life.
The forces resulting from this source are not in the strict sense the same realm
as that of attachment such as it is described in the very first stages of the child, but
we think that these forces originate in this source, and in this degree, we will give
them the same name for more simplicity.
2.4 Dialectical of Attachment and Detachment

2.4.1 PHILOSOPHICAL INTERPRETATION
The detachment is that which detaches, therefore, decreases the constraints of
attachment and increases the degrees of freedom of the one who is detached.
Inversely, the attachment tends to attach and to imprison something by
something.
From the point of view of movement, the detachment increases the degree of
freedom, contrary to the attachment that tends to immobilize and to contain the
movement by an attachment.
Life is movement. All that is alive moves. The ionic exchanges of Na+ through
the cellular membrane are the condition of its potential of a membrane and of its
internal movements. Inside the body, everything moves unceasingly.
Attachment, on the other hand, slows down the movement and contains it. At
the end of the extreme attachment resides death, total immobility. But the extreme
detachment also leads it to a morbid process as a disintegration of the structures.
It is in the dialectical between these two extremes that we want to locate the
cycle of creation. A half-cycle where reigns the attachment (k-) to the Other, and a
half-cycle (k+) where reigns the detachment from the Other. Neither one nor the
Other are in oneself solutions; it is rather a question of circulating between these
positions in order to guarantee the good balance between the forces that move us
away from the Other and those that bring us closer.
Normalization or normative adaptation is combined with creation, breath of

life, to orchestrate the ballet of the destiny of a person who would like himself or
herself to be and to be human, i.e. capable for the self-to-emerge in a relation with
oneself and capable to belong to a species, to a community: that of humanity.
2.4.2 THE THOUGHT MUST BE BRAKED.

The man is a being with brakes. If he releases one of them, he
shouts his freedom (poor fellow!); however he holds hundred of
others well in place of them. The speed of the images and of the
ideas is due to the loss of control. Only the brakes make the
thought slow and usable. It is naturally extremely fast, madly
fast. (Michaux, 21, p. 241)
Henri Michaux has experimented with the action of psychedelic drugs under
medical supervision. His exploration led him to write a book that tells of his
experience under the light of a tight analysis and a meticulous description.
We consider that the experiences under psychedelic drugs can clarify the
trajectory of a thought detached from reality. For us to convince some of this, we
will quote the first lines of his book.
Any drug modifies your supports. The support that you take in
your senses, the support that your senses took in the world, the
support that you take in your general impression to be. They
yield. A vast redistribution of the sensitivity is made, which
makes everything bizarre, a complex and continual
redistribution of the sensibility. You feel less here, and more
there. Where is here? Where is there? In tens of here, in
tens of there, that you do not know and that you do not
recognize. Obscure zones that were clear. Light things that were
heavy. It is not any more with you where you and reality end
and even the objects, losing their mass and their stiffness, cease
a serious resistance to a strength to omnipresent mobility
transformer. (...) You undergo multiples and different
invitations to let go. (Michaux, 21, pp. 9-10)
If we take again the dialectical of attachment and detachment, here also too
much attached to the thought brakes it and extinguishes it. While too much
detachment propels it at such a speed that it becomes demonic, paralyzing, and
wild and resembles a torrent that carries in its path all the representations and all
the stable ties. Nothing resists a thought that was detached; it reaches an
exponential trajectory.
We will illustrate one of the premier harmful effects of the detachment of the
thought by the concept of neotenic* thought:
Before a thought is achieved and comes to maturity; it gives
birth to a new thing, and this is hardly born, incompletely
formed, and puts in the world another, a brood of others that
similarly are answered in unexpected and irretrievable
references and that until now I have not succeeded to portray.
(Michaux, 21, p. 92)
[*neotenic = an evolutionary trend to be born earlier so that
development is cut off at an earlier stage and juvenile
characteristics are retained in adults of the species]
The psychedelic experiment shows also phenomena that points out curiously
what one can observe in a detachment of intense thought such as empty
abstractions:
I witness a collapse of the concrete, a few excited moments ago,
that does not thus leave its passage thus that I do not know what
it is, special abstraction by sudden impoverishment, precipitous
exhaustion (of the sensibility), by cataclysmic deconcretisation.

Abstraction suis generis*. Phenomenon here frequent. A marvel
that each time leaves you confused. A good model undoubtedly
of other analysed secrecies. But that is inserted like a nail.
(...). Autonomous abstraction, which does not work and does
not bind us to others, sufficient to itself and that leaves us
dumbfounded. (Michaux, 21, p. 128)
[*suis generis = constituting a class alone; unique]
These abstractions that do not help us to think but that invade the mental fields
by leaving the look of that of the one who undergoes them completely
dumbfounded is a phenomenon that one meets in a thought strongly detached from
reality as much as one who is under the effect of drugs.
There exists many other traps that await the thought of the creator when he
detaches it from reality. We are not able to give further information on these
aspects; nevertheless, we will finish this subject with one of the most frightening
traps of the thought that self-feeds and that we would indicate as the loss of the
North Pole for a compass, the deviation from the feeling of certainty.
This feeling is the emotional basis of all intellectual thought; it guarantees it

the emotional density as its content. It is vital for the spirit that this feeling is
regulated to perfection on solid references. A spirit that would not realize any more
that its feeling of certainty is fundamentally biased is a spirit dedicated to a total
blind alley. All the critical equipment of our spirit rests on the force of feeling and
on the conviction that this feeling establishes in us. To touch the bases of this
feeling in somebody is to make it tremble in the soul because it does know any
more to position itself to what exists.
This phenomenon is the point of no return. Indeed, it can happen that a creator
denied in his course by others is closed again in his world and devotes all his
energy to his quest. He can be identified at this point with his quest that he cannot
any more live without thinking of it continuously. The detachment of his thought
operating during many months can lead him to an extreme that we locate as a point
of no return. The psychedelic experiment of H. Michaux illustrates perfectly of
what consists a point of no return at the psychic level following an excess of
detachment. This extract is long but it has the great merit to approach the danger
that threatens the creator if he goes too far in the detachment.
And continue to present to him traps, as he has never met and of
which he would not have even had the idea to be wary. In the
tragedy of the disproportionate reinforcements where he
advances, here comes (and he does not see it) the most serious
perhaps that which will be made the doors of refuge to be
closed again on him, the feeling of total certainty. Because of
this feeling he continues to go along in his life parades that

ought not resist a critical examination. But they resist and
perfectly. He has received a blinding message of the Truth. This
feeling of the obvious fact there, without relationship to the
feeling current with the obvious fact, is something that is
necessary to have known during the mescaline intoxication, in
its suddenness, its punch, its almost mechanical caricatures, in
order to understand that there is no possible parade (stressed
by us). The idea closes again on oneself, as the lid of a strong
box that has shut. No more exit. The idea finishes the loop; the
idea in one moment completed, final, immured. Becomes truth
with a capital T. Sometimes, it happened sometimes to an
experimenter of mescaline to see an idea, especially if it is
strange for him (that somebody has just communicated to him
on the spot or by telephone); it comes to him, in a last time of
freedom (two seconds are enough), to see it seize him, and to
grab it. The lunatic does not see himself grabbed. He is it before
having seen it. He remains; he will remain in the abyss of being
convinced of the truth of it, innocent, slave, ignoramus who is a
slave. Without the incomparable increase in the feeling of
certainty, not of the lunatic. The faith makes the madness,
makes him remain there, not enabling him to correct himself,
nor with the assistance of others, the absorbing idea to which he
has given his support. To this idea he has succumbed, he
submitted himself to this suggestion as somebody who
submitted himself to the suggestion of a hypnotist. Totally. The
operation in love at first sight is not even necessary. There can
not be any awareness of the meeting. In one moment he is
within it. Immersed in the obviousness of the Truth that from all
sides advances and radiates, and rains on him. Though the
idea appears to others absurd, delirious, limited (because they
see only the outcrops of it), it is for him an incomparable idea,
an idea with answer to everything, a cathedral idea that places it
outside of petty criticisms and, in a certain way, falls under the
secret laws of the Universe. His knowledge, which is to be
known by illumination, does not have anything common with
other knowledge and resides in him like a phantom without
borders and that criticism cannot examine. Not any more. Of
that which fascinates one cannot examine. He finds that an idea
at present has power over him. Before, his spirit would have
had power over it. Now it alone has power. And he is under its
power, without reserve, without but, without any saying no.
(...) Not being able to have foreseen this dominating idea, not
being able, not having been able to see his absorption by the
absorbing idea, thus does he not feel anything? If. And (new
appearance of persecution) he almost always knows, as more or
less said of hundreds of thousands of the mentally ill, than
there occurs something in his back, even if he believes
himself Emperor of the emperors. Every lunatic knows that
something of importance has escaped him. (Michaux, 21, pp.
215-217)
When a being prefers to obey the laws of the Universe, the law of men seems
quite ridiculous. Who is wrong? Who is right? In creation, the creator opens areas
where the law of the men has not stepped in yet while he appropriately feels well
the presence of the laws of the universe that guides him. Finally, he knows himself
as a creature in the universe like all the other men, if so then which reference to
choose? This is the crossroads of the devil: each path leads to a radically different
destiny and it is necessary to choose which road to take without knowing too much
where they all go Nobody knows where a point of no return is and sometimes it
is too late when he has seen it.
2.5 Love of the Other

The love of the Other is the investment of libido in an object of love. This
investment is only possible with the condition -- let us take the case of
heterosexuality -- that the narcissistic libido capital decreases in order to allow the
libido charge of the object of love. The center of gravity of the libido is
deported into the Other.
This economy -- a little simplistic -- of the heart plunges us in the stake of the
love of the other faced with creation. The creative process detaches the individual
from the other persons in one way or another. Very often, it is given birth from a
fissure in the participation with the Other that we suppose puts at a given
moment the ego in danger. Creation clearly seems to have a color, let us say that is
defensive or rather protective. It is a powerful autocentric process whose power
seems to be correlative of the wound to the Other. Then how to leave this process
to go towards this Other? And why go towards this Other?
We think that the elements of the answers are to be drawn from the love
relation.
The adult love requires a double aptitude to establish a
symbiotic state and to return to the limits of ones own ego.
This capacity to adopt and to leave one or the other pattern
without difficulties and at the opportune moment is essential
there. (Besdine, 3, p. 204)
According to Alberoni (1, p. 131), the incipient love feeds from this
differential tension that must become single. For him (1, p. 9): What is it to fall in
love? It is the state born from a collective movement of the two of them.
The budding love separates what was close-knit and links what
was separate; but the union is done in a particular way, because
it is presented in the form of a structural alternative to a
structured relation. The new structure defies the old structure up
to its roots and reduces it to a thing deprived of any value. In
parallel, it builds the new community on an absolute value, an
absolute right, and reorganizes all the rest around this right.
This new organization does not occur immediately but during a
process. What appears at the moment is the pure object of Eros.
This object appears to us as a revelation. (Alberoni, 1, p. 31)
The very nature of the budding love implies that one trusts the Other, that one
relies on him or her, and that one abandons oneself to the other. The love in a
budding state tends to fusion, but to the fusion of two different persons. For that the
love to be born requires that there be diversity and the budding love is a will, a
force to overcome this diversity that however exists and must exist. The loved
person interests one because he or she is different and because he or she is bearer
of his or her own specificity and that one can not confuse with any other person.
The budding state involves a way of thinking, of seeing, of
feeling, and of living completely different. Those who find
themselves in this situation and in this state understand one
another deeply. Although their personal history is radically
different, their relation in the world is identical. This is why, in
the great collective movements, composed of the thousands and
the thousands of persons of different ages and of different social
environments, recognize themselves and form a collective
unit, a we. The same phenomenon occurs when one falls in
love. (Alberoni, 1, pp. 70-71)
The love of the Other can generate a negation of ones course in transfiguring
one by the union with the Other. It seems that the thesis of Alberoni goes in the
sense of a major negation of oneself in order to fall in love.
Actually, they are not predisposed to fall in love, even if they
wish it. The love that they wish, even ardently, does not
correspond to a necessity to break completely with the past and
with a necessity to call into question their life and to take the
risk of being projected into an absolute innovation. Nobody
falls in love if he or she is, even partially, satisfied with what he
or she has and with what he or she is. Love is born from a
depressive overload that is characterized by the impossibility of
finding in everyday existence something that is worth taking
any trouble about. The symptom of the predisposition to love

is not the conscious desire of falling in love, nor the intense
desire to enrich ones existence; but the profound feeling not to
exist, not to have any value and shame at not having some
value. The feeling of nothingness and the shame of ones own
nullity: such are the harbingers of the state in love. (...) It is not
the longing for love that pushes us to fall in love, but the
certainty of not having anything to lose in becoming what we
become; it is the prospect of nothing in front of us. At this point
in time this pattern develops in us to face a different situation
and to take risks and this propensity to throw oneself into any
adventure and something that those who are satisfied with
themselves cannot know. (Alberoni, 1, p. 78)
Here is developed the masterly action of Nemesis through the self-destruction

of ones ego allowing the opening the Other, the friendship footbridge or bond of
love, at all events, the friendship is still a manner of loving. For Alberoni, the
budding states source is in the depressive overload.
The Other in that it is a reference of oneself is a break of the absolute relation

to oneself and introduces a relative relation to oneself, i.e. mediated by the Other.
To know our shared love, we are made to perceive who the
being that we are, if modest that is to say the judgment that we
bear on ourselves, compared to that which we are and what the
others are worth hold a certain value. This value is the being
loved that confers it to us, which incarnates any potential value.
(Alberoni, 1, p. 113)
To break the detachment, attachment is needed. For a human being, that would
be called love; it is to love a person who becomes the ambassadress for all the
others.
4. Quarter k - p -
k - and p - are the mark of the Other in the sense where the limit comes from
what is not me. Oedipus is there to recall for us that, without the law of the Other,
the father, there is no limit to the desire for omnipotence. The idea is that the limit
to our desire for omnipotence can only come from what is not us and what limits
imagination is the Other and reality. And k- p- is reality and the Other.
k- indicates the negation of ones world of fantasy and p- indicates the

participative position. This is the reaction of the man in the street without personal
ambitions and inhibited in his imaginative function. This is somebody altogether
very available and who fits in society like a fish in water.
k- p- is thus a position that we will not develop but only signals to us as being
a stage for setting out a night light in the creative process. This is the complete
relation with the Other, without variation and without distance: one does not
believe at all. One participates, one obeys, the world turns and we follow it.
When the creator rejoins this position of k- p-, he has succeeded in leaving his
course to join the others. He is in the common sensory bath and he shares the
common representations. It is in the sense that he is not delirious because he
possesses this baggage. He thus has a will of sharing, of communication, and of
availability to the other.
The creative act has its base in the fact that a person takes again into account
his senses. At this time, he does not seek any more to share the same sensory
baggage (sensory autarky: k+). The individual orients his senses for his own
representations and finally his own image of himself (representational autarky*:
p+). [*autarky = self-sufficiency]
But, from a social point of view, as soon as a person modifies and calibrates
his or her sensibility and his or her perception to his or her own ends, this person is
likely to move away from the codes, the standards, and conventions that lay down
the social rules and that set up communication. The more specifically this person
invests what corresponds to his or her manner of being at the perceptive level, the
more we have the probability that this person shares less his or her perceptive
baggage with that of others.
If this personal perception forms a deposit in a representation and that this

representation specific to oneself invades the mental fields, there are strong
chances that the common representations registered in this person are disinvested.
This process can open a door towards a mechanism of the psychotic type if the
individual structures himself according to his perceptions without taking account of
the manner of being social such as the interpretation of the Rorschach (Ban%,
F+%) and of the T.A.T. stresses it for the diagnoses of psychosis. In any case, the
least that one can anticipate is an antisocial behavior.
The total rupture with the Other can be avoided by a reciprocating movement
that makes the ego to travel into the different positions. This cyclic aspect is known
as the factor of balance in particular in the cycle of the contact (clinging contact;
unhooking rupture of the contact). That would make it possible to avoid an
excessive structuring in one or the other poles. It is in the sense that the quarter k-
p- is an essential stage in the creative process to prevent that it does not go wrong.
Jean Mlon (18) points out the importance of the object with which to fusion
with in creation. The Other (a close relation) is a continual presence-absence. If this
other is too intrusive, creation is not possible any more. If he moves away too far,
things do not go well any more. All creative space is supported by an invisible but
efficient framework that is the symbolic maternal presence.
To enter in k- p- is to join this Other. The participation is set up (p-), the

attachment is powerful, I am the other. k - maintains in us the place that the
Other will be able to take: k - removes from our narcissistic economy the libido
that is redistributed to the Other (p -). The union is realized, agreement reigns.
Articulation of Interpretation According to

Maldiney - Mlon
We are indebted in Jean Mlon (18) for having allowed us to have access to a
popularization of the complex thought of Maldiney. The subject matter that will
follow is largely inspired by the Szondi seminars 1995 that Mlon gave at the
University of Lige.
There are kinds of homology between the work of art and the ego on the level
of structure. The ego constructs itself as a work of art is built. And conversely, a
work of art is built in the manner of the ego. (Maldiney, 17)
Szondi calls the ego the pontifex oppositorum ego. Ego is a fault [faille].
According to the destiny of constraint, the ego is only a drive, i.e. natural, and (on
the other side of the fault [la faille]) according to the second destiny, the ego exists
by the destiny of choice. The choice is what allows existence in other words.
With Maldiney, the opposition that he applies to Szondi is the opposition

between constraint and choice. This is not between constraint and freedom because
freedom, that which conditions even the possibility of being free, is that one has
choice obviously. If one does not have a choice, one cannot speak about freedom.
Freedom implies that choice is possible.
p + is the human possibility par excellence but it is obviously that which leads
to madness because the p + is that which has the ambition to be everything or any
being. The point of view of absolute p + is a solipsist point of view: what I think is
true and with me alone, I fill up the whole world. That is what realizes the
megalomania paranoiac.
According to Mlon, philosophy is the normal form of paranoia. Paranoia is

the morbid form of a manner of philosophical, i.e. systematic, thinking.
Paranoia is characterized by this systematic side; it interprets everything

according to a postulate that proves to be indefensible. Since there has been
philosophy, i.e. since the Greeks, the Pre-Socratics deal with the whole; they seized
the world as a totality. The ambition of philosophy since its beginnings is always to
seize again the whole.
1. Fusco and Catatonia

Maldiney makes the analysis of the painting of Fusco starting from the
Szondian positions of the ego: p +/ p -, k +/ k-.
Fusco is a complete catatonic who does not speak, who does not move, and
then who suddenly starts to paint. He paints on the walls with materials collected
even from the ground. He refused to use the material that one gave him except
towards the end when he agreed to paint on paper. His works are in Lausanne at the
museum of crude art, i.e. the art of schizophrenics and the debilitated.
The essence of the catatonia is paradoxically the assertion of nothing. The

catatonic does not say anything, does not do anything, and does not move. The
typical symptom of catatonia is the negativism; he is a negativist on all levels; he
destroys everything. It is among them that one finds the troubles of the language
of schizophrenia that wishes to say nothing any more, the jargon cacacam,
emegna, gnacacac.
When they want indeed to speak, it is like that that they speak. There is like
that a kind of destruction and a devalorization of everything.
Therefore, with the catatonic, his fundamental attitude is negativist. When he

wants indeed to say something to us, he says that he does not exist, that he does not
have a body, that he is dead; and he expresses all this in his very being since he is
there like a stone. One always compares the catatonic to a rock and to a stone.
What remains to him of existence does not produce anything else than this non-life
that he incarnates. He is a mummy, he is completely fossilized. When he devotes
himself to an activity, it is an activity of destruction.
This leaves the assumption that, at the beginning, if he were catatonic, he

ought to have the reaction of the catatonic ego k -! p O.
Maldiney poses as a postulate that k-! p O is the anti-creative reaction par

excellence. k-! p O is to be interpreted in the sense of opposing the background that
Szondi calls the theoretical background, i.e. the exactly opposite reaction: k +! p .
Maldiney suggests that at the most creative moment of this crude artist ought to be
in this position: k +! p .
k - goes against creation. All that k- can do is to deform or to deny the forms
that were really created. k - destroys what is of the order of creation. Maintaining
all rational thought is, from this point, destructive; it is in any case anti-creative. If
we do not let ourselves go with this creative pressure that, so to speak, comes
spontaneously, we let us start to erase, and then in the final analysis one is able no
more to make anything at all because that is the danger.
What Maldiney stresses most vigorously is that the anti-creative position par
excellence is the position k -, especially if it is associated with p O: k - p O.
k - is the third position of the circuit. Maldiney makes it the catatonic position,
but it should indeed be seen as the negative aspect of catatonia.
k -! is also the reaction of the neurotic; k -! is the neurotic reaction par

excellence. The neurotic who is not obviously negativist but who, to himself, lives
in the negation and who, owing to the fact that he or she is in the negation,
excludes certain possibilities of being and in particular that which corresponds to
the inverse, opposite position, i.e. k +.
To be a creator all the time is impossible. Most of the time, we are in k -

because our culture obliges us to be in k- and to be critical with respect to all that
we do and produce. The creative individuals today are necessarily revolutionists.
They must take the opposite course to the general position.
Whereas there are people who are naturally creators and are those who favor
the position k +. Primitives create spontaneously. The child creates spontaneously.
The drawings of child are from creation. Children are in the position k+ p -. The
day when he or she passes into k- (around 8 years), he or she cannot draw any
more; that is finished. The splendid drawings of the child stop at the entry into
elementary school.
Once one learns how to read and write, all that collapses. The influence of
rationality makes the creativity to die except among rebels. Therefore the creators
are necessarily more or less noisy rebels, more or less breakers of things. The true
breakers are k- who prevent the others from creating.
2. Work-Made [Faire-oeuvre]
And Maldiney will affirm that what is fundamental in the work-made [faire-
oeuvre] is the passage from a position p, which is p + or p -, with the resumption of
this position in k. To make a work is always to produce something that is put into a
form.
What is fundamental in the time of making a work is k + because it is the

systolic element that gathers and that gives form to this desire to be that which is
expressed on the level p.
What is important is that it is good to see what the function k+ represents.
Whatever is the form of creativity, be it in art or in science, k + has the meaning of
putting into form, thus giving form to that which, at the beginning, does not have
any form.
If it is not in the opening, i.e. out of p and if there is no tension from the
side p + or the side p -, one cannot create either. Therefore, p O is a position
that is also anti-creative in the sense where there is no tension nor in the sense
of producing a formula, an abstract form, and no tension to seize again
through a form of the sensory intuitions.
k + slows down p + in the sense of a deflation by introjection: this is the

operative [oprotrope] action of k + that obliges certain choices. Thus, p + would
be the creative intention and k + its operative [oprotrope] tool.
3. Ego Systole and Ego Diastole

Maldiney then takes up again the terms of Szondi; he speaks about ego
diastole and ego systole. The metaphorical opposition that Szondi used at the
beginning to oppose k and p.
He compares the operation of the ego with that of the heart, the heart that is in
systole when it contracts and that is in diastole when it fills [expands]. When one is
in diastole, one can say that one is open, and then in order to live, one must go back
into systole because if it only stayed open, one would die. Life is rhythm and thus
implies an alternation between systole and diastole. If one lives also a long time,
one could say, that one manages to make the two movements alternatively.
To evoke these two terms is interesting if one seizes again the metaphor, i.e.
diastole for expansion of the ego according to Szondi, but one could just as easily
say openness. If one takes again the terms of Szondi, there are two ways of
expanding the ego: to expand the ego on the mode p - or to expand it on the mode
p +.
If we evoke the opposition ego-world, ego-other and since we are in the to be
[ltre] (factor p), that yields: I am the world or I am the Other.
According to whether you put the stress on the subject or on the predicate, that
changes. If you put the stress on the Other: I am the Other; you are in p -, i.e. the
Other is everything for me. I am the Other in the sense that I participate with this
Other.
If the stress is put on I: I am the Other; there you are in p + in the sense where
the Other is I. All the power that was projected to the Other is taken back for
oneself.
4. Ontogenesis* and p-
[Ontogenesis* = the development of an individual organism: from ontos =
being + genes = born, produced]
And with ontogenesis and p- we can call upon all of the ontogenesis because
we begin everything in projection. One loses oneself in the Other and the primitive
omnipotence of the child is a participative, projective omnipotence: the child is
omnipotent because he or she has the concept to make oneself a part of and the
concept of a part does not exist because he or she is made part of and he or she
participates.
Maldiney says that the ego can only be nature; it is the natural ego in the sense
that it does not have the notion of separation; it does not have the notion of the
other. But if it could have the notion of it, it would say: I am the other with which I
participate.
Example, being a fanatic of the Standard* up to the point where one is

wrapped up so much by the match that there is not anything else that exists.
Therefore, I am the Standard; one is taken over [alin] in these moments.
[*Standard = a soccer team in Belgium]
The relation with the Other becomes participative, and it is in this relation that
we find the essence of our identity. It is not only a matter of representation; all the
subject is taken in this movement of participation.
p - is the very first psychic operation within the meaning of giving a

representation with that which one does not have within myself. p - is projection in
the sense of the very first psychic activity. For example, I have a bad belly ache
and I make my mother responsible for this evil.
There are intolerable sufferings that make rightly, probably, that the first
representations can only be bad representations. Because what is more intolerable
is not to have representations. The bad object discussed by Mlanie Klein is
probably the very first representation. Because that which is the worst is probably
not to be able to bind mortifying feelings. Mlanie Klein is right undoubtedly to
say that the first mental activity consists in developing these bad objects. To project
is to give a representation on the scene external to what is at the beginning of the
indefinable feelings and to make the others responsible for my misfortune.
The projective identification is the first mental operation that then

accompanies us all our life: when something does not go well, it intervenes: It is
the fault of Voltaire!. It is always the fault of somebody. Afterwards one corrects
this, but one starts by projecting and then one introjects. One can only introject
what was initially projected.
5. To Create and Tension in p

Maldiney says that it is impossible to create if one does not seize again or if
one is not possessed, because it is from a quasi-possession that is the matter at this
level. If there is not a sufficient tension either in p - (desire to participate) or in p +,
it is not possible to create.
6. The Fault [Faille*] and Psychosis

[*Faille = a flaw as a defective place ; a crack ; chink, rent, breach ;
imperfection, blemish ; also as a fault : something that is not as it should be ; a
mistake ; also in geology : a break in a mass of rock, like a crack]
There is only the absolute psychotic who will fall into the trap of omnipotence
and who will not be able to support that this omnipotence undergoes the least flaw
[faille]. When Maldiney says that ego is broken [faille], basically, this is what the
psychotic cannot bear: it is that it is broken [faille].
And thus, he fills the fault [la faille] with his desire. Possibly, a delusion of
grandeur that enables him to cancel the fault. But it is death from this way because
what makes the positive side of the fault is that it makes it possible to function
well. If there were no fault, that would not function. The fault of the ego -- it is
there that it concerns the destiny-choice.
7. Abstraction and Einfhlung [Empathy*]

[*Empathy = in psychology, entering fully, through imagination, into another
feelings or motives, into the meaning of a work of art; from en = in and pathos =
feeling. The 1999 English translation of Worringers work is Abstraction and
Empathy.]
Opposition between the two great forms of art that Maldiney has set up like
this: opposition between Abstraction and Einfhlung. Einfhlung is completely
untranslatable in French: that means to feel in. Fhlen is to feel and ein means
that one has entered inside.
Einfhlen means to feel the things inside the other. A little as the dogs feel
what the person sends back.
Mlon takes up the deduction of Ricoeur who translates einflhung by

intropathy.
Intropathy means that something circulates between the other and me that is
about the pathos, i.e. of a particular feeling. Pathos in Greek means to feel strongly
and above all means to suffer. That finally becomes to suffer but pathos means thus
powerful passion at the beginning of something that produces strong affects.
Intropathy is a psychic mechanism as introjection is also one.
The opposition between Einfhlung and Abstraction, Maldiney takes this again
from a German author: Wilhelm Worringer. His book is a thesis of philosophy.
This theory was taken up by theorists of art, in particular Paul Klee, who often used
this opposition. He came to destroy the opposition between abstract art and
representational [figurative] art. There are representational arts that are abstract and
there are abstract arts that are very einfhlung.
A typical abstract painter is Mondrian for example in his last period but at the
beginning he is einfhlung. Malvitch also starts by being very einfhlung then
abstract. With Kandinsky, it is the same thing, he evolves toward abstraction more
and more. It is generally like that which occurs; the painters seldom go the path in
the opposite direction: they start with einfhlung and they finish in abstraction.
Let us try to understand what that means according to the Szondian positions.
Abstraction is Sch + + and einfhlung is Sch + -. that which has disappeared at the
time when the creative subject is in tension so that the work could be produced and
that which must disappear is the function of negation: k - that is anti-creative.
k - is the rational function that says no, but art is positive; it cannot be no
other thing than positive. To make a work of art is to give form to what does not
have a form but which is an ambition to be that is in the sense of p +: I am
everything, or in the sense of p -: I participate in everything. The position p -, that
which it will try to put into form (via k +) is the sensible universe, which will be
produced in a creation of the einfhlung type; it is a work which gives form to what
is primarily of the order of the senses.
All impressionism is obviously einfhlung. Art known as conceptual is an
einfhlung art; it is not an abstract art since it is a question of finding the essence of
things. To put a W.C. [a toilet basin] in the middle of a showroom, all that
emanates of sensibility from this basin that always passes unperceived, and, indeed,
suddenly that takes on another dimension.
All this is a type of einfhlung art whereas it is classified more in what is

abstract.
In abstraction, there is a capture, a putting in form but the term of putting into
form is in the sense of a creation of form of what initially was not yet a significant
intuition as out of p - but an intuition of the spirit.
This is why the type of creation that tends to put into form that which did not
exist before and that which is created from nothing returns us to the form of
abstract creativity. Thus abstraction, which animates the creator who has the
ambition to produce an abstract work is the position p + k +.
What these people wanted to do is to return us to our sensibility finally by

exposing things that one never exposes. Obviously, one can do that only once. In a
certain way, this is true for all the works of art; they are unique.
It is in that that the analogy or the homology between the ego and the work of
art is tenable. In the same way that an individual is unique through his ego or the
way in which this ego functions, is articulated, and developed; the work of art is
always this way too.
8. Crossing of the Fault [La faille]

Humankind is the only species that raises this question: who am I? That which
can be the source of an anxiety since Maldiney postulates that the ego is broken
[faille] and indeed the fault is from that side obviously, i.e. if I say Who am I? , I
cannot answer.
A jump should indeed be made. There is only by posing an action that we will
be able to do and not to answer this question because it is not in to have [avoir], but
to make a work in such a way that the to be [tre] is incarnated itself in some
manner. Therefore, with k+, one can speak about incarnation eventually. It is in
any case the reaction, the position, and the function of putting into form, and yet to
be put into form is to put it succinctly. It has a seizing too. There is a creation in the
sense where this form is unique.
9. The k Function
To grasp again what there is of the fundamental in the catatonia in order to
understand the k function in the totality of the system is the function putting into
form with the senses, in German, of Gestaltung. The gestalt and gestalt psychology
is the taking in consideration of the form as a totality and as structure that is
imposed with perception as form.
In the course of creating, the operative moment, that which, precisely, gives
form is in k. Basically, the creative intention is necessarily situated from the p side.
The p factor in the metaphor of Szondi is the diastole understood in the sense of
opening itself, a diastole-like opening and a call to a kind of filling that is
necessary. If one were all the time closed, one would not be sensitive to any
external influence, and it is indeed in this position that the negative catatonic is
found.
The negative catatonic is the destructor par excellence, the one who affirms
that there is nothing and who eventually is enraged owing to the fact that there is
something and who is trying to destroy all the forms.
But the positive catatonic position is that which consists of assembling

everything and putting everything into form.
This example stresses the hyper vigilance of the catatonics who are listening
for everything and who observe everything but one has the impression that they are
outside of the world (compare to detachment). And, indeed, they are outside of the
world and, undoubtedly, it is necessary to be outside of the world to be able to
objectify everything like that.
Szondi designates the k + function in the sense of to have [avoir] everything

and he opposes it to p + that consists in to be [tre] everything.
10. The k- Position

k - is a position that is anti-creative in the sense that it is destroying forms.
Moreover, to understand k -, Szondi locates it with two other terms that he uses:
negation, denial and disimagination.
To disimage is to remove images, to make a void from the side of the images.
The k - Ego is an iconoclast ego. That is about the representationthe iconoclast is
the one who destroys the icons; therefore, the iconoclasts are those who could not
bear that one can give a human figure to God and represent Him on icons.
Therefore, it is a sacrilege to give a form to the being. It is also the one who
opposes the Catholics and the Protestants among other things.
11. The k+ Position

This premier ego, k +, if we refer it to the catatonic experiment such as one
could formerly observe it in the catatonics; they express with the most gross state
this aspiration of the ego to constitute itself by means of an image of the body
represented on a spectacular level.
The catatonic in his or her not negativist moment is someone who tends to
exist in a purely spectacular form that he or she maintains in a steady way. One
could say that the catatonic produces his or her body as a work of art but not at all
in the sense of exhibitionism, of the hysteric, or of another; but one has the feeling
that all the energy of catatonic is sustained in this sense of producing a body that he
or she does not have in an almost stature form.
One can only explain this as the tendency to find an image of the body that is a
little like that of Narcissus basically in the myth. Narcissus was absolutely not to
move in order not to lose his image because the least movement made that he lost
his image at the surface of the water. He must absolutely not move because if he
moves, his image tends to disappear.
There is in the catatonia this immobilization of the image in a kind of

instantaneousness that should not move absolutely any more. It is true that the
catatonic stops movement. There is a kind of an arrest of the image with the
catatonic.
Pervert Catatonic Analogy
In the sense where k + is the perverse function par excellence: what is there as
a common denominator to the position of the catatonic and to that of the pervert?
It is that, in both cases, there is an arrest of the image.
Catatonic
The catatonic, basically, one could say of him that he hopelessly tries to
capture again his ego through an image of the body that is solidified a little as if, in
a mythical way, he wanted indefinitely to preserve a specular image but one that he
is lacking.
It is that the catatonic arrests himself at his own image and, therefore, tries to
incarnate a specular ego. The absolute, primal k + is to give form to the ego
through a posture. This is what allows the precession of oneself in some part and
the precession of oneself in a capture of oneself.
Pervert
What characterizes perversion is, in the same manner as in catatonia, there is

this attempt to solidify the image of the body and to materialize it. One finds the
same thing in the pervert but in another realm that is also a form of arrest of the
image. The typical example being fetishism.
In the man with the wolves, the scene with Groucha that is typical and
exemplary of this point of view, will become the fetish scene of the man with the
wolves. He discovers Groucha in the position of the mother during the primal
scene. What is typical in the scene with Groucha is that it is a kind of stereotype
that will become a fetish scene essential to sustain his future sexual activity. His
desire could not be awakened any more but with the sight of a woman who scrubs a
floor or who washes clothes. But it was more necessary that there be a bucket and a
ballet; therefore, if all the conditions are not assembled and if all the elements are
not present and the threat of castration is not conjured up; otherwise, he cannot
mobilize his virility.
What makes the pervert all in all? What is important to consider is that what
the pervert resuscitates is a scene that precedes historically or chronologically the
time when the threat of castration took hold. Therefore, it is a scene where there is
no threat yet. It is a kind of moment when one still believed that that could not
occur.
To Save Omnipotence
The pervert always revives the same scene. It is often believed that it is an
exciting scene, but, it is not exciting in itself. It becomes exciting only because it is
a reassuring scene since in the imagination, it precedes the moment of the
catastrophe. All was still possible in those moments and then, from there, the world
collapsed.
In fact, that which the pervert repeats in his scenarios that are always
extremely stereotyped (that it must be exactly the same scene that must be repeated
indefinitely) is the time when he did not have the idea of castration. He could not
imagine that a similar thing could happen. Therefore, one resuscitates the time right
before the discovery. This is typical for the fetish since the traditional interpretation
of the fetish says that the fetish is the last object that one has seen before making
the discovery of the difference of the sexes. So indeed the fetishism is typically
masculine.
k + will proceed in the sense of fixing a scene that maintains omnipotence. It is

a commemorative scene; it is last time when one still believed in it. k + has also
this function there.
All the quoted examples have all in common something that is to save the
omnipotence by means of a statue as with the catatonic, through the perverse
scenario and in a sublimated way in a work of art. Because the work of art
participates nevertheless from a desire for omnipotence and the original
omnipotence of the incestuous desire.
12. Identification with the Primitive Father

One can say that p + is the aspiration to be everything but what does that mean
to say to be everything? If we try to give a face to this to be everything; then, we
return in Freud to state that p + is to be identified with the father of the beginnings.
In The Ego and the Id in 1923, Freud states this very important sentence to
understand his work: Behind the ego ideal is hidden the first and most important
of all the identifications that is straightforward and immediately before any object
choice, the identification with the primitive Father.
It is this authority that sustains the ego ideal. This ego ideal exists and
preexists the individual; it is not situated in time. It is the ideal of the parents; it is
the ideal of the grandparents; it is the ideal of the culture; it is a model of the man
in each culture that supports finally this concept of the ego ideal that is the optimal
identification with which one can begin.
One can state that p + is the aspiration to be everything but what does that
means to say to be everything? If we try to give a face to this to be everything;
then, we return to Freud in order to say that p + is to be identified with the father of
the beginnings. But the father of the beginnings, in any case, in a culture such as
ours that is monotheist is the creator and is God.
The creator, God, is the one who created the sky and the earth and the one who
is at the origin of all the things. To some extent, the creator who is situated in p + is
equal to God in a certain manner. At least, one is not insane in as much as this is
the formula of Aristotle; art and the ambition of art is to make as does nature and to
do as well as nature. When one makes art, one makes himself or herself equal with
God because if it is God who made nature and if nature is in the image of God, the
ambition of the creator is to do as well as God to some extent.
There is an omnipotence that one can initially identify out of oneself when
Freud speaks about the first identification. It is the identification with the
Almighty, the Father; it is an external model not appropriated at this moment by the
subject. The ego ideal before it becomes an authority (thus interiorized); it is
initially out of oneself. And if it is an ideal, this is because it is proposed to us as
such.
In order to pass to introjection of the identification to the original Father, one

needs another thing. Introjection necessarily succeeds projection. It is necessary
initially for a projective movement before there can be an introjective movement.
This introjection means a desire for access to the omnipotence.
Maldiney has a very interesting formulation; he speaks about introjective

deflation for k + p +. That means that the one who wants to create must in a certain
manner be possessed by this ideal (mad, it is indeed necessary to say that the being
of man is madness and from this point of view is right), there is something of
madness to want to be equal with the creator and to produce a work that is
something analogous to divine creation.
Because what is missing is the concretization and thus the putting into form
that is essential to concretize. Maldiney says deflation in the sense where inflation
undergoes a deflation because of introjection. Whereas if inflation is not modulated
by introjection, the inflation remains what it is; finally it can extend ad infinitum
but without ever finding the possibility of being concretized, incarnated, and
actualized.
13. Limit to Creation

There are two types of stopping of inflation.
Introjective Deflation
There is what Maldiney calls introjective deflation that is creative, i.e. in the
production, inflation passes into the production and it ceases being something that
could make us explode in a certain manner.
There is a relief to create. Inflation is something painful. The example of
memory is alarming; one has a head that will burst because the ideas are shoving
back and forth; there is too much of it or there is a complete vacuum.
Negative Deflation
The complete vacuum is the opposite; it is negative deflation. It is inhibition,

one does not know what to do anymore; it is k - p +. One is stopped by negative
deflation, i.e. One will do that tomorrow or the day after tomorrow; then, it is
necessary to do it at the last minute.
One finally gives trust to the pressure of necessity and of reality. It is reality
that becomes the supreme authority. It is a realistic system that makes an appeal to
reality. Reality will end up having a reason for the difficulty. It is a type of
operation where one does not mobilize the resources of the creative ego. One waits
until reality obliges us to do it and as long as reality does not have a sufficient
weight, one will not do it. One uses reality as transmitter of the Superego but it is
not the superego: I count on reality in order to move that.
The enthusiastic creative is not anymore able to prevent himself from

continuing even if there are things that one realizes are harmful more or less in the
long run in its excessiveness. The faculty to deny and to stop the enthusiasm is k -.
Basically, k - wants to tear itself away from this representation of the ego that can
be so fascinating that the k- blocks everything. The ego k- demolishes its own
image and breaks the mirror in which it is reflected; it destroys its works.
Any position is potentially dangerous; there is no position that does not

conceal a danger.
One of the functions of k- is to deny k +. k- makes it possible to be able to

escape k+s fantasy.
Let us say that k + slows down by work made, but k - is the hand brake that
is drastic (if it were held firm) in order to strangle the roots of inflation.
Therefore, the first mechanism of stopping inflation is deflation by

introjection; the second is deflation by negation k - p +: inhibition.
Discussion
This part takes up again as a whole (the effort of systematization is here a chief
means) a series of ideas in connection with the interpretation of the test on creation.
This discussion is centered on the protocol of Jeanne. We are indebted to the
psychologists Andr Lebas and Daniel Vernant for having made us greatly to
benefit from their experiences of the psychiatric private clinic and the interpretation
of the Szondi test within the framework of psychiatric institutions. This discussion
is the digest of our profitable exchanges.
There is the lack of differentiation of p - in the sense where I am nothing,
where it is the Other who is everything, and where one participates in the
omnipotence of the Other.
The lack of differentiation out of p + would be that I am the whole;

therefore, I do not have any more a specific form as I. I correspond to the whole;
then what is this I? Pure inflation. Is a lack of differentiation contained in the sense
where what is the form of that which includes all the other forms? Does it still have
a form particular to it? Here is the question that we pose in p +.
p + is the identification with God or the Creator; Mlon said that the primitive
father is bisexual and without form. The p + person makes himself equal to God to
the degree that he makes his own history; he does not take himself for God unless
he is delirious; he makes himself equal to God; he makes himself equal to the
creator. (Mimtai: to do that also well). It is necessary to be able to channel that in
a certain manner to do something constructive with it, and it is undoubtedly all the
mechanism that we differentiate compared to the psychotic mechanism.
There, one would enter a psychosis in the sense where the question is: what is
the limit that the ego should not exceed in the potential lack of differentiation to be
everything beyond which it loses its form? It is there where we postulate the idea of
the operative choice of k + that comes to fix a limit; in fact, the operative choice
prevents the inflational unlimited expansion in the potentiality of to be [dtre].
And, into last recourse, there remains the ultimate choice to deny itself.
k + comes to put into form; one can associate that with the word make [faire].
This is at the moment that the creator makes something and passes to the creative
act. The one who thinks, the p +, does not do anything; he will not realize anything;
he will only make thoughts. The one who thinks about his dissertation gives k O p
+!. The one who writes it passes into k +. The one who has a critical sense toward
his own assumptions all the while writing it passes into k .
Creators do not leave to the Other any position for a long time since they
occupy the majority of the positions.
In the protocol of Jeanne, k - is nevertheless present in the background* but it

moves. It is very dynamic. The 6th profile has k in the foreground and in the
background; one says at this moment that she leaves k+ to the Other. The 7th
profile has k- on stage and k + at the background; therefore, one can expect that the
k+ will reemerge on stage. The 8th profile is k O. The 9th profile is k + both in the
foreground and in the background; in this case, k - is left to the Other. [*The basic
drive protocol is designated as the foreground plan, or simply foreground. The
background plan, or simply background, cited here and throughout the dissertation
is the E.K.P. (Experimental Complementary Plan), not the Th.K.P. (The
Theoretical Complementary Plan), where the background is the opposite of the
foreground.]
This is too dialectical; this is too much in movement. If we take the 6th profil,
we have k - on the two sides; therefore the part left with the Other is k +. We take
9th and it is the opposite; in fact k- is left to the Other at this time.
Therefore, here, it is the flexibility and is the capacity to travel and to occupy
very different positions. The theory to some extent comes to compensate for the
difficulty of translating the test since one has great difficulty to go from the test
towards the theory. It is with the theory that one goes to the test.
That which is interesting is the round trip and that is the interest of a theory;
the theory clarifies the empirical; in return, the empirical can readjust the theory.
Here, to try to see that more clearly, one can think about stable positions. With
a subject who would be 10 times k - on stage [the foreground], and who would be
10 times k + in the wings [background], one could make the assumption of
somebody who inhibits and who does not allow his or her potential that is in the
wings to emerge on the stage. One with k + 10 times in the foreground and with k -
in the background would be perhaps someone who would be in a creative time, and
if k- in the wings emerges and appears on the stage, that goes badly in the sense of
inhibition.
Therefore, the slide from one to another is nevertheless what is receding, and
the stage is what is actualized.
If one does not associate the movement with pathology as one does in
psychiatry, one is obliged to think about the things differently. And health is the
capacity to occupy the different drive positions. Therefore, to pass from k + to k -
and eventually to k O.
What is rather interesting from this point of view is that there is almost no
accentuations. That would be a criterion. In pathology, with an ego that would
move, there would undoubtedly be accentuations. And the reaction eventually in
mirror in the ego would return to a cleavage of conditioned limits or a dissociation
with the psychotic structure.
The e O, which is not preceded by e +! or by e -! , does not go so much in the

meaning of discharge but rather of an absence of choice compared to the epileptics,
therefore, an absence of tension in this register. Or an avoidance? The environment
where Jeanne lives comprises a very broad flexibility in order to arrange her own
space in order to manage her creation and her daily life. Therefore, she does not
need necessarily to activate her hate. However, in the 8th profile, this hate appears
when she reports a family pressure (children too present) that starts with doing
things well because of the expense in time and energy. That prevents her from
being available to herself. Thus, she cuts the contact.
Usually, she and her husband are both in creative activity and mutually respect
each other in their creative work. They do not need to activate their hate because
this is not necessary.
In a test of drives, Szondi does not refer to the behavior; this is always
delicate. From this it is necessity to return to the private clinic or to the manifest
behavior to see what it is. In the abstract, one sees the cut-off contact (m -), the
rage (e -) appears and a strong influence over the other (s +!); one thinks that this
person is a breaker of things, and one is mistaken.
Here, if we take a dominant, it is a subject with e O five times, plus 4 e+ and 1

e -. It is e O as the dominant. In the second protocol, one is more in the e -, the
dominant one is e -, 4/9 profiles. This is one period when her children were too
active at the residence and they were all pumped up.
She has difficult to differ; she likes people; it is a problem sometimes because
she is given too much of herself. She is obliged to activate more brutal affects in
herself in order to differ. Even in the second protocol, there are very few
accentuations.
We can observe a number of tritendances that are elaborated cleavages, the

positions where that one cogitates. A modest analysis of this profile would be
delicate. Ambivalences signals a crisis that poses a problem for the subject, and the
person does not have a grip on it.
Another point deserves to be discussed is the strength of the p+ over p- as well

as the framing of the k+ by the p+. For that, we will have to set out again certain
theoretical elements that we will recall.
The access to a gestalt of oneself is to seize again the image of oneself as a

totality. I see myself as a whole and I love myself. That is the gestalt. Therefore,
the individual is instituted as a perception or rather a total object of perception and
invests this object of perception with his or her libido. To start, it is necessary for
him or her to attain the perception of his or her gestalt, i.e. to the image of his or
her body as a totality.
It is at this moment that the object is lost; the mother is lost in as much as she
became no more a breast but a totality differentiated in face of the subject. To
arrive at this gestalt of the perceptive object is to lose the object in the birth of the
laltrit [otherness]. The fusional relation is fissured irremediably by the
perception of the outside, i.e. with the perception of the gestalt. Perception is
based on a difference at the same time as it creates the difference between the self
and what is not oneself. The object is lost for a total participative relation. A creator
while perceiving differentiates himself from the reality of others.
Therefore, when he has the perception of a gestalt this is imposed on the

perception as a perceptive element and as an object of perception, detachment can
operate and the object is lost from the point of view of a participative position of
the ego. From where arises the anxiety of the loss.
It is to some extent a function that strikes the object, I strike the thing by
perceiving it, i.e. I withdraw myself from inside of this perception and I give to it
its internal movement with which I participate. If we go further in this logic, to be
instituted as a gestalt, as I face the world, is to be detached from the world. This is
a radical manner of detaching oneself from all the objects of the world.
The Fault [La Faille] could be born from the perceptive act that creates its own
gestalt like a bubble separated from the world. The operation of the fault would
consist in creating a perceptive center of gravity interiorized in its imaginary space
that, simultaneously, acquires its own dimension. Afterwards, the stake will consist
in forging limits in relation to space, to time, to the inside and to the outside. The
knowledge of its limits allowing one to seize oneself.
Thus, poetically, the ego would be similar to a planet that would be formed as
soon as the perceptive center of gravity would be fixed in some part in an I.
Rightly, this center of virtual gravity is related to the fact of perceiving as an I,
which gives the direction to interiorization. Without this perceptive center of
gravity, there is no centripetal movement and no appeal to the constitution of a
mental constellation differentiated from the Other that will end by giving a mental
planet, i.e. its differentiated identity.
Thus, the passage of the participation in interiorization could be tied to the
constitution of a sufficiently homogeneous and compact perceptive core so that it
can cause a centripetal perceptive movement.
In the second positions, the object of the drive is the subject itself. They are the
positions of the sexual vector, the subject takes himself or herself for an object as a
gestalt and as an object of love for the drive. I love me myself. This is the I-k +
that is different from I-p +.
I-k+ is the I that is an image; it is not the I that thinks in the first person. k + is
the subject that is not the same as the Other; there is a distance. The Other I have
lost since it is opposite me; it is differentiated. The participation is finished. It is
the I from the mirror stage of Lacan, as an image, that is a gestalt of oneself. And
an image that is invested by the drive as Narcissus does with his reflection. It is
primary narcissism in this sense. From this point of view, k + is more a primary
narcissistic position to the degree where I will love my image narcissistically.
In other words, in pathology, we can find that among people who will invest in
the image. On a suit, one can place decorations; they are those people who have
these images. It is the guy who drives in the large motorcar -- image that he can
exhibit to the others in order to have the signs of phallic power. I am what I have
and that which I can show. It is in having it that occurs; it is not in the being
[ltre]. p + is more in the being; p + is more on the level of thought since p is a
paranoiac and is a thinker.
Therefore, there is an I in k + as a gestalt and as a perceptive totality. Mlon

puts the primary narcissism in k + and there it is a character. And he puts the
secondary narcissism in p + and there it is a person. Therefore, the character is a
role in the sense of a persona, of a mask, and all the relation that the subject can
have with it is rightly not necessarily a reflexive, introspective relation of truth by
relation to oneself, rather that it is the history of p +. k + is rather the subject, in the
narcissistic pathology, that nourishes an image of one who appears and that, to him,
identifies himself with a look. There is always something fragile and artificial
about it.
In the beginning, psycho-genetically, k + is I see my image and this image

belongs to me, it is me and I love myself.
Therefore, k + of the creator has its source in an I-p + who knows very well
that he or she is not this I of k +, this I of the image. The creative I is reflexive
about itself and is above I of k +. The I of p + is the engine of creation, the thinker.
k + is what will make it possible to put a form to that and to realize it in fact. The
specular relation would be between the reflexive I-p + and the I of k + in the image.
The engine is in p.
In order to move away from p -, the creator would begin with an I that is
instituted in opposition to another I, that of the other. And k + is the ego that says
no in opposition. There is that in children at the period when they oppose
systematically but from a narcissistic need. Whatever the parents say, they will say
no for the pleasure of saying it. To find a pleasure the opposition is of a manner of
narcissistic construction.
All that would explain the passage of the qualitative jump in creation. The
creator starts by writing a thought in opposition; then he writes in the affirmation of
it. The qualitative jump would come from an I existing in opposition to but that is
not intrinsically defined by a relation with itself (thus rather k +); and that leads to
an I-p + intrinsically defined by a reflexive relation to itself and not defined by a
relation to another thing. The I in opposition to (k +) is qualitatively different from
the I in affirmation of oneself (p +). That which would explain the qualitative jump
of a research that separates oneself from the known then is an affirmation of
oneself in creation.
The I of the character in k + is an I who is not in a filiation by opposition to I

of p + who is in filiation and in a history since there is an identification with the
primitive father. Therefore, the I of k + is a virtual, not historic, I. The making of a
history starts with the paroxysmal vector of affects. They are the third positions.
The k + originates in its image where there is not a zero trace of the Other in the
reflection. The p + originates in an identification with the primitive father, the
Other is registered in the reflection. There is passage from an absolute relation to
oneself (none of the Other in oneself) to a relative relation to oneself because it is
mediated by an identification with the Other. Between these two stages, there is k -,
the negation of oneself. This is logical in the sense where only the negation of
oneself can break an absolute relation with oneself, nothing comes to make a
dialectic of the absolute.
The absolute became relative to itself by the experiende of nothingness in

order finally to fall under the history of humanity thanks to the identification with
the primitive father.
This is a little the history of each one of us. The teenager dreams greatly of his
omnipotence in proclaiming himself to be capable of anything. He remakes the
world and denounces all that is bad in his eyes. He himself knows how to go
further. He takes the reins and he believes that he will do better that those who have
preceded him (Me, I will succeed!). Then, life puts innumerable obstacles to his
quest and as well in front of him as in him. He takes a fall and is indeed obliged to
reconsider his omnipotence in the light of his course. Finally, he thinks that he is
only a human being after all and that he will do the best that he can and then he will
try to do as well as those whom he has chosen to guide him in his life. This is the
trajectory that goes from k + to p + while passing by k - in the circuit of ego.
It is rightly the inscription of the Other in oneself that can reintroduce history;
there is no history if all originates in a relation with oneself. k is the legalist-
realistic position. And it is identification with the primitive father in p + that
reintroduces a filiation that makes possible a history to be written.
Before, there is no history in C and in S. Therefore, in k +, there is no filiation.

The putting into sensorial form is not inscribed in a history and does not form a
deposit in an identity that can give a history to the subject: this is what happens to
the subjects k + p O. We are in repetition. This k + associated with S is the
repetition. If we have one k + correlated with a p +, we reconsider k + differently;
it is modified by p +.
k + is a position of arrest and the second position with a repetitive temporality

in the development because there is no identification with an other. There is a
shield on oneself on the level of an I that looks at itself and this image is invested
sexually to the detriment of the Other. The libido being limited from an energy
point of view, the narcissistic libido grows to the detriment of the object-libido.
The more I invest nacrissistically, the less I have libido for objects and
conversely.
In k +, we can have a narcissistic withdrawal in certain subjects but, from the

time, where he makes something with that, that is not pathological any more. One
needs nevertheless a creative intention that is probably in p +. Mlon speaks about
the root of creation in p -. In fact, the fusional project of p + in the creative process
would comply with the root p - of participation with the Other not in reality but in
the imagination: I want to fuse myself with an Other.
Therefore, k + is in relation with the character and primary narcissism; and the
p + is in relation with the person and secondary narcissism.
All the autocentric perceptive movement begins with the gestalt of the self.
Once this gestalt is seized, the child can invest in it. This is what he or she does in a
relation of two, the narcissistic relation with the mother.
Therefore, in some part, the creator repeats that by creating a self-other with
which he enters into fusion in his imagination but the self-other is sufficiently
different so that can proceed. And it is a beautiful object so that he is satisfied with
what he has created. The creator would repeat then this procedure that the child
executes in order to capture his image of himself in his imagination.
p - is the participative position of ego. Within the framework of creation, this

would be a p + that, sporadically, takes itself for a p -. It is perhaps at this time that
the subject in p + fuses with this self-other in the imagination and passes into p -.
p - indicates that ego is in participation. That does not indicate if this participation
is real or imaginary, i.e. with a real other or an imaginary self-other. The idea
would be that it is the position k that determines the imaginary or real aspect as
well as the drive positions. k - p - would tip the balance to the side of reality (with
the primacy to a real other). k + p - would tip the balance to the side of imaginary
(with the primacy to the other generated by oneself).
That can follows closely the idea of the emergence of a character self. That
will also follow closely to the fact that the great narcissistic k +s are seldom p +
subjects. A patient, in response to the Rorschach with board 9, give the answer: It
is a monster who gives itself a kiss in the mirror.
It is probably a narcissistic structure according to the clinical and this person

does not make anything. He does not have the engine p +. He will be a pure k +;
pathology would be that. With the T.A.T., he is unable to imagine and to think of a
story; he does not follow the instruction. Apparently, he is unable to. He seems to
be invested so much narcissistically that there is only he. He can speak only about
himself in the first person. He cannot adopt a creative attitude to imagine and to
create a story. For the first board, the child with the violin, he does not tell a story.
He slides by directly towards himself: That makes me think when I myself played
the guitar; and, he tells stuff about himself; he speaks about his life.
In fact, if this person had access to his p +, with the identification (to the
primitive father); this person would spur his k + in the sense of a story with the
Other; with rich contents, and with an elaborate history. But an Other who is
generated by his self in him. The not having access to the identification that sits in
p + gives to its k + a non-history that, clinically, cannot give him access to the fact
of creating a story that does not refer to him. He does not have access to the
identification.
If p+ has an ego ideal, a Narcissus-person, a secondary narcissism, a pure k +

(always from this genetic point of view) not transformed by a p + is a character;
this is the primary narcissism and this is the ego ideal. The ego ideal before the
censor that is performed in k -; therefore, this is also an omnipotence. The child, in
his playing, is identified with a lion. He can be identified with anything as a

character. That means that he is quite unlimited.
Thus, k + also tends towards a lack of differentiation because of this unlimited

possibility of identification, in the sense of losing his limits. To introject everything
and to have everything, in excess, is to slip into madness.
Rightly if one goes too far in k + and in p +, one tends towards the lack of
differentiation in the sense of the totality. There is thus a possible pole of a lack of
differentiation in k + and p + that frees the forms.
The p + is the position that alters the others because it is most developed. One
can say that the p + motor is indeed dominating in the protocol and that k + is to be
interpreted as a function of p + and not as such as the psychogenetic position of the
character.
Why is p + the most developed position? Because p + falls under an

identification, thus it has a history and it has a reflexive relation with itself (the
relation of the relation) and it is that which can perceive itself as a gestalt through
the relation of the relation and that is a very advanced development (the look of the
look [le regard du regard]).
The p + can center k + in a history and in a reflexive relation with oneself.

That means that p + gives its being to the hands of an Other.
The question is: what, in p +, has the power over the image? What, in the
person [la personne], has the power over the character [le personnage]? Which is
the mechanism that allows this operation? This capacity comes from the passage of
the character to the person. The circuit of the ego indicates the position k - between
the character and the person. k - is the negation of oneself. Negation is a stage
without which one could not emerge into total negation.
Beyond oneself, as a character, something preexists to which we go back to

cross the chasm of the negation of oneself. This thing is an Other from which we
originate. To accept it is to be identified with the primitive Father. Though we
make ourselves, we originate ourselves in an Other. The absolute in oneself has
became relative to this figure of the Other.
The reflection in the mirror is ones self in the sense where this reflection
originates itself in this self that looks at its image in the mirror. He knows that it is
not of the same nature as what it sees in the mirror. Its thought centers its image.
The relation with its image is centered by a reflexive relation with oneself. And this
reflexive relation with oneself is centered by an Other that is not of the same nature
as oneself. Indeed, in the reflexive relation with oneself registered in p +, there is
one oneself that originates itself in an Other thanks to the identification with the
primitive Father. The fact that his own reflexive relation with ones self is relative
to this identification with an Other would make it possible to locate the image of
oneself in a relation relative to oneself thinking, reflection that is not of the same
nature as the image because the image does not think.
The fact that there exists a relation with the Other in my relation with myself
makes it possible for me to establish a relation of the relation that I have with my
image. Not to have this relation of the relation will enclose me in my image as a
space and time that encloses around one in the black holes of space where not any
light can escape considering that space has closed again on itself.
When Buddha is found faced with his own image that asks him who he is, he
answers: I am I as long as the ground will be the ground and all the while
answering his reflection, he touches the ground on which he sits.
Consequently, his image disappears because it cannot go beyond what it is not.

Buddha by touching the ground, inscribed with the greatest depth of his being, his
own negation while returning this one that is not him. And as long as this ground
will be, he will give him this relation with himself beyond his reflection. The
metaphor of the contact with the ground is the relation with that which is not ones
self. This relation is only susceptible to making it possible of escaping to the grip
of an absolute relation to ones self.
In a vision more dialectical, we would say that the absolute is found faced with
its own nothingness. From this confrontation is born a dialectic. The being that is
bathed in the absolute and that passes by this nothingness can go from this dead
end only in becoming relative to itself. The contact with that which is not oneself
and the interiorization of this not-self is impossible in the dimension of the image
that originates in itself. It is in this sense that our absolute has became relative to
itself by interiorizing, by identification, a filiation with the Other and with that
which is not ones self. Henceforth we originate ourselves in an other and this
relativity of oneself compared to an other, registered in ones self, prevents us from
entering into an absolute relation to our self and thus into a psychosis.
But, if this altrit [otherness] had suddenly disappeared, the image would
take again all its rights over reflexive thought. The process of the critical look on
ones self would disappear. The door with all the deliriums would be largely open.
This is what happens when we are take ourselves for God instead of doing as well
as He without ever becoming Him.
k + cannot be a relation of a relation; this is in p. k + cannot leave the inside of

the look. p + is the preservation of ones self (siechselbts behaltung: soi-mme
obtention de [preservation of ones self]). k + is the relation of an image with
another image. p + is the relation of this relation: I look at myself in a mirror, but,
in k +, I cannot leave the inside of this mirror; I cannot see myself looking at me.
p + installs a look over the look, a relation of the relation. It is in this sense that
p + has the right to be situated over k +. The look that is put in conceptual
form has the right to be situated over the look of putting into sensory form.
Anybody who invests in the contact is in a problematic contact. In the same

way, anybody who invests in the sexual has already altered the positions of the
contact by the sexual. This is a schema arranged hierarchically. And so on. The one
who has a tropism for the third positions has already altered the contact by the
sexual, but all that is altered by the third positions. The Sch vector is above all of
them.
At the end of the circuit, individualization is at its maximum. The first

positions are dependant positions, they are heteronymous; there is a maximum
heteronomy. In the fourth positions, there is a maximum of autonomy. p + can
complete a work on the drives by thought. Sublimation in particular allows that.
The guiding thread would be the distancing; this is the capacity to

establish a relation with oneself.
In creation, logic rests on a distancing. Therefore, we must have p + dominant:

9/19 for p +, 6/19 for p O, 4/19 for p -. Therefore, we have a dominant p +. The p -,
in this case, is to be reread as a function of a subject who is p +. This is very
different from a subject who is p - all the time and who is unable to give a p +; that
differs from a p + who sporadically gives p -.
Compared to the forms of existence 8 (psychopathic), that means simply to

state that it is somebody who, in his work, sporadically, has this capacity to skip
over the two censors (k O and hy O) in order to have more creative freedom: the
moral censor (hy -) and the realistic censor (k -). The principle of reality k - is put
on the lookout in order not to be permanently a self-censurer of all thought. The
function of the moral censor is not prevailing any more; perhaps according to what
is the object of the creativity of the subject.
The variability of the creators is the subtlety of the analysis that will decode
this variability. It is the same thing with the subject in analysis. There must be a
maximum variation at this level. There, it is a reflexive relation with oneself. The
motor of the analysis is p +. The reflexive relation with oneself must pose an I.
That does not exclude that it has k O p - sporadically; and that is within the
framework of a p +. Therefore, it is very different.
And the I is instituted in the hate in the sense that psychoanalytically one
discovers the object in the hate. A reflexive procedure must in some way nourish
itself with the hate. Thus, a creative procedure must in some way nourish itself
with hate if not with the gestalt and not the reflexivity. And there, the e - is also
altered by the positions that are above it in the circuit.
Here, it is a subject e + who gives e - sporadically. It is not the same thing as a

subject e - who is unable of giving an e +. The e + is clearly represented in
foreground and in the background. The ambivalence translates a questioning that
inserts in e a reflexive relation caused by p +.
We can also use the drive positions. Let us take a dominant perverse-
psychopath in the forms of existence, and then one realizes that the 3rd and 4th
positions are present 5 times on the global level of the first protocol. These
positions are personal positions articulated with the realistic-legalistic positions.
This is normative with the non-pathological meaning.
Perhaps the table of Poellart would give something of interest. The ego O + is
in 4, the - + is in 3 and 4 (thus, the ego can be read in 4). The ++ also is in 4.
Therefore, there are 5/10 of them that probably forms part of the 4th period in the
first protocol. This 4th period is in affinity with psychosis, creativity or
sublimation. The ego + - is in 1 or 2. The ego -- is 3. Therefore, there is a flexibility
but a dominant that is interested in the fourth period at the level of the ego. That
contradicts the forms of existence.
Her husband, Jean-Marie, gives more k + p - but that means that he must
introject the vision of the other, or more precisely to construct a self-other that is
registered in the theatrical play because he must imagine a virtual spectator with
which he fuses in the theatrical writing.
For someone who would be all the time in the same positions, that is not good.
As for someone who would be all the time in sublimation, that is intolerable; one
disembodies oneself; one slips into the spirit.
Therefore, there is a dominant that would be the fourth periods and a variation
to be explained but that is already a sign of a certain flexibility with the realistic
positions that are not dominant. All the better since this is a subject who has a
creative preoccupation.
The fact of indicating a psychopathic process starting from the absence of the
realistic and moral censors undoubtedly has meaning in a psychiatric population
since Szondi is an empiricist. If he retained these forms of existence, it is that he
correlated them with the clinical. The evacuation of these two censors in a
psychiatric population has a meaning undoubtedly empirical. But, in a non-
psychiatric population, it is necessary to reconsider this form of existence
according to the data of the clinical as non-psychiatric.
We speak about putting into form ones sensibility specific to oneself in k +

and the collective use in k -. The deconstruction of k - basically is leveling by
putting into sensory form for a common use. k - would plane off all that would be
personal; this leveling from the deconstruction in k - brings finally a sensibility to
the service of the common run. The common run being the planing away of all
personal specifics. k - is the anti-fantastic position, k - is anti-k + with aiming at
adaptation. It is adaptation, k -; it is a neurotic position.
k - is the position of the hysteric who, faced with the Rorschach, answers: I
do not know. Or then, who gives negative answers: There, the red is absolutely
not blood!. There, it is really the denial within the meaning of Freud. To be able to
pass the censor of the unconscious so that the idea can be expressed, the idea is
released under a denied form. That is the precise meanings of the denial that is a
particular case and the neurotic mechanism k -.
The hysteric employs its sensibility that she respects, because she says that it is
nevertheless blood in some way, but in the service of the common view of denying
it. It is especially not blood; it is not blood! Whereas that is so because the woman
has a problem of controlling an aggressive drive, something of importance but it is
denied.
More astonishing is the protocol of Henri, who is clearly in position 3. To take

a role and to have this capacity is not k +. k + cannot have the distance that a p +
would have. The k+ that takes himself for a character [un personnage] will be
wounded in his narcissism if one says that is so about him; he will then leave and is
going to decompensate eventually. He is in it; he does not have this distance; he
believes in it; he is deceived by the k +, the position of illusion. He deceives
himself; he takes himself for the character.
Henri, incarnates it; it is suitable. In extreme cases, he forgets himself in order

to be in the spirit like a play. He has this distance in relation to the character.
(Compare this to the paradox of the actor). That would mean that he puts himself
aside. He puts his sensibility at the service of the other. That is the deconstruction
of k -. It is the deconstruction of his own sensibility, allowing a putting into form
by the other of his own sensibility. From where, the adaptation in k - that reaches
its paroxysm in the play of the actor who manages to channel his manner so as to
correspond tip top to that which the Other asks of him. He gives up his own
desire. He adapts to the reality of the Other. It is a sensibility that obeys the law and
the interdiction. I choke what is born from my body in order to better follow that
which the law compels me to follow. This is the interdiction that prevents the
activation of his own fantasy.
Here, it is a law that comes from another imagination to the service of a

fiction. Most curious, it is that the ego treats this law of the imagination of another
like the law as such, i.e. as a position realistic-legalist. There is confusion between
the law of reality and the law of imagination on the level of his ego. If that is
possible, it is that in some manner, the law of reality rests on an imaginary
authority. That means that there is no reality without imaginary feedback. It is odd
to note that what we call reality is in fact the imaginary decoding of an ensemble of
stimuli. And Henri has a straight down 1-3 (fusion-adaptation) very, very clearly.
Apart from his role, he is k + in the background [larrire] (profile 3).

k - is a sensibility in conformity with the prohibited but in order to think that, it
is necessary to have a sensibility to oneself that observes the sensibility to the
service of the Other. We have passed by k - and we try to disengage ourselves in
order to file past towards p +.
The example of a football game on TV can illustrate the k - sensibility. One is

together in a group; one is suspended in a balloon; one eats the same thing; one
sees the same thing. A goal occurs and one reacts in the same way. This is a case of
k - p -. To conform, to fashion ones senses so as to be in the sensory bath and in
the common representations. A kind of small group with one collective ego.
The belief in p - is something that one accepts like that without having to think
about it or to criticize because everyone adheres to it. The personal belief is a
personal choice that adopts something by having cogitated it. The passage by k -,
rationality, is the cogitative stage underlying the personal belief that sits in p +.
There where I cannot explain by my cogitation my choice any more; my belief
enables me to maintain my position beyond the rational one. Example, I believe
in the non-existence of God. When the logic of the arguments cannot go further,
the mechanism of the belief is put in place in order to maintain the choice; that
allows a precession of oneself beyond the rational, the known, and the conceivable.
When one makes a choice in a precession* of oneself and when one anticipates
oneself in a work, it is necessary to have a personal belief. [*precession = putting
oneself first]
This belief comes to clog the gaps of rational knowledge and of the look of the
Other in the creative process. This is strictly personal and that must have the range
of a belief to put in brackets the system of the proof and of criticism. The belief in
p - is to reject p +, i.e. the thinkers. While a personal belief is from p + that has
often a personal system to see philosophically.
In our logocentric society that leads us to create our personal myth, we adopt a
belief in our personal myth in the sense where we generate a belief in a personal
myth. A myth despite everything is a fiction in which we believe. That can also
give the beliefs of the megalomaniac inflative paranoiac. The mechanism of the
belief can always slide towards the delirious. But, it is not necessary step to go to
view a psychiatric pathology to be convinced of this; it can be enough to remember
that the nuclear potential of destruction that exists is so disproportionate that is to
ask oneself where is the limit.
Positions 4 are disembodied; there is loss of its meat and less emotions. It is
nothing any more but a spirit. From where, insensitivity to the other, the loss of
laltrit [the otherness]. One can define them as solipsists positions. The creator
who would live all the time in positions 4 would live in an abstract world where
there would be no more place for a sensible world. A pure spirit.
It is the distinction between the abstraction and leinfhlung [empathy].

Finally, there is a mixture of both. To go beyond the sensible is to kill the living in
the thought. This is the extreme dead end of k - that rationalizes with excess. The
deconstruction should not cross the border where the sensible is reduced to a pure
abstraction.
According to Mlon, destruction when it is there in excess in k + would result
from a k + that wants to introject everything and that realizes that it is impossible:
I cannot be identified with everything; thus, I destroy the contents and the
machine to think. They have a hole in the brain: they break the contents of the
thought and the machine that produces these thoughts (k -). It is a fertile time in
knowledge in this passage k -. k - breaks the objectivation of knowledge and
makes it possible to pass beyond this stage in order to inscribe it into to be [ltre]
(p +). p + is another level of knowledge where the knowledge-object becomes
obsolete: there is progress. In p -, there is no taking up of knowledge on the level of
a theoretical intelligence that raises the question of why.
The man of the street [the average man] of Szondi is an abstraction that he
made. He locates it in k - p - because he thinks that the average man is not k +
because he is realistic and he is not p + since he does not have personal ambition.
The p +, which interests us here, is to seize again the globality of things. It is

rather philosophical to have a vision of the world. It is different from the
accumulation of knowledge. The question of being [ltre] remains the concern of
p + even if it knows that it will never reach it.
Mlon agrees with speaking about lack of differentiation in to be [ltre] and

differentiation in being [ltant].
k + p + is found sympathetic with the psychotics on the catatonic aspect and

the paranoiac aspect. This is to cross the limits. This is the ambition to be
everything and to have everything. The man in the street refuses this madness.
Consequently, he refuses this going beyond limits; he confines himself within the
fixed limits shared by the culture.
On the level of the ego, the psychotic refuses the standards and, with this point
of view, is antisocial.
All the creators are confronted with the problem of limits: to be all the time
with limits and to transform ones vision of things. There is no difference between
the artist and the scientist: to find the formula to show things differently.
A k - associated with a p +: the destruction of objective knowledge is

associated with a going beyond this knowledge.
The position k - has two aspects from the fact that, in the theory of the circuits,
it is located between k + and p +:
an aspect that is turned towards k + and that consists of deconstructing the

image and destroying it. The movement of this aspect remains on the level of the
k + world that it limits. There is not yet movement transcending the level k +; it is a
k - opposite k + that tells it stop. This aspect of k - consists of preventing the I-
image from being maintained by breaking the image.
an aspect turned towards p + that consists in going beyond the process of

negation and exceeding the dimension of the image whether that in it or against it.
It is the open door to the access to the reflexive I in filiation with the Other. A
qualitative level is crossed: we have left the world of the image in the sense where
the negation of oneself is henceforth inscribed in oneself in a filiation with the
Other (in fact, it is this filiation that gives the possibility of denying oneself): p +.
The negation of the image is not inscribed in the image in the sense where this
image cannot deny itself without itself disappearing.
Consequently, it is not a question any more of limiting k + and of breaking the

image. No, now, it is a question of crossing blindly the passage from the image to
to be [ltre]. The relation to the image being destroyed, the subject does not see
himself any more through an image of himself; he does not fit himself any more in
the look that looks at the image. All that he can have as a specular relation is a look
on his look [un regard sur son regard].
The Other fits naturally in this relation with oneself in the sense where this
Other is a look that looks at my look and my vision of the world. The paroxysm of
this matter is in particular incarnated by psychological knowledge. The aspect of
k - turned towards p + opens the common fields with the Other in the sense where
the look that I have adopted (a look on my look) is finally the same one as that
which the Other brings to me.
Therefore, nothing prevents me any more from seeing myself through the eyes
of the Other while remaining myself since our looks are of the same nature. To be
detached of the sensory look in order to adopt a conceptual look is to cross in full
stride the threshold between the sensible and the abstraction and between the
sensible and the conceptual.
Since the looks are of the same nature between oneself and the Other and since
this look of the look is in the area of abstraction, the abstract becomes the possible
common fields among people in the sense where it is located beyond sensory
individualities suitable for each one. We cannot divide what our sense say to us but
we can share the look that we carry onto our senses: You have felt the vibration?
Yes, I felt it. or You love me? Yes, I love you. If we could communicate by
common fields our sensations without making them abstracting, why consequently
put such questions?
If p + is the access to an I founded on the conceptual look, the position p +

roots itself in fields common with all humans who are at the same time are
formulated by the sensible: the Abstraction incarnated in the Word. This dimension
of the spirit is at the same time specific to oneself and at the same time common
with all those who conform to the abstraction. The figure of the human being
common to all these thinkers of oneself can be only virtual and be itself an
abstraction.
It is perhaps what Freud indicates as being the identification with the primal
father and that the Szondians locate in p +. To aim towards God is perhaps to
abstract themselves and make a movement towards conceptual thought that
detaches us from this low world, i.e. the world of sensibility. If God is the
creator, it is logical in the sense where He incarnates virtually the movement of
the thought that transcends the limits of the sensory in order to bear a looking on
His own looking. However, without this movement, no detachment by relation to
things and, thus, any possibility of transcendence of His image.
The language among humans is possible with the condition that these men
share common fields that is communicable. The characteristic of language is in
particular in being an abstraction that is attached to the signified by conventions
that the majority of people adopt. The fact that these conventions are necessary
signifies the fundamentally abstract nature of language. Without this common base
that is abstract, how to go beyond our individualities fundamentally registered in
our manner of feeling the things each one in his or her own way?
Thus to communicate is to put things in the common and is to find a

formulation common beyond sensory specificities to each one. It is necessary to be
able to formulate the sensory look, to put it into form, and to communicate it to the
Other. It is, in our opinion, one of the functions of the look of the look. This is why
in p + is registered basically a relation with the Other. We can speak ourselves with
ourselves and carry to us this look of the look, but if it had suddenly regressed to
the stage of the sensory look, at the stage of the I-image, the Other by his look can
help us there to see more clearly into ourselves and to restore the reflexive relation
with oneself beyond the image.
One of the principal mechanisms that tends to make us lose this conceptual
look on ourselves resides in the primary narcissism that, at a given time, blocks the
process of going beyond of the image of oneself. Isn't it said that narcissism is the
main obstacle to knowledge? One should not forget the obstacles that were erected
on the paths of Galileo, Darwin, and Freud. Didn't these men destroy a narcissistic
image of the human being? To be at the mercy of the unconscious and to descend
from the monkey while living on a suburb-planet of the solar system in the vastness
of the universe have what makes us giddy.
But the price that it is necessary to pay in order to preserve this narcissistic
image is a most extreme price: no more to be able to go beyond ones self. Because
that can prevent finding different solutions to a problem.
The negation of oneself on the level of p + would come from the possibility of
relying on the glance of the Other on oneself.
If p + opens common fields that is that of abstraction, the look of the Other on
myself can be introjected in an abstract form. That is only possible if there is
communication. From where the importance of common conventions and common
representations to maintain the relation with the other through a common language.
In the Rorschach test, the indices Ban and F+% reflect this importance.
No more to formulate its abstract (its representations) in such manner to make

it communicable is to cut oneself off from others and is to lose the possibility of
using the look of the Other in order to deny something in us that we do not see any
more because we are in inside this thing.
A psychotic carries well a look on his look but his interpretation evacuates the
critical look of the Other. He finds himself only with his conceptual look and
would repeat on another scale the imprisonment of the I-image in his own relation
with himself. He would think of his being as the narcissistic person looks at his
image. Both of the two would be prisoners in the inside of a look:
inside of the sensory look, a look that takes in the image.
inside of the conceptual look, a look taken in thought.
It is the relation with the Other that would allow the outside of this look.
PASSAGE FROM THE LACK OF

DIFFERENTIATION TO DIFFERENTIATION
IN CREATION
1. Facts
This investigation has shown:
1 - A passage from a lack of differentiation to a differentiation by means of the

made-work [faire-oeuvre]. This is also a passage from imagination towards reality.
2 - A sensory and perceptive capture with private use: non-common use of its
senses and perceptions.
3 - A rupture of contact.
4 - Interiorized processes.
5 - A deconstruction of a verisimilitude accepted by the average person and an

opposition to a common concept followed by a construction specific to oneself. All
from cyclic phases.
6 - Objects are created: transitional space between oneself and others and
between imagination and reality.
7 - A search for something: what is its motor? (dissatisfaction, danger for the
ego, malaise with the common). The direction is given by reversing that of the
creative process.
8 - A distancing in relation to the known (his and that of the others) then
reconciliation with the common with use of his or her senses and perceptions of the
common type as well as a resumption of contact.
In observing the work of creation, an obvious fact common to any work of
creation appears: the passage from a lack of differentiation to a differentiation.
Let us look at a ceramist starting from a clay mound and gradually working
out a form, a mass, a movement. Then, enameling with a power of glass to give a
colored skin or not to this form; the surface will be worked with a multitude of
technical possibilities. And, finally, the fire of the furnace will prevent this form
from returning in its starting state, i.e. a clay mound.
The sculptor starts from a block of stone and works it to give it form. He
separates what embeds the desired form and refines the contours using his sharp
eye.
The painter handles the small mass of the colors on his palette and works the
forms with his imagination. That which was a plane surface and white --
undifferentiated -- will become an image extremely worked over with its
contours, its limits, its designs.
The musician, as for him or her, arranges thousands of sounds that take in turn
the form of despair, the magic of eternal love, the stridency of violence; all this
creative work consists in giving form to that which there was none at the
beginning.
The playwright who builds the living text that actors of theater will play
precisely according to an elaborate space differentiation, emotional, temporal.
The access to the sensibility allows the replay of the differentiating processes
of the body identity. When we create something, we give form to something; it is
also to give a limit; it is to encapsulate this thing.
Creation is work of the forms; it causes forms. Basically, a work on the

form is a work on the limits and on that which is based the differences. In this
sense, to create is to differentiate.
Accordingly, the creative work -- made-work -- is a work of differentiation

that imposes choices, limits, sensory discriminations. It is not any more the
omnipotence of the potentiality of to be. Here, the realm is in the making.
To choose is to renounce. And to choose and to decide on such or such form is

finally a procedure of voluntary restraint. That returns us to the self-management of
the anxiety of castration.
All these creators go from the possible and from the undifferentiated and
construct creations, i.e. sufficiently differentiated beings so that they can exist
apart from their will.
2. Principle
Distance supposes a distancing, a movement that moves away. To perceive
this movement, it is necessary to locate a referent point from which one moves
away from. To what does that refer us to on the mental level? Mainly to a direction.
The opposite direction of that which would bring us closer to the referent
point. Let us place the referent point at the level of the known and the conceivable,
i.e. on the level of the common representations in place in a society and to a
determined epoch. To move away from that carries us into what one usually calls
creation. This process obeys a direction that is opposite to that that brings us closer
to the referent point.
To create would be to distance. Perhaps, but in what degree?
3. The Degree of the Creative Process

The term to create is a word whose significance is common and refers to a
signified that we compare to a particular process. We speak about a process in the
sense where the act of creating is the result of a thought that moved away from the
trodden paths. There is thus a movement that is achieved in a time period or that
lasts but always according to the same principle: the distancing of the schemas of
thought that brings us back to the known and to the repetition as Jean Mlon states
it.
That which makes it possible to measure (within the meaning of that which
measures the difference and the variation) the act of creation is the ensemble of the
acquired common representations. For the individual, in himself, it is the ensemble
of his own representations acquired before the creative movement.
It is it by relation to what one distances oneself that gives the degree of the
distance covered, i.e. of the creation obtained. It is zero that gives the magnitude of
the million; it is the big bang that gives the age of the universe. These two abstract
referents are to some extent astonishments [sidrations] that give the degree of the
distance covered. Astonishment [Sideration] in the sense where the referent is fixed
in some part in a virtual point from which one moves away rightly because it is
struck [sidr] by the thought: an invisible representation giving the zero point.
What is thus this zero point from which the creator moves away at all costs?
We think that what Besdine (3) calls the Jocastian mothering in the creative
geniuses can help us to understand the springs of the creative movement.
4. The Threat of Jocasta

If we return to the source, an element seems determining in order to make it
possible for the child to go beyond fusion: capacity of the mother to detach herself
from the child. Indeed, Bucher (8, p. 334) stated:
In addition, if the empathy of the mother is the indispensable
condition of this process of maintenance of the physical as
well as the psychic, the evolution of the newborn will be
assured that from time when the mother will admit the distinct
status and the individuality of the child. In other words, the

mother must allow her child to be detached from her in order to
be able to realize his or her own negative experiences. Only
those will lead to the structuring of an authentic self, being
able to organize the first possessions and the first object
relations of this child who will accede to this word.
What we see breaking out here is the threat that constitutes for the child a
mother who for one reason or another is incapable of detaching herself from her
influence on her child. The experience of the attachment can consequently be
connoted negatively in the eyes of a child on the way of constituted himself into a
self. He will feel the weight of the influence of his mother -- and by extrapolation
the Other -- on his life, a weight putting in danger his distinct ego.
Concretely, the too strong and too lengthy attachment has prevented the
process of defusion* from concluding its term. In the best of cases, the child ought
to have set up powerful defenses in order to leave the attachment. At all events, if
the fertile moment of the attachment were connoted negatively, the source is
experienced as putting the ego in danger. Consequently, the activation of the forces
of attachment at adulthood will tend to awake defenses that protect the ego from an
excessive fusion. Ambivalence will be strong in the sense where the desire of
fusion will be powerful and at the same time a thorough process of defensive
individualization will be set up in order to slow down this desire that could not find
a brake in the detachment of the mother in relation to her child. [*defusion =
ending the participation, the fusion between mother and child]
This situation is supposed to explain how the attachment to the Other became
problematic in the creators following the hypothesis of Besdine on the Jocastian
mothering. Indeed, we will refer to the study of Mr. Besdine on mothering and the
Jocasta complex in the mothers of creative geniuses. We will put in perspective
the history of Jocasta -- the mother of Oedipus in order to introduce this
hypothesis.
Myth of Oedipus and Jocasta
The sad fate of Jocasta, tormented by fears that fed her husband
with the idea of being killed by his offspring, as the oracle had
predicted, made impossible any normal sexual life. Following
an orgiastic drinking bout, which has occurred after a long
period of sexual abstinence, during which she had ardently
wished to have children, she put forth into the world her single
son. She was at once separated from the infant, who was
exposed to die. Thus, the origins of the Jocastian mothering are
in the myth itself, the burning desire for a child, sorrow for
having lost it, the absence of a normal sexual life and finally the
death of the husband. It should be noted that these are the same
evils that generate the Jocastian mothering today. The role of
Jocasta, as a definite, fatal and symbolic system as that of
Oedipus, must be appreciated and defined in a critical manner
with the same standards. One can certainly object that Jocasta
did not raise her son, but it should not be forgotten that the
queen of Corinth, Priboea, eager to have children, adopted
Oedipus. This was her only son, and he was to inherit the
throne. The sources even of the Jocastian mothering were thus
present within the royal family of Corinth. (3, pp. 180-181)
According to Besdine, the Jocastian mothering occurs when a mother is not

able to be detached from her child. The mother seems to suffer from a thirst for
affection or sentimental frustration, so that she establishes with the all-too-young
child a narrow, intense, intimate and exclusive symbiosis that is maintained
pathologically beyond the first year or, rather, of the period when the function of
locomotion appears.
She prevents or delays separation/individualization, the movement towards

autonomy and the formation of ones own identity. The child develops
precociously, arrives at the Oedipal period with strong distortions, and is not able
to solve the problems that emerge. The warm intimacy and the tenderness that he
knew during his first year of life in the exchange and the dialogue full of softness
with the mother are contaminated forever by a feeling of control, to the degree that
the mother, made thirsty for love, prevents the child from normally developing in
the sense of maturity and self-differentiation.
This intense and diffuse atmosphere of incestuous love becomes
more and more terrifying; the child then the teenager and the
adult feels the situation as dangerous and prohibited, even like a
state of poisoned subjection. (Besdine, 3, p. 179)
Such a relation with the mother is ambivalent and the child, later, will have
kept the trace of this ambivalence in his relations in love: sometimes too fusional,
sometimes too distant. A moderate degree is not in place.
This persecutive conception of love as experience has a double
face -- one attracting and one at the same time repulsing, and of
which it is necessary to distrust and this is characteristic of the
men and the women raised by a mother having a poor and avid
emotional life to find an object of love. I came from this to call
this type of mothering born of a thirst for affection the
Jocastian mothering. (Besdine, 3, p. 180)
The father within this framework of mothering is described by Besdine as an

absent father who has not been able, for one reason or another, to open the relation
mother-child to the exterior:
The crucial role of the father, who is to help to break the
primitive symbiosis, to widen the horizon of the child, to
initiate it to the outside world and to offer to him a masculine
model worthy of emulation; this role does not occur. (Besdine,
3, p. 183)
The libido over-investment of the boy by his mother (precocious stimulations,

affectionate and happy ambiance) is in connection with a major dissatisfaction of
her in her own sentimental life (divorce, widowhood, long separation of the
husband for professional reasons, disagreements, sexual impotence or incapacity to
love the spouse). From where, at the same time, a thorough mothering (the child
becoming the privileged object of her care) and a hardly veiled incestuous desire of
the mother for her son, as one can suppose that Jocasta experienced it for Oedipus
when she unites herself with him all the while having more or less recognized it.
From this maternal psychodynamic, Besdine shows the consequences (3, p.

24):
The natural symbiosis of the mother and the child is
strengthened and prolonged. We will add that it is especially
experienced by the child under the double sign of the happiness
and the conquest of the body and the world and that later the
genius seeks to reproduce with his single friend-confidant this
same type of symbiosis.
The difficulty for the child of defending himself against his own incestuous
desire for his mother, and then for the women taking her place, is accentuated by
the danger that he feels from meeting them not only a positive response but
especially a solicitation in love such as his own desire then does not know any
more a brake. From where comes the fear of the love.
It is interdicted to approach this object (or of letting himself
approach it) and to risk a physical contact and a mutual touch:
one can only see it by a distant view. (...) The fear of the
punishment is, under these conditions, lived, on the double
level, pre-Oedipal, of shame and, Oedipal, the feelings of guilt.
(Anzieu, 3, p. 24)
This is what makes J. Mlon (18) state that: The wisdom of the creators is to
get excited by an impossible object of love.
The creator creates for the sake of it, and in spite of his feelings
of shame and culpability. To create is to transgress the taboos
and is to free oneself from threats, but it is also to play with fire.
It is paying the price for it by times of anxiety and depression.

This descent in oneself is also a descent into Hell. (Anzieu, 3,
pp. 24-25)
Besdine illustrates his subject with many creative geniuses. We took that of
Goethe (3, p. 192):
At 25, Goethe falls passionately in love with Lili. She was his
first and his only great love and when after many efforts, he
ends up becoming engaged; he started to be haunted by
nightmares where his fianc was put in a bag. Finally, he took
flight, and the engagement was broken. This feeling of being
put in a trap belongs to the usual manifestations by which the
sons raised by a Jocastian mother transfer to all women the
feeling of maternal constraint. That is completely typical of
their psychosexual history. This feeling of being trapped comes
from a frustration on the level of separation/individualization,
since the persistent symbiosis prevents a natural evolution
towards separation and autonomy. (...) All the personality of
Goethe bears the mark of a mothering of the Jocastian type.
Balzac, Proust, Shakespeare, Freud, Michelangelo, Heinrich Heine,

Dostoyevsky have all passed through this Jocastian mothering according to
Besdine. Sartre in his book Les Mots [Words] makes a self-analysis of this
mothering and, in fact, a revealing psychological document. It seems, according to
Besdine, that the list of the creators having experienced these dynamics is rather
edifying:
These examples of unsolved Oedipal difficulties in geniuses
are revealing of a significant phenomenon on the clinical level.
Besides, many biographical studies come for that matter to
bring other evidence of them. That one takes the life of Shaw,
Kafka, Wolfe, Stendhal, Conrad, Tennessee Williams, Edward
Albee, Whitman, Somerset Maugham, Rousseau, Kleist,
Strindberg, Poe, Wilde, Gorki, Galileo, Camus, Beethoven or
others, confirms the impression of an unsolved Oedipus
complex coming from the living experienced from a Jocastian
mothering. One finds in Violette Leduc, Simone de Beauvoir,
Florence Nightingale, Mrs. de Stal, Georges Sand, Sarah
Bernhardt and among other genius women a similar family
constellation: Jocastian mothering, masochism, narcissism and
the propensity to transfer. (Besdine, 3, p. 200)
Besdine thus underlines in the creators a fixation to a primitive symbiosis with

the mother. But why if few people, among the great number of those remained
fixed at this symbiosis, become creators? Thus according to Anzieu (3, p. 27): The
mothering and the Jocasta complex in a hyper-attentive and hyper-loving mother

are not enough to predispose the child to be a creator. It is necessary that the stage
be taken by a father or a paternal substitute and that at the same time this father be
generally tolerant and that he supports and reinforces the desire for knowing.
Anzieu postulates as an explanatory hypothesis the active attitude before the primal
scene and a superego without severity and an encouraging ego ideal.
Anzieu postulates a benevolent father, an education with a liberal character

in order to support the fact, using his study of Freud, that the creator has a superego
without excessive severity and an ego ideal encouraging and stimulating.
Then, Anzieu postulates the fantasy of the primal scene and the attitude of the
child faced with this scene as a determining factor. The child, if he is submerged by
anxiety before this scene, will remain later passive and frozen in front of what he
discovers basically of himself and be inapt to develop his possible discoveries in a
work.
5. The Course of Individuation = The Creative Course

To introduce this parallel, we propose to take again an extract of Bucher in
connection with the concept of holding that makes it possible for the child to be
held in front of the others and that opens the establishment of object relations.
As far and to the degree that object relations are then
constituted, constituted objects can be invested that, in their
turn, come to corroborate the behavior and the self-confidence
of the subject. (Bucher, 8, p. 335)
Bucher utilized here the functions of the ego (8, p. 335): namely introjection
(k +) of the primary object of behavior and the process essential to the awakening
(p +) of individuality. Such an assimilation would be however possible only after a
crisis in the object relation, without which the process of introjection could not
operate.
And most fascinating is the curious similarity between the process of

individualization of the child and the creative process such as it is described in this
dissertation. We will leave you the words of Bucher (8, p. 335) with which we will
associate ours between parentheses:
We saw that it is not possible to compare the dual union with an
object-relationship, since there is at this level neither subject
nor object. Only passage to a reduced dependence, following
the distinction (role of perception in the detachment) of the
mother and of the maternal breast as an external object
(distancing), will allow crises in this relation (fault [faille],
discontinuity in the participation), the subsequent detachment
(distancing, differentiation) and constitution, by introjection, of
ideal formations of possessions (action of k +), on the basis

of which will be able then to be established ideal formations of
being [tre] (p + which is based on k +), result of the process
of individualization (of creation, constitution of a differentiated
self suited to the defusion in fusion).
And shortly after. Bucher (8, p. 335) announces that: Introjection would be
thus only an intermediate link between separation and self-constitution of the
subject; k + would be the intermediary between the fault [la faille] and p +.
6. Creation as Psychic Work Producing the Difference

There exist secondary benefits of creation but the question of the primary
benefit remains intact:
The current answers are known. To create would be a way of
fighting against death and to affirm a hope of immortality
(...) a compensation for his incapacity to give birth and to put
into the world cultural productions, more or less suited to
survive by themselves. At the price however of how many
abortions and how much stillborns! All this constitutes the
secondary benefits of creation. The question of the primary
benefit -- which drives answer that? ; which psychic courts does
it satisfy? ; against which anxieties does it secure itself? --
remains intact. (Anzieu, 3, p. 4)
For our part, we have to pose the idea that the differentiating process
registered in creation must be interpreted in the first degree: it is the point of view
of differentiation and thus that of limits.
It seems thus that the anxiety of losing oneself in the Other calls up a wall to
the fusional desire. It is in this sense that each creative process could be interpreted
as an act of differentiation placed in oneself and in reality. Each creative cycle
carried out would be a mourning for a desire of fusion and a separation from the
origin.
The creative process would be thus a psychic work that leads the creator to
pass from the desire for a lack of differentiation to a desire for differentiation. It is
at first sight about a passage, and it is in the sense that it is about a psychic work.
Anzieu speaks about three large psychic works of passage, the dream work,
that of mourning and finally that of creation:
The work of creation represents the third form, more poorly
known, of psychic work: a work of a few seconds in the sudden
appearance of the inspiration, of a few weeks in the conception
of the outline, several years in the realization of the work. (...)
Dreams, mourning, creation constitute the phases of crisis of

the psychic apparatus. As in any crisis, there is a deep interior
upheaval and an exacerbation of the pathology of the
individual. (Anzieu, 3, p. 5)
We are in agreement with this formulation in the sense where creation would
not be reduced solely to the work of mourning of the fusional desire. It also
proceeds from a development pressured to build an enterprise of consolidation for
oneself on data of a new order. Anzieu announces the exacerbation of the
pathology of the subject during this work. This point warns us against the
psychiatric interpretations of a psychic work.
What matters the most for us in this extract are the ideas of psychic work, of
crisis, i.e., more simply, of a passage where, henceforth, there will be a before and
an afterwards. A border will have been drawn in the furrow of this crisis. Thus,
creation is seen like a psychic work bringing a differentiation of oneself by
construction of a limit between the real and the abstract. We think from this that a
symbolic castration must intervene when it is question of a limit.
7. Symbolic Castration
To decide is to choose, and to choose is to renounce. (Stassart,
26, p. 1)
at the price of a self-restraint that corresponds always
ultimately to the unconscious self-management of symbolic
castration. (Stassart, 26, p. 31)
This is what we can read in the thesis of Mr. Stassart who analyzes precisely
the vocational decision-making process with the adolescent.
From the start, our choices propel us towards our own symbolic castration and
towards a limitation of our being by the operation of the choice. We have located
this symbolic castration in creation at the time when the creator makes workable
choices of putting into form, of implementation of the work, and concrete
realization of it: This is the stage of the made-work.
Thus, if the creative act is the made-work, that requires a self-restraint by

imposing on oneself essential choices and precise limits.
From another side, the movement that stops the creative course and that brings
back the creator into the social flow is also about a self-restraint of his own course
(k-).
At the time of the working of the creation, there is a self-restraint registered in

a delicate pattern. The choice of the work, its material and its form is an example.
The creative process makes a differentiation (to make emerge a concrete work)
in the made-work of a work from a work that at the beginning was from an
imaginary lack of differentiation. This one besides succeeds to a differentiating
procedure in relational reality: it is the non-oppositional one.
According to Mlon (18), it is a question of creating symbolic objects that

belong to reality from the time when they are created. That implies the passage
from the symbolic system to reality. It is in this passage that the symbolic
castration intervenes.
Castration according to Lacan is to be differentiated from frustration and

deprivation. The deprivation is real but its object is symbolic. Frustration is
imaginary but its object is real. While castration is symbolic and its object is
imaginary.
Castration has the Phallus as an object; this means that it does not exist
anywhere. To have and/or to be the Phallus is to enter the realm of omnipotence.
The Phallus symbolizes the omnipotence, i.e. that means that it is sufficient for
itself. In the realm of creation, the phallic object is the work, that which confers the
omnipotence to the one who has and/or is this work.
Bonnet quotes the psychoanalytical theories and the worship of the phallic
form as much as of phallic object. It fulfill the function to counter what could lead
the human being no more to know how to maintain his being faced with the powers
that he does not understand and that threatens from its destructiveness his interior
architecture such as he represents it.
The castration that denies this omnipotence enters into play in the made-work
of creation. When the creator makes something and makes it real and, thus, the fate
for him is to distance himself from his work and to place the barrier of reality
between him and his work. The creator places limits on himself and makes choices.
He works, he bumps along; this is tiring and even exhausting. Finally, he
separates from what belonged to him and separates himself from it.
But it will never have a powerful phallic object so much so that not even
nothingness cannot touch it. Then, the creator annihilates his omnipotence in an
activated castration and connects back to reality by it and, more or less, to the
others. This is the negative moment turned on oneself: Stop! I stop, I am a human
being, not a disembodied spirit, I go towards the others to invest in them, and to
live among them.
With castration, we are in the symbolic system, but, there is in

creation only the symbolic. Castration is a matter of limits. As
long as castration is not symbolized, one does not leave there.
That which leaves there is, thanks to the castration, that which
is registered in the made-work. (Mlon, 18)
If the creative act consists in making choices, in imposing limits in order to

pass into action, and if the process of the made-work consists in differentiating a
form from the undifferentiated, we suppose that there exists an unconscious
mechanism of self-restraint that is finally an unconscious self-management of the
symbolic castration. In the same way, we think that it is this same mechanism that
manages the possibility of the creator leaving his world and going towards the
others. In the final analysis, the unconscious self-management of symbolic
castration plays in the made-work and in the negation of his own creative process.
At his exit from the half-cycle k +, as much as the creator could take his
distances in relation to fusion in the creative procedure and as much as he will be
able to better evaluate the possible risks of a relation to an Other that would strive
to become fusional. The threat that weighed on the ego has been reevaluated during
the creative procedure and it is in a more relative, more mature, and less fantastic
conception than when the creator gauged the dangers of a relation to an Other for
his own ego. It is the anti-fantasy function of k -, the legalist-realistic function that
intervenes to guide the creator towards the Other.
Implicitly, the creator will have progressed in mourning for his desire for
fusion by his differentiating process and will advance in the world of the other with
less expectations. Moreover, he will have consolidated his self sufficiently to deal
with the situations that requires a negation of oneself and he will be able from now
on to deny himself without losing himself. This is to some extent the answer to the
question: How not to be in order to be in relation with the Other?. The creator
moves thus gradually towards the sculptured creation.
8. Sculptured Creation
According to Jacques Elliott (3), at twenty years of age and at the beginning of
about thirty, creativity has as a characteristic to be boiling. It is intense and
spontaneous and the work is from the start definitive. The spontaneous effusions
of Mozart, Keats, Shelley and Rimbaud are the prototype (Elliott, 3, p. 240). Most
of work seems to be done unconsciously. The conscious production is fast, the
speed of creation being often limited only by the capacity of the artist materially to
record the words or the music that are used by him as expression.
By contrast, the creativity in the neighborhoods of forty is
sculptured. The inspiration can be boiling and intense. The
unconscious work is not less than before. But a great distance
separates the first impetus of inspiration of the created and the
final product. The inspiration itself can come more slowly.

Even if there are abrupt outbursts of inspiration, this is only the
beginning of the creative process of the work. The initial
inspiration must initially be exteriorized in a rough state. Then a
process of formation and of external shaping of the external
product starts, by modeling and successive reshaping of the
material. (...) There appears a whole interaction between, on the
one hand, an intuitive unconscious work, the inspiration, and,
on the other hand, the attentive perception of the external
product in the course of being created and the reaction to this.
(Elliott, 3, p. 241)
Jacques Elliott has explained this transition according to the different factors
of which the taking into account of hate and death as factors inherent in humanity,
i.e. registered in oneself and not denied by an idealism of youth.
The idealism and the optimism of the completed adolescent and
the young adult, correlatives of the splitting and the projection
of the hate, are exceeded and supplanted by a more
contemplative pessimism. A more considered and more tolerant
conservatism is substituted for an impatience and for a drastic
demand. The belief in the natural goodness of humans is
replaced by the recognition and acceptance of the fact that
natural goodness is accompanied by hate and of destructive
internal drives, and that contributes to the misery and the
tragedy of the human condition. Insofar as for the hate, the
destructiveness and death can be explicitly present in the
creative productions of the youth of the adulthood; they appear
in Poe and Baudelaire, for example, in the form of the satanic or
macabre and not under those of anxieties having been the
subject of a work of development and resolution. (Elliott, 3, pp.
243-244)
Thus, according to Elliott, the idealism of the youth of adulthood is built on

the unconscious use of the denial and manic defenses as processes of defense
against two fundamental characteristics of the human condition: the ineluctability
of dead and the existence of the hate and the destructive drives inside each person.
It is when death and human destructiveness -- i.e., at the same time death and
the drive death -- are taken into account that the quality and the contents of the
creativity take a tragic, reflexive, and philosophical tonality. The depressive
position must be again approached, but on a qualitatively different level.
Misery and despair faced with the suffering and the chaos
coming from our unconscious are to be faced and surmounted
so that life can be supported and the creativity continue.
Nemesis is the key*, and the tragedy the topic of its

recognition. (Elliott, 3, p. 244) (*Stressed by us)
The final success of the creative work of the ripe age depends on
constructive resignation faced at the same time with the human imperfections
and the insufficiencies of ones own work. It is this constructive resignation that
then is imprinted the serenity in life and the work.
Illustrations
We give here pell-mell some diagrams to synthesize our subject. We will not
make any comments since it is simply about a visual presentation of what has
already been commented on before.
p+
Inflation
Reprsentation de soi par son
regard
k+ k-
Introjection Ngation
Sensoriel propre utilis Senoriel propre guid
pour ses propres fins vers le commun
p-
Projection
Reprsentation de soi par
le regard de lautre
[p+ Inflation: Reprsentation de soi par son regard: Representation of self by

ones own look (glance, view, viewpoint)];
[k+ Introjection: Sensoriel propre utiliz pour ses propres fins: Own sensory
system utilized for ones own purposes]
[k- Ngation: Sensoriel proper guid vers le commun: Own sensory system
guided by the common view]
[p- Projection: Reprsentation de soi parle regard de lautre: Representation
of self through the look (view, viewpoint) of the other]
Axe reprsentationnel
Autocentr
Axe de mise en forme sensorielle
Autoplastique Alloplastique
Allocentr
[Axe reprsentationnel: Representational Axis]

[Autocentr: Self-centered]
[Axe de mise en forme sensorielle: Axis of putting into sensory form]
[Autoplastique: Shaped by self]
[Alloplastique: Shaped by the other]
[Allocentr: Centered on the other]
Son regard dans sa
reprsentation de soi La ngation de soi
Inflation
LA RAISON
LA PASSION Le sensoriel est
Le sensoriel est Individu Commun
pig dans le
au-dessus du Imaginaire Rel
reprsentationnel
reprsentationnel commun
Faille
La participation
Lintrojection
Le regard de lautre dans
sa reprsentation
[Son regard dans sa reprsentation de soi: His look (glance, view, viewpoint)
in his representation of self]
[Inflation: Inflation] [La ngation de soi: The negation of self]
[LA PASSION: Le sensoriel est au-dessus du reprsentationnel: PASSION:
The sensory system is dominate over the representational]
[Individu/Imaginaire: Individual/Imaginary] [Commun/Rel: Common/Real]
[LA RAISON: Le sensoriel est pig dans le reprsentationnel commun:
REASON: The sensory system is trapped in the common representations]
[Faille: The break (fault, abyss, divide, breach)]
[Lintrojection: Introjection]
[La participation: Participation]
[Le regard de lautre dans sa reprsentation: The look (view, viewpoint) of
the other in his representation]
Axe de la
spcularit
Ipsit
p+ Axe de la mise en
m- forme sensorielle
Dtachement k + k- Attachement
recherche d+ d- fidlisation
p-
Faille m+
Altrit
[Ipsit: p+ m- : Individuality dominates] [Axe de la spcularit: Axis of

specularity (mirror-like, reflected)]
[Axe de la mise en forme sensorielle: Axis of putting into sensory form]
[Dtachement/recherche: k+ d+ : Detachement/searching: k+ d+]
[Attachement/fidlisation: k- d- : Attachment/faithfulness: k- d-]
[Faille: The break (fault, abyss, divide, breach)]
[ Altrit: p- m+ : the other dominates: p- m+]
Ngation de soi,
refiliation avec lautre.
Rapprochement
Soi
Recrer la
toute-puissance. Se donner des
Entrer dans un limites et
rapport absolu redevenir relatif
soi-mme aux autres.
Ralentir la
distanciation.
Lautre
Distanciation et
dtachement.
[Soi: Self]
[Ngation de soi, refiliation avec lautre. Rapprochement: Negation of self,
reaffiliation with the other: Reconciliation]
[Recrer la toute-puissance. Entrer dans un rapport absolu soi-mme:
Recreate the omnipotence. Enter into an absolute relation with ones self]
[Se donner des limites et redevenir relative aux autres. Ralentir la
distanciation: Give oneself limits and become again related to others. Lessen the
distancing.]
[Lautre: The other]
[Distanciation et dtachement: Distancing and detachment]
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26- STASSART M. Adolescence, post-adolescence et processus dcisionnel - une
tude szondienne [Adolescence, Post-Adolescence and Decision-Making
A Szondian Study]. Thse de Doctorat, U.L.G, Lige, 1995. Les
monographie du CEP, Les Editions du CEP (Centre dEtudes
Pathoanalytiques), Bruxelles, 1995.
27-SEGAL L. Le rve de la ralit [The Dream of Reality]. Seuil, coll. la couleur
des ides, Paris, 1986.
28-SILBERNAGL S., DESPOPOULOS A. Atlas de poche de physiologie [Pocket
Atlas of Physiology] Flammarion Medecine-Sciences, Paris, 1986.
29-STRAUS E. Du sens des sens [The Meaning of the Senses]. Contribution
ltude des fondements de la psychologie. Grenoble, Jrme Millon,
1989.
30-VARELA F. J. Principles of Biological Autonomy [Principles of Biological
Autonomy]. New York, Elsevier North Holland, 1979.
188 Results
Results
Results 189
Table of Contents
ANNE..................................................................................................... 190
HENRI ................................................................................................... 199
GEORGES.............................................................................................. 201
JEANNE ................................................................................................. 217
JEAN-MARIE ........................................................................................ 227
JOSEPH.................................................................................................. 223
JP ............................................................................................................ 226
MIT ..................................................................................................... 228
PATRICK.............................................................................................. 230
PIERRE ................................................................................................. 232
ZNON D' ELE.................................................................................. 234
ZPHYRIN ........................................................................................... 236
SOME COMMENTS ............................................................................ 238
CONCLUSIONS .................................................................................. 240
190 Results
Anne
At 24 years old, Anne is tested for a period when she is in a full existential
crisis and where she must find for her dissertation a means of developing a
method that is not systematized yet. She is consequently continuously in search
for a manner of perceiving, of designing, and of constructing connections.
She knows many people, but she was alone most of the time. She needs
autonomy and withdrawal. She has an important theoretical knowledge in
psychology that enabled us to look further into certain of her comments for the
profiles.
Anne was slowest among our subjects to choose the photographs. Anne has
difficult in choosing. That would mean that she must be sure of herself in order
to be able to reject one among the others. For her, to reject is to have recourse to
affects that rightly calls a culpability with living with the choices. In order not to
be mortified over them (she would sometimes almost excuse herself for
choosing the antipathetic ones), she thinks over her choices in order to found
them on a rational and intellectual basis, which eliminates the rejection aspect.
The instruction requires a view that separates; she must think about this view; it
was not an easy matter. We can say to ourselves that she has difficulty to
separate herself from what underlines a fusional tendency. And her psychic work
would consist in managing separation without arousing its culpability. And her
reflection enables her to find a compromise between fusion and defusion, but
that takes lots of time. It is exactly the same thing with people with whom she
has difficulty placing herself from where comes the definite tendency of shutting
herself off within herself as she cannot manage the situation any more. On the
other hand, Joseph, Patrick and Znon are speeders on the test. The
comparison between them and Anne shows a definite tendency on their parts to
have a fourth positions in p (p+) while Anne is clearly in a first position in p
(p-).
Indices
On all of the foreground profiles, we see a person who is not rigid (Sy% =
42%), variability is OK (Var = 76 - higher limitation of 52) but that does not
speak for a pathological disorganization (Disorg = 0.13); moreover, the
resolution of the intrapsychic conflict is balanced (So/ = 3.1). The social index
shows a lower value by 33%.
Despite everything, the first protocol is marked by a greater variability

accompanied by a more pressured disorganization as well as a tendency to less
Results 191
mentalizing* and passing more to action or to conversion. [*mentalizing =

making things mental rather than taking action]
The drive formula of the first protocol shows the predominance of the factor
d+ as a root factor followed by the factors s- and e+. There is no symptomatic
factor. With the second protocol, a change takes place; d+ remains a root factor
but on a lower level while s and h become openly symptomatic. The second
protocol thus seems less stable than the first.
The proportions of latency show in the first protocol that the contact is
shifting and impotent to slow down a search while the vector S seems stabilized
by a tendency to be passive. In the second protocol, the contact is always
shifting but more powerful to stabilize the d+ while, overall, the other vectors
tend towards stabilization.
Tropisms overall especially show in the foreground a load in S especially in

h. In the background, it is the ego that is charged. We have in the foreground a
drive investment of the factors dealing with the sexual question, and in the
background, the same thing in the positions of the ego.
The drive positions show a peak 4 dominating followed by a peak 3. The

realization of oneself and the relation to the law and to reality are prevailing
here.
Average Profiles
Protocol 1 :
Total h- s e+! hy k+ p! d+ m-
Avant h- s e+ hy! k p! d+!! m-
Arrire h s e+!!! hy k p d! m-
Protocol 2 :
Total h s e+ hy! k! p d+ m!
Avant h s! e hy! k-!!! p- d+ m-
Arrire h s-!!! e+! hy k p d+! m!
Protocol 3 :
Total h- s e hy k p-!! d+! m!
Avant h-!! s+ e+ hy k p-!! d+ m+!
Arrire h s! e hy+!!! k p-!!! d+!! m!
[Avant = Foreground; Arrire = Background (E.K.P.)]
No h +. The items s, hy (sometimes hy +) and k are shifting (sometimes k-),

e is openly + and cannot be e- when in position e. The item p is extremely
shifting with finally a regressive accentuated p-; d+ is a support [like a pillar]
because it is imperturbable; on the other hand, the contact item is very shifting
(!)
192 Results
Let us look at the constants overall. We will comment on the factors

between quotation marks to stress what is in play each time:
h- s: sublimation, problematic seize-submit with emphasis on the submission.
e+ hy: superego, problematic to show-to censure with emphasis on the
showing.
k! (+) p! (-) : catastrophe ego with stresses on negation and participation,
everything is possible, the threat reigns. Everything changes, I do not know
any more where I am, and when I am too afraid, I regress and I deny
myself.
d+! m! (-): desire for intense search, strong problematic to bind-to cut off
contact with stress of rupture. My search, one does not go there, it is
sacred; while the Other is my bigger problem at this time, and when I
cannot manage that, I break off, it is as simple as that.
The p and m factors conditions are in question: to be and to contact. Who am I?
Me or the Other? How to be in the world under these conditions? When I do
not any more accept my search, I regress like a little girl (emphasis p-).
The factor conditions h and e are stable: to sublimate and to obey. My desire of
love for myself is eliminated. My law, I cannot accept it; I am afraid of
myself; then, I obey the law of the Other.
The mediator vectors show d+! : I seek intensely and finally I go where the
wind carries me; I can be detached when I want; I do not need you. k! : I
oscillate between my imagination and the reality of others; I need my
imagination in order to function but reality is necessary for me not to slide.
hy: I do not know if I can show myself openly or if I must hide; s: to
act or to submit -- such is the question -- and I do not know the answer
because all is too confused.
Protocol Number 1
Av Ar % Av Ar %
h 4 4- 70% 4 s 2 2 60% 2
1
e 4 4 80% 4 hy 2 3 50%
p 1 1 60% 1 k 2-3 2 57% 2
m 4 4 70% 4 d 3 3 75% 3
[Av = Foreground; Ar = Background (E.K.P.)]
h, e and m are in 4 and p in 1 in the first protocol. Three individualizing

forces against participation. Why tend towards the individuation while being in
the participation at the level of the ego? It is paradoxical to have participation
(p-) with an intense search for the new (d+!) and a breaking off the contact (m-)
unless it is not about a psychic work of differentiation in progress. Demand of
Results 193
defusion in m-, demand of sublimation out of h- and demand of responsibility in

e+ against a participative demand. Let us recall that p+ is a requirement for truth
and personality (p. 38, Thse [Thesis] of Stassart).
Anne would tend towards a disengagement from a fusional position of the

ego by closing of the periphery, but she does not have access to her hate and she
submits herself (s-: position 2); therefore, she brakes herself. However, she tells
us: Each time I was aggressive, I must also repair even for the beastly tricks;
then, I say things with the smile and that works.
It is, in our opinion, in her d+ that she explodes her rage by maintaining an
intense search, an acceleration towards the unknown, a differentiating pressure
by refusal of what is. This need for searching is her support as we will see it; it is
that which maintains by its presence its differentiating will and, in this sense,
with going continuously forward; it also means that she refuses what exists, and,
thus, she says no in some way. It is in this sense that we think that her d+
harbors her hate that cannot be shown because of her powerful superego. In fact,
it takes another face.
Protocol Number 2:
Av Ar % Av Ar %
h 4 1- 57% 4 s 3 2 64% 2
4
e 4 4 70% 4 hy 2 2 62% 2
p 1 4- 57% 1 k 3 2 63% 3
1
m 4 4 65% 4 d 3 3 75% 3
[Av = Foreground; Ar = Background (E.K.P.)]
We find her imperturbable d+, the m- (4) and the superego (e+ in 4), but
there is change, an item of 4 appears in the background in p (p+) and we see the
percentages falling in h (70% to 57% of 4), in e (80% to 70% in e+) and in m
(70% to 65%). In s and k appear a position more legalist and realistic. In the first
protocol, one has for s: 2 2 and here, that goes in the sense from s+ with 3 2 but
with 63% of 2 (control is executed clearly but in a small way). In k, one passes
from 57% from 2 to 63% of 3 especially in the foreground. And hy rather
reinforces position 2, i.e. hy+, to show oneself to perhaps exist in ones eyes and
the eyes of the Other. Something is established in the sense that one sets up a
tendency to a balance in differentiation. The distributions of energy are
measured; a management acts in some share to stabilize the psyche.
194 Results
Protocol Number 3:
Av Ar % Av Ar %
h 4 1- 72% 4 s 3 2 55% 3
4
e 4 1- 55% 4 hy 3-2 2 55% 2
4
p 1 1 83% 1 k 2-3 3- 55% 3
2
m 1 1 66% 1 d 3 3 77% 3
The third protocol shows a fusional position in the ego and the contact, the
support pillar d+ is strengthened (77% instead of 75%), the three mediator
factors are shared between the two tendencies (55% for s, hy and k). What has
happened to explain such a change?
The hate is shown such as it is in the background at 1 in e (e-). That would

upset not too badly her equilibrium by agreeing to decrease the censor. In fact,
we believe that she regresses for safety: I accept my hate but am quiet; I am
with you since my ego and my contact is in a demand for fusion. On the other
hand, s, hy and k do not know any more where to give the lead and are
mitigated (55%) a little as undecided persons who finally are not sure of
themselves and thus are not very clear cut. We could wonder that if the hate
appears in e-, why still pressure in d+? We read the rise in d+ as security. There
is a definite regression to make the hate work when facing the superego; then,
Anne would maintain her d+ for the situation where she would drown in this
mixed bewilderment. We will call upon the average profiles to explain this
point.
In the average profile of the background of the 3rd protocol is p-!!! with a
hy+!!! : she takes part in depth; she gives omnipotence to the Other but with
the notice: I exist, I am there, do not forget me, I show myself, I shout my
existence. hy+!!! is a position 2, thus autocentric and narcissistic, that says, I
want well to participate if I exist and if I am seen. Moreover, she has
accentuated her d+ in the background (d+!!), but, this is an opposite position of
the faithfulness to the object; this is unhooking. As it is very accentuated, we
would say that this is a strong desire to unhook and that would come to
compensate for the strategic regression to make go down the pill of the hate
to the superego. A kind of internal management located at various levels with
the possibility of evacuating the place if.
A point still deserves some explanations: in the second protocol, the factors
s and h appear as symptomatic. It appears that we can decode that as the desire
to work over the question of the desiring sexual body. There would be the
possibility of managing her sexuality in the relation with the Other on the basis
Results 195
of a less fusional psychic structure and thus less perilous for this kind of desire.
Moreover, at the same time, we have fewer root factors, which indicates to us a
tendency to remobilize the circulation of drive energy. The formula shows us
finally that if the vector S is in first place, the Sch vector is just a little behind
followed on the same level by the factor m. Sexuality in the first place with the
ego in a little retreat accompanied by the issue of the contact -- such would be
her positions for the battle in order to live out her sexuality without losing
herself in the Other (m- being available to close the door if there is danger).
Therefore, Anne places a foundation in d+, i.e. a third legalist-realistic

position in relation to the object. This is a position of evacuation and non-
fidelity; there is a search for something, a will to leave something, and a desire
to make a mourning of something. All that can strongly evoke a pressure of
differentiation in the one relating and in the relation with the object.
The very nature of the d+, shown through the search for the new that is
registered there, is the differentiating nature (registering of reality) of a search
for the new even if there can be mourning and depression. Indeed, the time
inherent in the search for the object passes through an emptiness not filled up
and a refusal to be satisfied with the old; it is very hard to accept a similar
yawning abyss in the relation to the object.
We could say that in the motivation for the search, there is a motivation to
differentiate oneself by non-faithfulness (oppositional no of another nature).
Namely also that to create it is necessary to have an imaginative base and a
desire for a reality but not too much of one nor too much of the other. Thus in d+
the principle of reality in position third is registered.
Anne has difficulty accessing her hate with a fusional ego tendency
associated with a powerful superego. The hate would be found strongly in d+,
i.e. in the will to end it with the old objects (d+! systematically).
The e- and the d+ have the same foundation: a productive refusal of altrit
[otherness]. The d+ would be characterized by a hate that cuts the attachment to
objects. This would be a diffuse hate, not personified, and that is important
because to adapt a personified force is also to kill the person who personifies it.
Then in order not to kill the incarnation of authority, Anne would consummate
her murder on the symbolic extensions of this person, i.e. the theories in power,
the social choices, the scenarios of life -- all that is deconstructed to expose the
illusion of life.
A hate in d+ would be a hate that attacks the basic schemes in the abstract,
and we think that it does more damage than a more concrete hate as in e-, a
visible hate. To speak with a smiling d+! is to undergo a pouring of acid on
196 Results
ones existential choices without realizing after the discussion that one is on the
ground and without knowing why since the discussion was interesting, deep,
and original. But when one thinks of what has happened, one realizes that the
essence of the discussion is that the choices that one makes are only choices and
that is frightening. It is a simple question that, like the roots of trees, splits up a
block of stone, our coherence, and our being-with-the-world. We speak about
hate in d+, but it would be a hate of abstract consistency, like a virus in the
software of a computer.
Microscopic Level
Profile 1: Sch O O in foreground and Sch +! in the background. We think like
Maldiney that the emptying of the ego is to be regarded as making space to
fill the tank. In this sense, the background shows us a definite tendency to
think of her being by a strong pressure of her own imagination. This day,
she evacuates her sister from her world, but she is an important person. A
few months after, she was completely released from her sister. This profile
placed a landmark in her progression with defusion. The contact is an
instance of a break in the background.
Profile 2: The break of the contact is consummated. The d+!! is there to help her
to be detached from her sister. Once that is carried out, she will be calm. We
can note her rage in the comments whereas it is e+! in the background. We
read her rage in d+!! and her claim to be herself in e+!. She is in the quarter
Sch + + in the foreground and her discourse is openly poetic-of-self. In
the background, she is Sch + -, i.e. in the fault [la faille]. In fact, it seems
that her ego tests herself with self-emergence, but the p- is present beside
k +. In her case, the p- is what she would like to evacuate, and thus, it is not
a source of inspiration; it is the view [le regard] in her that she wants to
square with her p+.
Profile 3 and 4: The item p is working in (p). The contact is closed. The
function k works in the background. The d+ is not accentuated any more; it
is stabilized.
Profile 5: The tendency is with p- with a little k+ in the foreground that gives the
impression to her that she can accept her existence. But k + is not p+;
therefore, she is grounded on a feeling and not on a representation. We will
see that she will undergo a recoil because she believes that, henceforth, she
has gained. She allows herself even a m+ for a resumption of contact.
Profile 6: She is in participation (Sch O -), a little euphoria to have
understood, but in the background, she is clearly into distancing herself
since her ego is in p+ (Sch +) and especially since she gives m-!.
Profile 7: Again the fault [la faille] (Sch + -) with an ego inhibited in its being in
the background (Sch - +). Two worlds clash. Divided between the
Results 197
background and the foreground, she lacks unity and, besides, she says she
feels pulled about.
Profiles 8, 9, 10: She feels herself dying and the ego is Sch - O. She enters a
phase of negation. Her p+ did not carry the weight, the viewpoint [le
regard] of the Other will prevail now. She yields to reality and lets her
course be in retreat. She does not know any more; therefore, she gives
herself more time. Her k + remains but it is in the background.
Profiles 11, 12, 13: The negation becomes increasingly strong; her discourse
becomes realistic; her d+ support is vacillating (d); it loses its accents. She
does not any more close the door except in 13 (m-). But she fights, since in
the background her ego is still able to be Sch + + in 12. Constantly p+ is in
the background (even p+! in 13); she does not let herself be captured. We
also see that she is able to enter into Sch - -, i.e. in reaffiliation with the
Other even if she must preserve herself by maintaining her p + in the
background.
The profiles that follow show a foreground with either pure negation or pure
participation. The essence of her psychic work is done in the background.
Profile 14: The hate appears for the first time in the foreground, and the issue of
showing or hiding is strongly problematic. It is e-, p- and m -. She took
down her posters and she changes the pictures of her dwelling. We see an
ego in participation in the foreground and in the background; this is more in
a phase of reflection on the question of being with a basis of putting into
form of her autoplastic senses. The contact is cut; that avoids putting into
application the participation: this is a participation lived at a distance.
The d+ again becomes accentuated until profile 19.
Profile 15: She makes things concrete. But she pays for her negation and her
hate (e in the background). Indeed, in the background, she passes into Sch
- , the abandoned ego. In profile 19 Sch -! is in the background; these
two profiles show us the danger when k+ disappears, leaving Anne with her
project of to be without possibility of accepting that. She does not know any
more where she is since her sensory putting into form works in the sense of
the Other and her p+ finds itself alone, abandoned in a questioning that
undermines it (p). Here, she is left by a desire to be restored
narcissistically and a kind of reparation before continuing, but with profile
19, she is without resources and she succumbs without any power to catch
up with herself.
Profiles 16 and 17: She falls into the participation, the viewpoint [le regard] of
the Other is predominant and destroys any chance of her proceeding. She
strongly shows the blow; in 16, she feels invaded and isolates herself all the
198 Results
while taking refuge in her k+ in the background that is rather mitigated (k).
Doubt settles in; she does not know any more how to manage the Other
including that (1) she has a presentiment of necessity and (2) her project of
to be tends to eliminate this Other. But with profile 17, the background
shows an ego Sch - (16 = Sch +); therefore between 16 and 17, her p+
abandoned her in the participation (Sch O in the foreground). The shock
was powerful because she was close to committing suicide. There is also in
16, the presence of hate (e-) that disappears in 17. We think that had to
awaken a ferocious culpability that would explain the absence of p+ in 17.
Profile 18: She is in continual monitoring; that means that she thinks each
time, managing appearance to the maximum. She has left the participation
in order to be reunited with the negation: she slows down. But in the
background, she thinks about herself (Sch + ) according to the viewpoints
of the Other and herself on a personal basis of sensory putting into form.
She found her k+ in a pure way, non-ambivalent, and she feels better. She
sets out again. The emergence of the hate was too strong; she tried it out and
that did not work. Now, she knows that she is not yet ready; it will take
time, and she will be more careful.
Profile 19: It seems that she is enraged to be trapped in herself; she expresses a
strong desire for evacuating the old objects that undermine her with a d+!!.
The contact is cut. The foreground shows an exceptional emptying, to make
a void and to expel what does not work. The background is tense and seems
to say I am abandoned by myself (Sch -! ), I assert the right to exist and
to be responsible (e+!), I want that people see me; I want to show myself
to the world (hy+!), but I am wise, I do not move and do not worry! (s-
!). The comments about the flypaper reinforce this distress in which she is
plunged; let us translate: I am a fly and like it, I am trapped by what
attracts me and kills me; she says besides that it is cruel. We tell her to act
in agreement by casting it off. She answers no; that translates as her
distress to accept her impotence to break her chains. She is at her lowest
point.
Profile 20: She pays attention to her slow but sure progress. She still tends to be
evacuating by an emptying of the ego and her d+ is calmed. In the
background, the ego is Sch -!, i.e. to maintain a k+ in an ambivalence
while conceding power to the Other since her experience shows her that she
does not yet carry her weight with her p+; she says besides It is not strong
enough in my eyes.
Profiles 21, 22, 23: From the start, we note the definite will to stabilize herself
and to cool her psyche. In agreement is the participation that she has
understood and that it was necessary for the moment not to play too much
with that. The d+ maintains its course. Ambivalences that appear in hy, in e
and in k show a more gentle management of the hate (which now exists
and remains), of what is necessary to show or not to show and of the
Results 199
sensory capture in negotiation with k-. She seeks safety in her proceeding;
the p+ is evacuated; she takes again a few all to zero, but this time her hate
accompanies her d+ and her k+.
When the p+ returns on such a basis, she could be sure of herself. We

followed Anne afterwards in her life, and we can note that her course progresses
with great strides; she found original elements for her dissertation; she manages
much more her relation with the Other (less isolation and more adjusting during
the relation); the anxieties are much less frequent. What is, on the other hand,
obvious is her faculty to draw upon hateful affects when they are necessary, and
she found the capacity again for living a desiring body up to a sexual
relationship. From February to July, we have noted a definite existential change
in the sense of an autonomy and of a dependence while allowing a relation to the
Other more managed in the sense of defusion in fusion. What, at the beginning,
required a long reflection tends to become automatic and spontaneous. The
affects are henceforth congruent with her being, and we can say that she acts
more and more in the unity of her being towards a personal project. There are
still not any bad things in her that seems to her not clear, but she seems able to
accept this as diving into oneself.
Henri
Henri is a man approximately forty, married and working in society. We
met him in order to try to obtain some profiles of a creator (he is a playwright)
when he passes into the service of the fiction of another, i.e. as an actor for a
theater company. Thus we tested him a little before the beginning of a premiere
and shortly after the beginning of the play. Then, a third profile was carried out
apart from this context.
Indices
The Sy% shows somebody non-rigid. Variability and the index of
disorganization are normal. On the other hand, we have an index of a low
sociability of 29% as well as a high index of action of 6 accompanied by strong
accentuations in h+ and weaker accentuations in s+. These last two points are
very consistent compared to his course as an actor: concentrate on himself and
be ready to emote for the stage business. The mental part is not put into play; it
is rather the emoting that is required for an actor.
The second profile shows h+!!! , and, we think that this is about a request
for love of the type to recognize me because I give myself completely. The
acccents being strong, there is a desire to compensate by a regression.
200 Results
The drive positions are very clearly 3-1, i.e. fusion and the relation to the
law. But here, it is the law of fiction and that of the theater. That enables us to
illustrate our hypothesis on the function k- as a sensory putting into form for the
service of the Other. The hy- is to be understood here as the censor of his own
feelings to the benefit of what is required of the actor. Fusion is to be understood
here as the pasting of himself to his role. We indicate that this capacity to
paste himself to a role can let him act outside of the stage. Indeed, such a
sensitivity demands to be managed, and the third profile outside of the stage
shows a p-!! in the background. Concretely, he could not say no and gave too
much pleasure to people. It seems that it is his k+ that enables him to find his
marks from where the idea of creative work as management from a too great
sensitivity to the Other.
The e- in the foreground would be this position of the individual who poses
himself when faced to the others; these unknowns who can judge him on his
performance. His hate would enable him to have the strength to place himself on
the stage as if nobody could reach him. Let us not forget that the e+ is superego-
like and thus criticizes and judges; that is not very compatible with a frame of
mind of that of an actor before entering onto the stage: the dice are cast; it is
necessary to be protected from his doubts and to speed ahead.
The First Two Profiles:

Total h+!! s+ e hy-!! k-!!! p d+ m+
Avant h+!!! s+!!! e- hy-!! k-!!! p! d- m+!!!
Arrire h+ s e hy-!! k-!! p d+! m
[Avant = Foreground; Arrire = Background (E.K.P.)]
h+!! : demands love; s+: control over reality; e: a little hate in order to be
accepted but not too much; hy-!! : to hide oneself to make room for the affects
of the character; k-!!! : to deny oneself in order to obey the fiction as much as
possible; p: my project is in affinity with a virtual Other, the spectator, and the
theater company; d+: one makes oneself permeable to what is going to happen
and to forget who one is; m+: clinging to the Other.
The First Two Profiles:

Av Ar % Av Ar %
h 1 1- 83% 1 s 3 3- 75% 3
4 2
e 1 4- 58% 1 hy 3 2 83% 3
1
p 1 1- 58% 1 k 3 3 92% 3
4
m 1 1- 67% 1 d 2-3 3 67% 3
4
Results 201
Fusion is in the foreground and in the background, but in the background,

there is a mixture of the self and the Other. All in all, the occasion is fusion with
a character and a fiction. For the mediator factors, it is overall a legalist-realistic
position to be understood as an adaptation to a fictional reality: that of the play.
Georges
Georges is forty and is a musician and composer. He is also a husband and a
father of six children who still live under the family roof. Georges, at the time of
our meeting, did not engage in professional activities, and this does not prevent
him from effectively managing the demands of a family life. Georges was
affected by a psychic coma for a long time. This term indicates a stopping of
the flow of life in him; his creation, although slowed down, continued, and it is
now more than one year since he has left this period. We met a man who
continues to seek himself through his creation and his family but, according to
him, in accordance with more human values this time.
Indices
The first three protocols show low So/ thus a pressured mentalisation*.
Afterwards, that is normal. Sy% shows a strong flexibility in the first two
protocols and then that becomes a little more rigid in the following protocols.
The index of socialization is a normal pro-social tendency. [*mentalisation =
making things mental rather than taking action]
Variability is too great compared to the norms except for the index of
disorganization being pathological. Variability is maximum with the first two
protocols and indicates to us, according to what he says of this period, that it was
about a period when he was lost and sought to manage all the complexity of his
situation.
By a quick look at the drive formulas, we see that it is the factor d that is
most symptomatic; it is normal since everything at stake consists, as we will see
it, of detaching himself by a search without losing the attachment to his family.
The root factor being largely the factor hy in its modality hy-: that connects well
the image of Georges with his coma; he hides, restrains his horses in order
not to break something; in fact, he pays for it by taking out everything on
himself, internally.
All of the protocols show a low level of accentuations in 86 profiles

(foreground and background); 36 accentuations with a possibility of more than
1000 cases. This is very good and indicates to us that we are dealing with a
202 Results
management of his interior world that is rather serene despite everything: to be

in crisis and to manage that without overdoing it; that is also creation.
Let us analyze protocol 5 more specifically, that which we have gathered.

All the indices are OK except that the variability is a little high. Tropisms show
a commitment of the ego most strongly in the background (he thinks in
silence). He presents a peak 2 (autocentric, narcissistic) that, we think, is for the
aim of narcissistic reparation, and this peak is followed by a peak 4 of
realization of himself. The relation to the law and reality is invested the least.
That could translate into his confidence found in his creative means and thus the
tendency to forsake the fusional facets and self-sacrifice for the Other in order to
make emerge his creation since he henceforth, according to us, agrees to be
father and husband. Now, he can allow himself to think of himself (in the
background) because he is anchored in his family.
Average Profiles
Protocol 1 :
Total h s e hy- k p! d m
Avant h s e! hy-! k p d m
Arrire h s e hy k p+!! d- m
Protocol 2 :
Total h s- e! hy! k! p d m!
Avant h s! e! hy-!!! k+! p! d m+!
Arrire h s- e hy k! p+! d m
Protocol 3 :
Total h s- e! hy k+ p d m!
Avant h! s- e+!!! hy-! k+!!! p d m
Arrire h s- e hy k p d-! m+
Protocol 4 :
Total h s-! e! hy! k! p d m+
Avant h! s-!!! e+!!! hy- k+!!! p d m!
Arrire h s! e hy k p! d- m+!!
Thus:
h s- () e hy! (-) k (+) p d m! (+)
There are only ambivalences; all is trapped by a questioning except s- that

shows that he values it better not to move under these conditions. Georges is
nevertheless still capable of a k+ that allows creation as he has announced but
without too much fuss. We think that it is about an increasing complexity that
could not be managed by Georges absorbed in a torrent where nothing was
Results 203
stable. The dispersion of energy was too great and the unity in the action
destroyed.
Protocol 5 :
Total h! s-! e+ hy! k+ p d m+
Avant h-! s- e+!!! hy- k+!! p- d m+
Arrire h s-!!! e! hy! k+ p d- m+
Here, we find Georges one year and half after the end of his coma; he is
still questioning, but we see that he can allow it because stability is again
installed with e+, with k+ and with m+. The s-!, the positioned brake, would
indicate that he is not sure of himself. He asserts his rights (e+) to be as he is and
pushes these meanings with k+ that is accentuated twice in the foreground. The
e+ is a superego that protects the others against hetero-aggression, but it is also
an authority that protects the subject against auto-aggression: You will not kill
the others, and you will not commit suicide either. We think that his e+ is
positioned to limit the risks of losing himself while not exaggerating. As he does
not have free access to his p+, we can read in that his lack of confidence. A
search is still necessary for him to see there more clearly and he is a man in the
search of himself; this is the man we met. However, it is with more self-
confidence that he undertakes his search, saying that he has more confidence in
his course that he can apprehend at the moment.
Protocol Number 1
Av Ar % Av Ar %
h 1 4 50% s 2-3 3 53% 3
e 4 1 53% 4 hy 3 3 70% 3
p 4-1 4 63% 4 k 2 3 50%
m 1 1- 55% 1 d 2 2 58% 2
4
Protocol Number 2
Av Ar % Av Ar %
h 4 4 56% 4 s 2 2 68% 2
e 4 4 62% 4 hy 3 3 66% 3
p 1 4 56% 4 k 2 3 62% 2
m 1 1 66% 1 d 2 2- 55% 2
3
204 Results
Protocol Number 3
Av Ar % Av Ar %
h 4 1 55% 4 s 2 2 73% 2
e 4 4 63% 4 hy 3 2 60% 3
p 1 4 50% k 2 2- 70% 2
3
m 1 1 65% 1 d 3 2 60% 2
Protocol Number 4
Av Ar % Av Ar %
h 4 1- 57% 4 s 2 2 76% 2
4
e 4 4- 66% 4 hy 3 3 64% 3
1
p 1 4 55% 4 k 2 3 64% 2
m 1 1 69% 1 d 3 2 57% 2
By recalculating again the percentages, we have as positions: h in 4, e in 4,

p mitigated in 1 and 4, m in 1. As regards the mediators, they give: hy in 3, s is
in 2, k in 2, d in 2. Let us reconstitute the profile:
h- s- e+ hy- k+ p d- m+
And here is the key to the coma; the affects are oriented towards a neurotic
mode and a culpable person who brakes any possibility of transgression of the
law; one obeys and one hides oneself through propriety. The contact is directed
towards the old objects and clinging: no question of detachment. The sexual
vector shows the gift to the Other associated with a brake on his control. The ego
is in reflection as regards knowing where the Other starts and where ends
himself, all that while taking as sensory referent himself and not a captured
sensory system at the service of the Other, i.e. in negation of himself. It is rather
clear now: Georges is a father of six children and an attentive husband. But
creation is a devourer of time and of energy. We think that as a creator he
wanted to regulate that, i.e. with his k+ and it is rightly there where he is stuck.
Indeed, to conform to his roles of husband and father, it is in k- that works best
because k- is at the service of the Other. But Georges wanted to maintain his k+
because his identity goes by his creation. The coma is the creator who knows
himself along side his life; he knows that he must let go of his voyage but it is
not easy when he has fought to preserve his identity through an adolescence
divided between homes, a quantity of teachers. Two facets of himself that he
loves and respects tug at him to take the facade that can only be a coma.
Results 205
Protocol Number 5
Av Ar % Av Ar %
h 4 4- 64% 4 s 2 2 77% 2
1
e 4 4 75% 4 hy 3 3 66% 3
p 1 4- 58% 1 k 2 2 72% 2
1
m 1 1 72% 1 d 3 2 53% 2
The situation did not change and, indeed, Georges often spoke to us about
his two facets: [1] the father and husband and [2] the creator. He seeks but this
time, he secures his rights with his e+ (75%, the highest value in the 5
protocols); he agrees more and more in order to give himself as shown in h-
(64%, the highest value in the 5 protocols); he clings more than ever in the
contact in m+ (72%, the highest value in the 5 protocols); he greatly activates his
k+ (72%, the highest value in the 5 protocols), and the brake is placed openly in
order to have nothing upsetting in s- (77%, the highest value in the 5 protocols).
The d and the hy are in the average range.
We interpret that in the sense where he agrees to be two in one; we even

think that his search for a new form of creativity (to stop the composition for the
moment and to start writing) corresponds to his desire to adapt his creation to his
family life: to adapt in the sense to be as available in one as in the other. Not
being able to cut himself into two, Georges seems to divide his obligations into
two, and he adapts his two facets so as to make them coincide. For this reason
we observe in protocol 5 the open reactions that he will be like that since that is
thus as things are! The questioning drops; the answers are forged and the
average profile of protocol 5 shows a stability that becomes clear. Georges
illustrates the difficulty in managing his world while being a participant in the
world of the Other. It has been necessary for more than 8 years for him to leave
his torpor. This is not easy especially when he does let go of his k+.
Microscopic Level of Protocol 5

Profiles 1 and 2: He is caught between two poles: the Sch + - ego is in the fault
[la faille], a pole [like the North Pole] to oneself with k+ at the level of the
sensory and a pole for the Other with his p- that places the prevalence of the
view [regard] of the Other on his representation of himself. Not very sure of
himself in the first profile with a rather unreliable (p-) ego in the background,
he nevertheless is more ensured in the second profile when his p+ comes to
strengthen him in the background. The desire for changing (d+) in the
foreground appears despite everything being braked by d- in the background.
This is still, nevertheless, a divided management. The important thing is that he
will be allowed to have access to his hate thanks to his e during three profiles
206 Results
starting from the second: that will be advantageous for him to give himself room
for emotional maneuvering.
Profile 3: The p+ comes back on the stage in a p and his creation accompanied
by the k+ comes back: he is content because he finds his stride. But we can
read in the background through his d-! a certain fear because it applies a
brake. Moreover, he tells us he has wanted to check if the engine still
turns and if his production is too small: the goal, it seems, was to
reassure himself on his creativity and not to get involved completely in a
creative dispersion. The d-! is there to put a limit.
Profile 4: He revives the fissure between his role of husband and father and his
role of creator: I am stuck. He is in the participation Sch O - in the
foreground and in the background his k+!! comes to say: I bury myself in
the participation; I want to create. His p+ has left him, he must wait.
Profiles 5 and 6: This time, his d- reaches the stage; he agrees consciously to
slow down while evacuating the hate; he seems ripe for a change. The ego
was emptied (Sch O O) to make the place for something else in 5. This is a
crossroads profile because he tells us he wants to stop composing in order
to launch out into writing. His ego in the background is completely in
agreement: Sch + which means that his view [regard] on himself is
prevalent while his k accepts a negotiation between putting into form the
common and the personal sensory. This is besides starting from a subject
issued by others and for which Georges writes his own phrases. The affects
are on a neurotic mode, but Georges seems to be accustomed to it and that
does not slow down too much his creation that despite everything is small
and has difficult to take off.
Profile 6 is characterized by full acceptance of the brake in d- in the
foreground while the desire for being detached is relegated to the
background; that must be more bearable. He concentrates on his k+ and
accepts the viewpoint [le regard] of the Other but in the background. At the
foreground, the p O could indicate that he has evacuated the question of his
project of being as long as he does not have more information on his
competence on the level of writing as he states it: I work on my writing
according to my rhythm. He feels good in his family and that stresses the
acceptance of his p- in the background.
We thus have with this last profile a foreground oriented towards the family
life, and in the background, the reactions oriented towards creation but centered
on the viewpoint [le regard] of the other in oneself, i.e. in p-: to create yes but
also to participate.
Results 207
Jeanne
At 60, Jeanne is a woman who has been creating for several decades.
Basically a ceramist, she extensively has developed other techniques of manual
work (painting on silk, macram*, pottery, painting). She also has been in a
theatrical play and recently into writing (news, drama). [*macram = a coarse
lace or fringe, made by knotting thread or cord in patterns]
Married to Jean-Maria, she with him have had three children and live a life
of a couple arranged around their creative process. All the house is strongly
colored by the presence of their creative activities. Professionally, she is
occupied with a ceramics workshop.
Usually, she controls her creative life as her social life by having recourse to
a self-managed circulation between these two areas. She has, not badly as other
persons in creation, the prescience of what is necessary to activate and to reject
in order to create.
She feels at ease with her anxieties because she knows them; she knows
that they are part of the game. She has very good social contact, cordial and
happy. But at the same time, she needs periods of withdrawal to her workshop to
devote herself to her creation. In her cave, she must not be disturbed because
it is painful for her to suspend a frame of mind that sometimes demands a long
time to be established. Accordingly, the mundane activities weigh sometimes
heavily on her projects. She has good health, somatizes little, and does not take
drugs.
When her rage appears, it is from a point of view of recentering on herself;

she is reactionary and comes to reorientate the attachments of her libido on the
basis of a right balance between herself and others. This rejection enables her to
cut the contact by a dissatisfaction in order to make it possible for her personal
universe to emerge. When she joins again the contact, she has a real pleasure to
be with people. This back and forth is very flexible and can be adapted
according to the circumstances with the principle of not forgetting herself in
others.
Therefore, the pleasure that she has being the others is compatible with that
of being in her creative activities (in withdrawal) since, before or after the time
devoted to the other, there exists a time devoted to herself. If this balance is
broken, the affects of distancing come to give the order to cut the contact. Thus
the vector of contact passes through all the positions and fluctuates enormously
without, for all that, presaging a harmful process. That reflects the dynamics of
the management of her contact. Her appearance is very simple and little
provocative.
208 Results
We met her in June and that enables us to explain what is concerned in her
reflection.
I started to plunge in something that I had let go, an opening into the
unknown on the level of the representation of something that apparently is not
easy to accept. I do not know why nor what. And, I finished eight solitaires
(game where one plays alone). For her, to do these small things enables her to
delay the moment when she makes her plunge into creating. The fact of finishing
this pause indicates to her that the moment when she is going to make the
plunge is very close.
For me, to plunge into creativity is to take a pencil and to draw whatever
comes; with the fear that nothing does come, i.e. rather the things that do not
correspond to that which I want because I do not know what I want. In fact, it is
the drawing, in which will appear that which will give me the indication of what
I want. That will be formulated through what I will choose in my drawings.
If we recall what lately brought her to this project, she locates three stages:
1 - Attraction for pure geometrical forms: cubes, spheres, pyramids. That
points out strongly a differentiation.
2 - Attraction for the significance of tattooing but it is perhaps, according to
her, a lure. Perhaps that would hide something because, curiously, on
her parts in project, she tattoos characters on forms. She would like that
tattooing on the form has an interaction with this. Tattooing does not
originate in the basic form; it is plated on top. But, she would like that it
interferes. The question would then be: up to what degree would it
interfere? It is a question that is not yet also specific but what appears
right to her. Tattooing is a differentiation that makes a whole, i.e. which
amalgamates without losing its image because of its different nature.
3 - Interpretation on tattooing and of the book Le Moi-peau [The Ego
Skin] of Didier Anzieu. But she specifies in relation to this book that she
does not know what that deposited in her and how that will reappear in
creation. They are sediments.
For three to four weeks (at the beginning of June 1995), her everyday
reflection is registered actively in her creation project, but it is something that
has crept along for one or two years. Since June 95, she became aware of the
importance to differentiate herself from her children in reality by keeping a
distance with respect to her character of mama. That tends to awake a
culpability, but she has accepted and managed that much better for the last three
or four weeks. On this subject, she says: Concretely, my children make their
Results 209
life and I, mine; that without animosity. That rests on the feeling that my life is
going by and that this is time that I exist.
Indices
The indices of the first protocol show a Sy% of 46%, a high value,
associated with an index of action of 1.46, all that which is done is OK. The
Sy% would be understood as a great flexibility. Only we note also a very high
index of variability at 87 (upper limit = 48 out of 19 profiles) as well as a high
index of disorganization (0.2). Is this, for all that, pathological? We think not for
three reasons: 1 - the Soc% is 75% and is to be understood as a clinging to
people as a position of equilibrium; 2 - the second protocol is much more in the
norm; 3 - there is very little accentuation (9 out of 300 possibilities) and,
moreover, they are dispersed, and it is never more than one accentuation at the
same time.
What we read in the indices is a person who knows the risks of the pursuit
and who can be protected while clinging to her entourage so as not to lose her
way. This is also a period of strong creation where she launches out into realms
that she knows less. Moreover, outside of ceramics, she pushes far her search,
pondering about difficult concepts. As she explained it to us, she feels time is
passing, and she wants to live in the full sense of the term; she stated that she is
ready to actualize more robust projects. Indeed, she largely devoted her time
and her energy to her family; now she lays out more possibilities to create, and
then she launches them.
The drive formulas show in this sense few root factors and more
symptomatic factors. It is the factor d (+ or -) that maintains the root while it is
the factor m that is more at the top of the formula. That represented the
management of Jeanne in connection with her contact that must be proportioned
at every moment to balance her position.
The first protocol shows a peak 4 dominating followed by a peak 3. The

second protocol shows these two peaks equal. Realization of oneself in 4 and
acceptance of the relation to the law of the Other in peak 3 are the privileges of
the creation carved by experience (40 years of experience in creation). She thus
invests in the two most developed positions.
Average Profiles
Protocol 1 :
Total h! s e hy k p d m
Avant h! s+ e hy! k p d m
Arrire h- s- e hy k p d! m
210 Results
Protocol 2 :
Total h! s! e hy k p d m
Avant h s+ e- hy- k p d+! m
Arrire h- s e hy+ k p d! m
Let us take up again the constants:

h! s e hy k p d m
This profile is in agreement with the indices since all is shifting as the
ambivalences signal it. All her being is in question; Jeanne is questioning on all
the levels.
We interpret the accentuation in h! as the most problematic area. With a

high Soc%, the question of the gift of oneself to the Other can be difficult to
reconcile with a request of love and autocentric tenderness that is not any more
effacing oneself in front of the Other.
Protocol Number 1
Av Ar % Av Ar %
h 4 4 65% 4 s 3 2 55% 3
e 4 1- 53% 4 hy 3 2 53% 3
4
p 4 4 55% 4 k 2 3 52% 3
m 4 1 52% 1 d 2 3 55% 3
We can say nothing moreover, considering the percentages are all nearly
50% except h -. This is mitigated too much in order to bring more in the
elements. We see, despite everything at work, a tendency to position 4
(realization of oneself, individuation) except in the contact (contact, clinging)
and at the level of the mediators, a tendency to position 3 (a little strength for
reality and others). The tendency toward the clinging in m+ is to be understood,
according to us, as being basically in agreement with the Other but without more
than that. Indeed, the first protocol shows (foreground and background) 6 m+, 5
m O, 5 m- and 3 m; we see that the clinging does not prevent the m from
circulating.
Results 211
Protocol Number 2
Av Ar % Av Ar %
h 4 4 63% 4 s 3 2- 61% 3
3
e 1 1- 59% 1 hy 3 2 54% 3
4
p 4 4 57% 4 k 2-3 2 55% 2
m 4 1- 55% 4 d 3 2 57% 3
4
With percentages so close to 50%, changes occur quickly, and we observe

the appearance of the hate, a break of the contact and the k moves into 2 (k+).
One still remains in dominant position 4 and position 3 except in k.
Concretely, the first protocol should be associated with a period of
questioning and not really with creation. In fact, it prepares for the second
protocol that should be very creative since we have: 1 - hate available, 2
sublimation in h-, 3 - a good p+, 4 - the contact that is closed, 5 - a s+ (control of
and action on reality), 6 - a d+, 7 - a k+. Visually that gives:
h- s+ e- hy- k+ p+ d+ m-
This is the profile that indicates the creative possibility from the Szondi test.
All is favorable to create especially since that rests on a great flexibility and
movement. Moreover, she gives this in profile 9: h- s eO (- in the background)
hyO k+ p+ d m-. Georges often gives especially this block: k+ p+ d+ m-. This
is so favorable that we were satisfied by these two vectors (Sch and C) to launch
us into our dissertation.
What states the comments of the second protocol? Creation, creation,

creation. Whereas those of the first protocol are definitely less bearing on
creation and more to putting in a condition that is prolonged during the first six
profiles. Then, starting from the seventh, she creates without stop, and the more
one approaches the second protocol, the more she creates. We can consequently
seize again the instability of the first protocol that is the descent in oneself in
order to proceed to draw upon the source to create, and as states Anzieu, it is a
work and, thus, one has to expect an exacerbation of pathology; we prefer to
say an exacerbation of the pathological values in the indices.
Microscopic Level
On the whole, we see a d+ that tries to cut through a path in order to settle
down in the second protocol. The hate in e- follows the d+ and catches up with it
in the second protocol. Ambivalence in s is solved in the second protocol by a
212 Results
s+. The moral and realistic censors often jump about. The ego is often emptied
in the foreground, and it is, as Maldiney proposes, an ego that is emptied in
order to be made full.
It is the background that shows more the creative force as a psychic work
with the created work with a quantity of tritendencies. In the second protocol,
the ego thinks without ceasing and the factor k when it is not k+ is k. On the
other hand, in the first protocol, it is nevertheless often a k- that indicates its
brake and that will disappear afterwards. It is fascinating to see this intra-psychic
management with the created work under our very eyes. She passes by the four
quarters: Sch --, Sch +-, Sch ++ and Sch - +. This is enough to see in order to
confirm the cycle of the schema. The empirical has joined the theoretical.
These two protocols both show the importance of the articulation between
the two levels of the foreground and of the background and warns us against a
slight interpretation of the indices, the drive formulas and all that is based on
the foreground. We have more confidence in the scorers who take account of the
two levels.
Profile 1: In the foreground k + p O and in the background k p +: personal

capture in the background where the ego works according to the two
meanings in order to assess this capture. Her h- indicates the capacity to
sublimate, i.e. she can exceed her demand for love and she can transform it
into a gift of herself by disengaging from her quest for love.
Profile 2: The ego is profiled according to the Other in the foreground, Sch + -,
and in the background completely with Sch - -; her comments proceed in
the sense that she must manage an embarrassing situation according to
her. Usually, she manages these situations while giving her time and her
energy to the Other because she knows that, finally, these situations are
solved by a listening, friendly and benevolent presence. But that tires her.
Profile 3: She evacuated the function k (k O) in the foreground and gives herself
a k- in the background. In order to do that, she takes refuge in her p+
(project to be). Under these conditions, her contact with the others is
pleasant according to her terms. She does not work for herself, but she
has the advantage of calming down things and of attaining a more serene
climate to create; apparently she can allow that for herself for the moment.
In fact, we think that if she allows that, it is because she does not know yet
what to create; she thus does not lose anything finally.
Profile 4: She offers to the Other an empty ego (Sch O O) and keeps the best in
the background (Sch +). Her comment stated: The more the exterior
appears difficult, the more the interior is comfortable.
Results 213
Profile 5: We feel the weight of the Other that starts to be heavy with the ego
that feels abandoned in the background; the d+! that exerts pressure, the
cutting of the contact in m-, the hy+! that indicates the desire for existing in
the eyes of the Other, and the evacuation of the k+ in the foreground (k O).
The two accentuations are a great deal for Jeanne who maintains her p+
faced with the Other in the foreground. That will change soon; moreover, in two
profiles the s changes into s+, the hate will be established. But this will not be
so obvious since in the tenth profile, she does not know any more if she speeds
along or if her e! slows down; the waltz of k- with the k+ goes along with these
meanings. We see that the second protocol is more clear-cut.
Profile 6: The p+ is anchored in it and is expressed by the need for living my

world and to realize it even if it is a very little world, a fascinating
comment that translates the ego into Sch - +, i.e. a project to be that is not
taking the lead thanks to the action of the negation in k -. This said, this
negation is set up in order to adapt to the circumstances, but she does not go
further and stops where the p+ starts.
Profile 7: This profile is very interesting because it follows a cycle of creation,
and thus Jeanne is returned among the Others. We see from that the
confirmation of the theory, consequently, since she is found at the end of
the cycle in Sch - -. However, she allows herself to keep a good Sch + + in
the background. Jeanne tells us in fact with these two reactions that she does
nothing but pass by the position Sch - -. She already has prepared herself to
be in gestation of a new cycle. Even if the brake is put on in k- and in d-, the
s+ says to us that there is going to be movement.
Profile 8: She puts the accelerator on with s+! and the d+ rebounds in the
background, the moral and realistic censors are eliminated (hy O and k O).
She leans on her p+ but does not have access to her k+. However, her
comment stated: I am in phase of realization, but the creative work is
longer and harder. It is indeed much more difficult to create with a p+
without the k+ to nourish the p+.
Profile 9: It is here that she has access to her k+ with her p+. All functions again
and she creates. At the same time, there is an ideal (p+) and she adheres to
this ideal, makes it concrete, and puts it into form (k +). The contact is cut
because of m-; this is a break of the contact in a kind of world in withdrawal
and of a world cut off from relation to our world with us. The brake in d- is
softer because ambivalent (d). The hate in the background gives
consistency to her world; she has emptied her affects in the foreground:
discharge or evacuation of this question? That matters since her affects do
not prevent her from creating. We can observe the forms of perverse and
depressive existences that indicate to us that access to omnipotence is
214 Results
realized and that a mourning is made clear since she creates and is detached
from the old. The work of differentiation is at hand.
Profile 10: Jeanne was sick but she nevertheless finished a cycle of creation.
However, she is already in the formulation of a new cycle. That gives us a
rather complicated mixture of markers, each a little with different meanings.
The k- and the p O in the foreground indicate the brake positioned at the
end of the cycle. The p announces to us a work on the question of her
projects, but her comment says to us that she started to formulate a
theatrical project and, secondly, that she works to give a face to an internal
suffering that is worked out now. The e! and the dividing of the d- with the
d+ between the foreground and the background gives to us the image of a
rather hesitant person. We have also a form indicating a hypochondriac
existence of a tendency to a narcissistic reparation that she also announces
since she is worried by an internal suffering. Finally, this profile 10 is a
little confusing for us, but our framework of interpretation enables us to
disengage from the clearings, and it is here that the theory comes to the
rescue of the empirical.
Profile 11 and 12: She creates and that works. As she writes a play, it is normal
to expect a p- that corresponds to a spectator and a virtual listener that are
necessary to be imagined continuously. This is different from the ceramics
that is more p+. The theater is a creation with a participative aim and thus p-
but under the baton of an orchestra leader with p+. This is an good image
since the leader does not play an instrument and thus he is not present in the
making of the sound but his presence is found in the coherence of the layout
of the different protagonists. Jean-Marie will show us this aspect since he is
a playwright. It is very difficult to differentiate a p- as a virtual Other in
oneself from a p- that signals a real participation as that which reunites
families. In both cases, the Other is virtually present in oneself, but in the
first case, it is the p+ that leads the dance. In both cases also, there is
participation, but in the first case, it is in imagination and not in reality. It is
the absence of a strong k- that especially points towards the imaginary
participation; while the presence of k- works in the sense of a concrete
participation. Here, the k is , thus, for us, it is an imaginary p- and a virtual
spectator with whom it is necessary to negotiate a common word and a
common view [regard] and that is what the k expresses especially since
the p+ is not far away (profile 11). And to crown all this, the m-! assures us
in our resolution that this participation is imaginary. We could not have
done better!
Profile 13: This is the illustration of our preceding subject that comes at the right
moment. The ego is in Sch - - and p- in the background; thus here, the
participation is real and not virtual. It is a day for the family: I am in the
world of the others, she tells us. She also tells us to seek a climate of
exposure like that which is happening. A climate that is sensory, and here,
Results 215
it is with a personal aim; this is what the k+ in the background informs us.
As it is in the background, that does not disturb the family very much,
especially as very often they speak about their creative projects in order to
have news of one another, being understood that these news are good
indicators of the mental health of each one. Therefore, it is a small k+ in the
background that is allowed to be there in spite of the k- color of the day
because, after all, this is nevertheless a family of creators and thus this is
accepted. But quite simply, one can see that Jeanne makes a great effort to
be there because her hate is there and because she looks at the clock for
the time that passes. Recall that one of her sons has been cutting with a
bitter and unexpected criticism about one of her projects. From where
comes the family yes but under certain conditions; this is a little of what
is necessary to understand by the presence of the e-.
Profile 14: She stumbles onto a stage and, thus, what she writes is not good, as
she is under tension; she goes over all the possibilities even that of clearing
the boards in order to make something fresh appear. This is exactly what
her ego says with Sch O O in the foreground (emptying) and in the
background: Sch . The ego is thinking intensely in the background and
goes through all of the possibilities while it is emptied in the foreground in
order to make a clean slate. That which will leave the background will be
able, consequently, to be registered in the foreground on a blank page since
what was there has been erased.
We should notice that the d+ in the foreground is coupled with a d- during

six profiles. We think that belonged to her management of being detached but
not too much because it is necessary to take account of the Other in theatrical
writing. There is thus a brake available that counterbalances the d+ of the
foreground.
Profile 15: She must devote herself to administrative matters; she puts her
projects in a cooler. As this is important, she cannot really say no; she is
e; she says everything gently. Finally, she accepts this situation by doping
her p+! that is there in order to state that she will not let go of her creation
and that she is in the tension to be during this time. Her h-! expresses the
gift to the Other forced by the circumstances: I must do it and thus she
chooses the facets according to that, i.e. by strongly rejecting the aspects
that express the fact that one thinks only of others. The accentuation could
stress her desire to be convinced that she must do it. It is a duty of
married woman therefore we give in.
Profile 16: Her comment has enough self-criticism, and we find k-. However,
the p+ is strong and the k+ is in the background. That shows us a self-
managed use of the possibilities available to the ego. That must be the
force of the experience of the sculptured creation that from strength finally
216 Results
allows the unconscious self-management of the symbolic castration, which

is in a good position and in a good measure and is an excellent tool that
prevents us from going wrong.
Profile 17: Here, the ego of the foreground is emptying and has an ego of the
catastrophe type in the background; this indicates to us that she still works
at a stage that is blocked but that seems better. The hate is established
openly (e- hy O) more and more because the family climate weighs very
heavily on her.
Profile 18: The hate becomes necessary because her environment exhausts her.
She takes refuge in the made-work (k) while she maintains her course in
the background (Sch + +). The d- passes into d+ of the foreground by giving
a d in the foreground and d in the background. The vector of contact is
thus with two ambivalences in the catastrophe position. This is normal
since she creates and the others exhaust her; then, this is almost a contact
lived under a threat as the test indicates to us. The p+ is evacuated from the
foreground; that must be more bearable since with that she concentrates on
the made-work. She can also allow it since she has cogitated about her
course before. The evacuation of the p+ is perhaps to be understood as
protection of oneself in the turmoil? Or as a manner of not adding some of it
with her desire to be in order not to cause controversies?
Profile 19: This profile 19 is a fascinating profile because with listening
carefully to what she says, we observe that she looks at herself in a critical
way whereas her test shows k+ at all the stages!! We can put our finger here
on the meeting on the two viewpoints [regards] about which we have
written so much in our dissertation. The first look [regard] is here k+, the
basic look [regard] on which she operates a look of the look [un regard du
regard] with a virtual k- that commands her discourse and that does not
show through in the test a little like the manner of an orchestra leader. She
is amply in the quarters ++ and in spite of that, she gives herself a feeling of
nemesis, i.e. Attention. I exist in the world and with the others. Let us not
lose this viewpoint. For us it is an integrative management of a very high
level since being fully in a condition k+, she reaches a virtual k- condition
corresponding to the first condition without preventing it and that does
nothing but guide and direct it. Even her hate above all lets herself be
guided by these limitations. We believe that this management is the
privilege of a great experience of the self.
We will not be able to continue the complete microscopic analyzes
without exceeding the good measure for the size of the dissertation; in fact,
we will proceed henceforth to the essentials, according to us, in the
following protocols.
Results 217
Jean-Marie
Jean-Maria is the husband of Jeanne; he is more or less 60 years old. He is a
well-known playwright who has been creating for several years. He informed us
of his vision on his manner of working. We will thus introduce Jean-Maria by a
summary of his remarks.
To create requires:
time (to be reflective, to find the forms, a content.)
silence and extracting oneself completely from everyday constraints.
To listen to people demands an effort because I am elsewhere, i.e. in a
universe that you see, that you listen. and that you try to represent to
yourself before representing it to the others.
meditation (to let oneself think, to come to oneself, not to close too
quickly the different committed ways.)
The theater is primarily an eye and an ear; it is an oral language. You listen
to yourself; if you must listen to the others, you have dregs; you are distracted.
There are two possible solutions: you are alone -- you are with the other. Not
too long alone. Then, maintaining that is enough; I am also a husband, a father, a
lecturer; I have social roles that I must assume.
For someone who writes, there are three things to be distinguished:

- writing: this is to produce (writer) = pure creation.
- character: a man with the image that he has. Image that one gave him and
that he gives himself with all the possible mistakes.
- author: it is the strategy that guides him in order to try to impose himself
in the literary field of the country where he lives at a precise moment.
This is at the same time an institutional, political and financial strategy.
This is the stage that takes the most time in the process. On the other
hand, to write, that depends on oneself and that goes more quickly.
The relationship between the writer and the other is nevertheless to live
with this permanent self-injunction to estimate that which he writes will go to an
encounter with his contemporaries because success partly depends on that. One
works always a little with a potential spectator whom I imagine on the level of
theatrical writing. It is a splitting.
218 Results
Szondian Interpretation
His p + = one imposes his vision; such is the lot given to the work; this is
not his problem; he imposes it. His p- = one nevertheless has a participative
vision of the writing. The other intervenes at the level of the possibility of
communicating his process.
The self-injunction: It is an existential framework with his creation that

consists of the fact that the other exists as an extension of oneself. To lose that is
to become weak in oneself. This is the framework of his creative process, a
destined mission of dividing his own being.
The creator gears down to himself and increases himself [dmultiplie] all
the time in relation to his characters and the public (readers, spectators, critics,
politicians). He is in a concentric position: he has an identity that dilates and
recomposes himself all the time; it is an identity pulsating all the time.
Le crateur
La dmultiplication
[La dmultiplication = dilating and then gearing down to himself]
The creator all the time draws upon on the depth of his being and it is
exhausting, i.e. he will seek through his intelligence, his sensibility and his
imagination something that is deep in him. He draws it up and he becomes
exhausted. It is game between drawing up and exhaustion. That is to say at a
given time, there are limitations and nothing more to say; it is also a nervous
limitation; he cannot go beyond that without taking a large risk.
Not to go beyond because one has said everything and one does not have
anything else to say makes a tour of the question. One has created a crystal that
will irradiate and an equation that will enter the society and, only, at this time,
will one have the return.
Is this a limitation-fullness? Yes, there is creation of a world that does not

need you any more to exist: it exists there in itself. This is the relation with
harmony that stops you. On the other hand, repression functions against the
inessential in order always to be in the essential.
There is a dialectical play between living and writing. When I have the will
to write, I do not live. When I have the will to stop the writing, then I live. Not
Results 219
to live for the period when I write is to be understood as the fact of having the
feeling that things escape me and that things are not accepted (to have friends, to
walk, to leave, to have fun). But the other aspect when one is having fun is the
impression of wasting ones time and that one should write.
I am assigned to write a follow up of my personal history, it is a crossroads

and a destiny. The process of limitation? The vital movement requires a
connection with that which is not oneself because it nourishes you.
To write a play is more on the level of taking consciousness of something
that makes me to advance. The human being is something that is constructed all
the time and is a permanent work. Creation is to gain something for the writer;
and his mission is perhaps to share this conquest of himself. It is the transition
from a confused, misunderstood and intuitive world to something that was
written, understood and formalized. Art is a discipline that gives birth to this
questioning, this revealing of oneself to oneself, from knowledge to the known.
A great writer is somebody who reveals something that is in gestation in

society and in him. He makes it pass to the individual and the collective
conscience. From where the fact that the ego is the other. My ego is able to
translate the other, that which is in the ego is in the other who does not know it
yet.
Creation is a means of living more and better and not sitting on the
sidelines. Creation always makes a return to the person. I am a human who
creates. The true relation is that creation returns to ones existence (to realize
oneself and to better understand oneself). The creator starts from his existence
and goes towards his essence in order to nourish his existence. The man goes
towards his essence in order to inject it into his existence.
Currently, Jean-Maria is in a project with a very important stake. It is a

commission that the two protocols follow closely. The last profile is positioned
at the achieving of 70% of the work.
It is an order made by a political authority with a policy issue. It is a

question of writing a play on the commemoration of the 50th anniversary of a
historical congress: the Walloon National Congress of 1945 in Lige, where an
elite met in order to say no to the Belgium union and to vote for federalism.
Normally, the play is written and it interests or not the people. In this case,
the money is released, the contracts are signed and a theater is reserved before a
play that does not exist. This is the the most boring commission that he has
had until now and from where stems the bulk of the stress. He has very little
time (3 or 4 months). He is the right man for the job, He can do that, and as
220 Results
Jean-Marie says to us: There are few guiltless because it is uncomfortable, but
one should not make a mess of it. What are the difficulties?
1 - The visible part of the iceberg is that the prominent discourses will be
brought down to one hour and a half duration, but this is not yet a theatrical
writing.
2 - The invisible part is the unvoiced comment of the discourses; it is there

that he intervenes to write the unvoiced comment, the wings of the history. From
where comes the importance to think of those people who spoke and those who
will listen to them in the theater.
3 - There exist people who knew the congress and who still live; it is
necessary to take account of that.
These three elements underline the fact that his p+ must imagine well the
virtual spectator with his p- in order not to be mistaken since there is a certain
truth to say about a certain past that it is necessary to reconstitute in the most
lively manner in his head as if he were there.
Indices
They all are OK. A little variability and disorganization. Sy% leans towards
flexibility and the Soc% towards the Other. The drive formula shows a strong
foundation in the contact and of movement in e and k. The accentuations are
OK; they are more numerous in the first protocol, and this is quite normal since
these are the first steps towards the project. The drive positions are 1-3, fusion
and relation with the Other; one cannot better explain the bases of the theatrical
writing if it is not forgotten that all that depends on a p+ benevolence for its
p-.
Tropisms show an ego and a vector of the affects invested in the

background for the first protocol. While the second protocol shows in the
background an ego invested and in the foreground the vectors P and C followed
by the vector S are invested. For the first protocol, the ego invested in the
background reveals the cogitation in fusion (position 1) and the relation with the
Other (position 3). This question of the relation to the Other is also thought of in
the background with the vector P (e: ethical censor and hy: moral censor); while
the stage maintains the contact. For the second, the ego continues the reflection,
but, this time, the relation to the Other is passed to the foreground perhaps
because of his maturation made in the background that has became sufficient for
passing onto the stage.
Results 221
Average Profiles
Protocol 1 :
Total h+ s e! hy! k p d! m+
Avant h+ s+ e! hy- k p! d- m+
Arrire h! s e! hy k! p d m!
Protocol 2 :
Total h+ s! e hy- k p d- m
Avant h+ s e hy-! k p! d! m+!!!
Arrire h! s+! e hy! k! p d-!!! m-!!
Jean-Maria is in h+ and of tendency m+ with the possibility of cutting off

contact (m-): a base of clinging associated with a need for tenderness and for
love perhaps caused by the burden of the work. The other factors are in
questioning. The factor d passes into d- as well as the hy (hy-). In fact, the
second protocol gives a report on a phase of concretization of the theatrical
writing while the first is more the research for this writing. The d- means a
tendency to slow down creation to manage the knowledge obtained, a kind of
faithfulness to the words that are in agreement with the project of Jean-Maria.
The problematic hy! points to the question of what it is necessary to show or to
hide in order to write this play that is the commemoration of a political event of
a grand scale. All that is not important, and it is not said there through the
interventions of the politicians at that time. Jean-Maria must thus think what is
interesting to show on the stage and what is not relevant. The second time of the
testing announces the tendency for censuring the writing more; there is a moral
censor in hy- that is interesting to use in this genre of writing where a stake is
profiled in saying and seeing it. It is not simple as a project: it is the Walloon
question today that Jean-Maria questions on the basis of a political event that
launched this question. He is known for his competence in this area; in fact, he
must supervise what he writes with his k+. The doubly ambivalent ego registers
the waltz that he performs between his sensory putting into form and that of the
Other and his view [regard] and that of the Other.
Protocol Number 1
Av Ar % Av Ar %
h 1 1 68% 1 s 3 3 60% 3
e 1 1 63% 1 hy 3 2- 63% 3
3
p 1 1 60% 1 k 3 2 53% 2
m 1 1 70% 1 d 2 2 65% 2
222 Results
The tendency to fusion is clear; the theatrical writing is in gestation and

seeks to agree with its spectator (to embrace the spectator). The k is thus
mitigated and passes therefore from one to the other; s is turned towards control;
not to go too quickly and too far with d-, and, finally, the hy- brings forth the
condition of the influence of the censor or then does not show perhaps
significantly an internalization.
Protocol Number 2
Av Ar % Av Ar %
h 1 1 69% 1 s 2-3 3 64% 3
e 1 4- 53% 1 hy 3 3 72% 3
1
p 1 4 53% 4 k 2-3 2 58% 2
m 1 4 53% 1 d 2 2 72% 2
And here are all the marks of the creative work that come to carry out
differentiation starting from the lack of differentiation; we pass from fusion to
the appearance of position 4 to the background in e, in p and in m. The work is
finished since Jean-Maria allows himself to be detached and to return to himself;
it is thus that he found what he sought. The differentiating tendencies become
clear. The hate is proportioned; the contact tends to be cut; the brake d- is
shown; the p+ emerges. This is the phase of active writing; it is positioned in a
made-work that despite everything is within the framework of a fusional base in
its principle. Now that it is written, it is visible; that does not belong to him any
more; he was detached from his spectator and soon will meet it in flesh and
bone; the past is returned to the past, and Jean-Maria can return to the present.
Here to what moves forward with Jean-Maria. He also appropriates again his k+
and pays great attention so that which he says because as he takes up again his
word, he knows he is subject rightly from where comes the rise of the censor in
hy- (72% against 63%). The s+ and d- are also accentuated, and this is to be
interpreted, in our opinion, in the sense where he works on what is written
(control in s+ and faithfulness in d-).
Microscopic Level
Many tritendencies in the background shows the possibility of changing

quarters and of passing from Sch -- to Sch + - to go into Sch ++ and to arrive in
Sch - +. It should be noted that he missed a period of one month when indeed
Jean-Maria started actively writing. We can see him at the threshold of this
period in profile 10.
Results 223
This one shows Sch +! in the background and with Sch O O in the
foreground. This is indicated perfectly in his comment: phase of strong creation
and feeling of having found that which is necessary to exploit.
Profile 8 is odd where he finds the wavelength in p- with which he will

write to communicate with the spectator. But we find beside it e-!. He can
securely henceforth achieve his project; he traced a path and it is perhaps the
pressure that he drains off in e-. Indeed, he was not much at ease following this
commission, and he had to fuse much for including what he was to seize; this
is not an easy position. To find the structure is to win the combat; now, he can
be detached, write and differentiate himself; from where the hate that, finally,
can be actualized to start this distancing to the work in creation.
The p- rather frequently is to be analyzed as a virtual Other except, for

example, in the first profile where it is a real participation that succeeds at the
end of a creative cycle. The work on this virtual Other is visible through the p
as shown, for example, by the profiles 15 and 16 in the background. Moreover,
in the background in the profiles 11 to 16, the p+ is definitely present; this is the
end of work; therefore, he can reemerge to orchestrate what is. In the same point
of view, work on putting into sensory form in the made-work is present for
example in the profiles 13 and 14 with k. It is amusing to note that Jean-Maria
works his k (k) with the profiles 13 and 14, and, then just after, with profiles 15
and 16, he works his p (p).
Lastly, the hate reappears more and more as the work finishes; a
dissatisfaction is felt.
As Mit pointed out to us, it seems that the foreground is to be understood

in the sense of a laboratory of creative experience, and the background in the
sense of the orchestration of this laboratory as if the strings were pulled in the
background.
Joseph
Joseph is more than 30 years old, and is handicapped in his lower
extremities. He moves with crutches continuously and is never in a wheelchair.
His dwelling is not arranged according to his handicap. He climbs and descends
the stairs, goes out very frequently, performs on the streets, and is a poet, a
musician, and a performer. Creation plays a strong part of his life. He knows
many people but it is an environment rather closed and of an underground
genre. We think that his rage to live and to create is essential to his existential
balance. That marginalizes him but that did not prevent him from marrying and
224 Results
having a child even if the couple were separated afterwards. Joseph is the rage to
live.
Indices
They are OK except the Soc% is very low; this is undoubtedly his
nonconformity that causes this, but what does that mean since Mit registers
socially at all the levels even lower at 13%? And in appearances, Mit is the
antithesis of Joseph: Mit presents a beautiful frontage while Joseph is
hopeless at it. In fact, neither one nor the other is worried too much about
appearances and make their life as it suits them, Mit yields to the rules but
thinks what he wants, and Joseph is a little less connected to conventions. This
is moreover that which brings them so much closer and would explain their
rather low Soc%. To be noted are the accentuations (12) especially in s- and in
m as in both m+ and m- (He does not know any more where to agree with his
collaborators).
Tropism shows an investment in the contact vector in order to give enough

energy to manage this, the key factor in his expectation. The drive positions
show a peak 4 in agreement with its tension in p+.
Average Profiles
Total h s-!!! e hy k p+! d+! m
Avant h s-!!! e hy k! p+ d+ m!
Arrire h s-! e- hy! k p+! d+! m!
He brakes strongly and this is understandable since he depends on other

persons before going ahead. He saw a kind of crisis of braking that he
manages as he can. The hate is present in the background and waits its hour. The
desire to be is powerful, and it is normal because Joseph takes refuge in his
projects since the made-work is on standby. The d+! is a little excessive because
it is a kind of way out to compensate for the situation. He said to me that his
desire for the new (d+!) corresponded to somebody who seeks a house to rent by
looking at the advertisements in a sporting magazine! The m! represented the
intense management of his contact that must adapt to the others and to his
distinctive demands. As to his collaborators, he hangs on in his way and, to the
contrary, when they are difficult, he must cut the contact in order to protect
himself from frustrations of his expectation.
Results 225
Av Ar % Av Ar %
h 1-4 4 53% 4 s 2 2 87% 2
e 4 1 53% 1 hy 2 3 56% 3
p 4 4 77% 4 k 3 2- 53% 3
3
m 4 1 50% d 3 3 77% 3
Passive realist (3 in hy, k and d; 2 in s), Joseph waits with his p+ and his
hate (e- = 1) until his collaborators change.
Microscopic Level
A first point consists in seeing the last profile that is one hour early before a
much awaited concert because afterwards his situation will evolve toward the
installation of new things if the concert goes well. One observes the judicious
use of k- in the foreground in order to calm his tensions and, in the background,
an ego that prepares to go on the stage in the two meanings of this last term.
There is Sch +! +, therefore, autocentric. The negation of the foreground is there
only to manage the situation.
A second point, it is the kO in the foreground that enables us to question the

saturation of the space from the sensory capture by a limitation-completeness.
The limitation-completeness in the creative process would consist of a kind

of saturation of the mental space by its contents. If, in the case of a painter, the
mind is occupied by 4 or 5 canvases and that he cannot complete them
(contingencies of the daily social and physical activities), then that is likely to
eliminate the emergence of a new opportunity (of new canvases) through
congestion of his imaginary space. It seems that the limitation-completeness is
expressed by a feeling of being too full and for too long a time, in short of a
recurrence of mental contents that do not evolve (It is always the same thing in
my head).
In more dynamic meanings, this limitation-completeness offers one a
feeling of a creative flow in the process of extinction because he does not have
any more mental space and the availability accessible for a new creative
scope. In the same manner as the hand being occupied by an object cannot
seize another object: the space for a manual seizing is limited and the function of
seized with the hand is suspended by the permanent seizing of only one element.
The configuration of the mentality that made it possible to seize the creative
elements (pictures, plays, texts, music) remains related to these elements as long
as the working function of k + did not evacuate these elements that prevent
other elements from taking a position.
226 Results
kO would express the evacuation of the desire for another capture, and that
can express by repercussion the necessity to evacuate from the mentality that
does not have a position any more to be maintained in oneself. That poses a real
problem for creators who depend on other persons to carry out their productions
(a composer, for example, for a group). When putting into form is associated
with the technical intervention of other persons, the creative flow is reduced
by the effect of this saturation considering that he must wait the intervention of
the others to see the result and for going to another thing.
JP
JP is a 30 year old man who creates at his place from the orders for graphic
productions and for writing projects. He lives from his creation and his life is
centered on his creative work. He uses computer software developed for his
work. He has a great faculty for entering into contact with people. He informed
us of his life history to explain his course as a creator.
He was in prison during a few months for possession of hashish. It has

offended him to be regarded as a criminal, and he had a hatred for society. In
prison, he was interested in the computer and its graphic uses. He had a view of
himself in prison thanks to an adaptive synthesis between the vision of people
different from him (rather violent and dangerous) and his revolt against injustice.
From these two visions in prison a view was born on the other facet of the
thing. The computer wanted to say no longer play with his rules but with those
of the others. From where comes creation on command in him. This creation is
obtained very easily by a synthetic view and an attentive observation of things.
I need to see the other side to decide and need to see more than one point of
view.
Before beginning the analysis, we note that JP entered a crisis of a
connection of items that broke out after the third profile.
Indices
They all are OK. There are many accentuations in s- and a little less in d
and in p; that must undoubtedly be in relation to the crisis of his connecting of
these. Factorial tropism is most for s and that means that the question of the
mediation of the desiring body is prone to strong demands of energy that are
directed towards the passivity and to suffering the situation. We have a peak 4
in the drive positions that indicates that the situation, in spite of everything, is
seen under a personal angle, i.e. for a realization of oneself and under the guise
of a cogitation via a p+ that thinks about the things.
Results 227
Average Profile
Total h s-! e+! hy! k- p+ d m
Avant h- s-!! e+!!! hy+ k-!!! p+ d m
Arrire h s e! hy k! p+ d m-
Let us note the accentuations in s- (to submit), in e+ (to assert his rights),
and in hy (what is well or harmful according to the majority of people in this
situation?). The negation slows down his manner of seeing and of feeling things
overall (how does his partner see things?), and the p+ maintains the personal
project to be. The contact is in question: to leave-to remain?, to hang on-to
unhook oneself?.
Av Ar % Av Ar %
h 4 1- 55% 4 s 2 2- 77% 2
4 3
e 4 4 77% 4 hy 2 2 64% 2
p 4 4 72% 4 k 3 3 72% 3
m 1-4 4 55% 4 d 2-3 2- 53% 2
3
Predominance of 4 shows a man decided to pursue his course and that is
what will occur, and he will manage the break and will change the
atmosphere. Apart from the k- that is rather realistic, the other factors are in 2,
i.e. narcissistically autocentric and ready to defend his world by himself.
Microscopic Level
We can see the slowing down action of d- according to the comments in the
first and the last profile. The first profile is carried out when he is tackling too
many things at once and he must criticize himself to advance a project; he
applies the brake in order to be attentive. The last comes after the break up of
these connections and after a period of intense activity, and he says: Quickly to
finish a project and to take a holiday. On the other hand, the d+! is an
accelerator as the profile 5 shows where he must be forceful and put the rubber
to the road to create.
Another frequent facet is the refuge into the p+ when that does not happen.
There is an aspect in JP interesting to discover with the possible relation of

k- with the technical sides of creation with a computer where it is a question of
adapting himself to the data-processing procedures. Therefore, to create, JP
passes through a technical side of adaptation to the machine that must call forth
a k- side in order to adapt to the complexity of the process. Obviously, the more
he masters this tool, the more k- can leave the field to the k+. We cannot go
228 Results
further in this hypothesis because the situation of these connections can largely
explain itself alone the presence of k-. However, when he creates in profiles 2
and 3, we have a k in the background. When it is k- in profiles 1, 4, and 5, he is
blocked. That thus stresses that k- nevertheless keeps its force of braking at the
level of creation. The last profile shows a catastrophe ego that gives him
difficulties in creating (I am torn apart from all sides). We cannot say more.
Mit
Mit is forty. Married and a teacher in high school, he teaches mainly
French. He is a citizen who cannot be more a citizen. Not at all marginalized,
he functions according to two levels: society and its rules - creation and its rules.
He juggles between the two and leads a recognized creative course. He writes
and he paints mainly. He knows many people and keeps up to date on many
things. One can perhaps apply the stereotype of the man who is in the know.
At the time of our meeting, he was interested in the articulation in painting
between the shading of the sexual differences (a lack of differentiation in a
bisexual human figure) and the crudeness of the perceptive zooming in on sexual
differences. This approach was suggested to him by his analysis of a painter, an
inhabitant of Ligeois, for the book that he is writing on this painter.
Indices
The low Soc% has already been analyzed with Joseph. The other indices are
normal except for the index of action that shows a tendency toward action rather
than with mentalisation. The accentuations are in h and in the ego vector. It
seems that the connection of the two is in crisis and that Mit centers himself on
himself as the drive peak in 2 clearly indicates, i.e. primary narcissism, to some
extent: I love myself and repair myself. Tropism appears in this sense with a
load in the sexual vector.
Average Profile
Total h! s e! hy+! k+ p- d m
Avant h-!!! s+ e- hy+ k+ p! d m!
Arrire h+! s-! e hy+!!! k+! p- d m
We interpret ambivalences in the sense of a crisis that Mit undergoes

especially in h (to love himself or to give himself to the Other?), in e (Who is
right? What are the rights of each one in life?). The contact is in question
undoubtedly because of this confusion. It is perhaps for that that the Soc% is
low; Mit is centered on himself. The ego is definitely in k+ and it is true that it
has a plethora of images; he creates without stop and intensely consumes the
world with his senses (a great appetite for life). But it is the viewpoint [le
Results 229
regard] of the other that dominates his representations and we will see why. He
is in the rupture [la faille] and that moves; he creates much because the rupture
pushes him towards his world within himself. We will see that the factor p is
ambivalent in the first three profiles in the background and that shows the
questioning suitable for a subject in the rupture, i.e. in the discontinuity of the
participation.
Av Ar % Av Ar %
h 4 1 66% 4 s 3 2 50%
e 1 1 64% 1 hy 2 2 80% 2
p 1-4 1 69% 1 k 2 2 75% 2
m 4 4- 58% 4 d 2-3 3- 53% 3
1 2
The k+ and the hy+ are there to show that Mit exists counter to a fusional
tendency in p-. The hate is ready to serve the rupture. The factor s shows
indecision while the d+ is not strong.
Microscopic Level
The p is ambivalent during three profiles and then passes into p-! when this
presents to him two events. The first is a meeting with someone, and the second
is his becoming aware that his painting participates with a universal
knowledge common to other painters at other epochs. As he finds himself in this
other person and that the others (painters) accompany him in his course, he
can let himself participate with his p-! in as much as he tends to be in a rupture
a painful and costly position.
The k+! of the last profile of the foreground shows in him the desire to
differentiate himself, and he sets up his k+! to do it; that means that he considers
the rupture more appropriate since k+! is in the foreground and p-! is in the
background. As his comment stresses, he wants to release himself from the
framework in which he fits, and thus he wants to put aside his p- that starts to
take too much influence. Indeed, the p- made his k+ waver into a k in profile 4;
in fact, the scratched k+ rebounds in force in profile 5 while being accentuated
(k+!). Consequently, the sanction of the k+! towards the p-! is: Enough, Get
out, Away with you!.
Mit considers the foreground as his laboratory of creative experiments that

he differentiates from his own identity. In order to support that, the constant
presence of pO in the foreground shows the evacuation of the question of his
being and the targeting on the sensory putting into form with his k+.
230 Results
The last point is the presence of the hate that tracks him as an adviser to
guide him towards his way. That enables us to make relative the bad image of
the hate since Mit is not a dangerous individual but a man who accepts
compromise less and less in his manner of living. Hate is a powerful tool not to
be depreciated but handled as one carefully handles a razor, i.e. under the
responsibility of a p+ that thinks the heinous movement.
Patrick
Patrick is a young painter who is searching for himself and who is still in
formation; he is 24 years old. At the time of the testing, he lived in a relation of
an intense connection, a relation that appears for him as an important turning in
his life. He has obviously the desire to change his vision of things. Thus, he
passed from a marginal life and a consuming detachment overall in an
environment extremely marginalized into a serene life of connection, balance,
and attachment to the values of life. He makes many projects and starts to be
recognized. The creative brutality has became more measured, and with a
view [regard] of looking at himself most frequently, he learns how to manage
the different facets of his personality. He is thus a person in transition whom we
met. According to his statements, the main thing for him is to slow down his
engine without slowing down his creation. Consequently, his painting
underwent a total renewal by the appearance of a style that we could personally
describe as the search for a structure in the expansion of the forms and the
colors.
Indices
The index of variability is a little high in the first protocol. The index of
socialization is high in the second protocol. The rest are normal. In fact, the first
protocol shows his search and the second the need for the Other that is set up at
the same time as he tends to being in position 4 in p (p+) while maintaining his
m+. He seems to make a success of his management of defusion while
remaining with the Other. There is little accentuation and that tends to prove that
his management is good. The drive formula shows the factor d- as a root and the
factor e+ as the most shifting factor. He secures his brake all the while
wondering about his rights and those of others. The drive positions are balanced
with a small peak 4 in the first protocol. Drive energy is distributed with more
or less equal parts. Tropism shows a load in the ego in the foreground, but the
discourse of Patrick is targeted on his reasoning; we think that he puts his ego on
the stage to make it possible to work his representation of the Other in him
thanks to the view of the real Other. It is more clear in the first protocol and
indeed we rather have a p in 1 and thus there is fusion. The second protocol has
already passed into 4 in p; therefore, the defusion is stabilized; that means
perhaps to say that the work on his representation makes it possible to obtain an
Results 231
image of the Other to conform to this Other. In fact, he can find its marks since
he is connected to a good wavelength, He will not lose the Other on his
way.
Protocol 1:
Total h-! s! e+ hy! k p d- m+!
Avant h-! s! e+ hy-! k p! d-!!! m+!
Arrire h- s e+ hy k p d- m+
The gift to the other is very present as desire braced by a will; the s! would
mean good knowledge to proportion the control and the submission in the
connection; the e+ expresses his agreement with the Other; the hy! works in the
sense of what is necessary to manage to exist in the eyes of the Other or in order
to hide from this Other (how not to be in order to be in relation with the Other);
the ego is working; faithfulness is in place (that makes more than three years that
he has been alone; he now loves his partner and wants to remain with her); the
m+! shows his desire to cling to and to be with the Other.
Protocol 2:
Total h- s e+ hy! k p! d-!!! m+!
Avant h- s+ e+!!! hy- k p! d-!!! m+!!!
Arrire h! s e hy k! p+ d-!!! m+
The question of to be is specified while the brake d- is at its maximum. That

made almost a year that his connection holds the course but constant efforts are
necessary to live as two separate beings; moreover, he wants a holiday and
change, and he is pressured by his school examinations.
Protocol Number 1
Av Ar % Av Ar %
h 4 4 76% 4 s 3 3 63% 3
e 4 4 68% 4 hy 3 3- 66% 3
2
p 4 1 55% 4 k 2-3 2 55% 2
m 1 1 76% 1 d 2 2 75% 2
Protocol Number 2
Av Ar % Av Ar %
h 4 4 69% 4 s 3 2- 60% 3
3
e 4 4 69% 4 hy 3 3- 64% 3
2
p 4 4 66% 4 k 3 2 50%
m 1 1 77% 1 d 2 2 89% 2
232 Results
The fusion in the background in p gives way to a p+ and that gives us

finally at the end of his creative process of management of the defusion a
direction 4 (realization of oneself) with a m+ that clings to the Other (m+ = 1).
The brake d- (2) is found again; the factor k takes more account of the putting
into sensory form of the Other in the configuration of himself; hy and s are in 3
thus in connection with reality and the Other. Concretely, it is s+ at the exit
(second protocol) because he can be allowed to act because his sensibility takes
account of the Other; therefore, he will not do damage. The hy - states in fact
that he tends to interiorize his process of research (not to show) and that he
seems to integrate the moral verisimilitude of what it is necessary to do to be
in agreement with the Other in a connection.
Microscopic Level
Aside from d- illustrated here as creative brake, it is interesting to observe

the frequency in the background of the Sch + - reaction that would represent the
process of the painter who paints sensibly and intuitively in order to configure it
in k+. The comments make it possible to have an idea for each profile.
Pierre
Pierre is more than 30 years old. Very creative since a young age, he has
multiple facets and we will state simply that he is in the theater lately.
Previously, we could summarize his course as a plastic and aesthetic research.
Marginalized and non-marginalized, Pierre offers a versatility in his life that is
difficult to encompass. According to his statements, we met him during a rather
calm period and that, according to him, follows a tempest of more than 10 years.
He is obviously in a phase of personal restoration. He has a will to recover his
forces. Like Patrick, he uses a brake, but Pierre does not apply it towards the
Other for all that; it is towards himself that it is applied in a realm of narcissistic
restoration and of a closing to the Other.
Indices
The indices are normal. Tropism shows a load in the contact in the
foreground and that represents management in progress in this realm. This is
understandable under the fusional angle of his p- that gives too much rank to the
Other. Pierre wants to manage his contact to protect himself from his tendency
to fusion. Moreover, he accepted the test without any problem; then, given
himself an account of his difficulty of managing that, he cut the contact. His
explanation (negative influences) is a metaphor to be taken as a p+ that
realizes that he is too p-, i.e. You, the Other, have too much power over me;
therefore, I cut the contact in order to preserve myself. The drive positions are
in 1-3, fusion and the relation with the Other. In fact, for a creator, this is a
Results 233
regression towards the lack of differentiation without the capacity to accept that
a little as a diver who would go to the sea-bed while having leaks in his diving-
suit.
Average Profile
Total h! s! e! hy k! p-! d! m+!
Avant h+!!! s! e-! hy k-!!! p-!!! d m+!!!
Arrire h s e hy- k p- d+!!! m
The sexual vector is very questioned and so is the relation to the law; the
factor k+ is seeking to understand himself faced with the factor k-. The p-! is the
index of the danger that should be managed. The factor d does not know how to
act (remain or leave), and Pierre needs a contact in spite of everything in order to
stabilize himself. It is curious to note that Pierre often changes dwelling places
as if he could manage a tendency to fusion only by leaving and by radically
cutting the contact. It seems that his creation does not enable him to operate this
management. In fact, his creation is modest and tends to be less while working
on persons as the director. That obliges him to manage his contact, with not
too much fusion, and to avoid leaving as a wanderer as the d+!!! indicates in the
background that does not ask more of a running away but that is fixed by a
questioning in the foreground. He is a man who always had great difficulty to
manage his violence that generally intervened to put an end to a too great
influence of the Other on him. With Pierre, we could say that his sensibility is
such as it is limiting, i.e. his ego tends to being porous, from where stems the
tendency to be violent and to leave. The more he advances, the more he repairs
himself as he says it. In fact, he locates a mechanism corporally that is
fundamentally psychic. He starts to understand it while being devoted to the
meditation that allows him to take his distance.
Av Ar % Av Ar %
h 1 4- 61% 1 s 3 3- 61% 3
1 2
e 1 1- 61% 1 hy 2-3 3 55% 3
4
p 1 1 77% 1 k 3 2- 66% 3
3
m 1 1- 77% 1 d 2-3 3 61% 3
4
We see the dominant 1 and the emergence of positions 4. The mediator

factors are realistic and close to the circuit of position 4. Thus, in spite of his
desire for narcissistic reparation, the levers are not in position 2 (primary
narcissism) but in 3. That would mean that he tends to accept the symbolic
234 Results
combat to face the Other instead of taking refuge in his world. That is what the
events show.
Microscopic Level
The presence of accentuations shows his difficulty of managing all that,

accordingly there is not anything else new to say in relation to the rest of the
protocols.
Znon d' Ele

Znon is 24 years old and is a student in Philosophy. Very avid for
knowledge that modifies the relation of the subject to the object of its
knowledge, he fits in what we have stated metaphorically as the programming
of a processor (See Zphyrin). At the time of the testing, Znon entered into a
blocking concerning the examinations. That did not prevent him from
experimenting with his unconscious to see if it would be in agreement with
the idea to voluntarily make a success of his examinations by getting rid of the
deficiencies in his methods of studying. For him, they are very serious and that
consists in seeing what is necessary to succeed, and, thus, if that progresses a
little, he can direct his lifestyle towards other data and experiment without
beating himself up with guilt. At the time when we write these lines, Znon
has succeeded in first exam period and entered into his last year. From now on,
he does not any more trust the traditional schema of the student, and he has a
definite will to manage himself with his characteristic viewpoint the method of
approach to the problems that arise for him. This experience showed him that he
could trust himself with his unconscious. Concretely, he studied very little; he
based himself on his reflections and profited from curious coincidences that
supported his success (to know 1/4 of the course -- the most interesting -- and
to get the questions for which he knew the answers, which happened more often
than he expected). The stake of such a procedure is better to manage his life and
the risk in order to succeed or to miss a year.
Indices
The indices show a flexibility (Sy% of 52% with normal So/ with
cogitative tendency: 1.3) as well as variability (17 for higher limitations of 12.5)
without disorganization (0.1). Presence of accentuations (9) that show some
difficulties of managing his course. A peak 3 in the drive positions means that
the pressure of the school examinations in progress. Tropism shows an ego that
thinks about itself in the background.
Results 235
Average Profile
Total h s e hy! k p+ d! m!
Avant h- s+ e hy! k p+ d- m+
Arrire h+ s e hy! k p+ d m
Apart from the desire to be, all the other factors are in questioning. He
passes through a crisis as tends to be shown in the tropism of the background
centered on the ego. We frequently find the refuge in p+ in the event of crisis in
creators.
Av Ar % Av Ar %
h 4 1 60% 4 s 3 3- 60% 3
2
e 1-4 4- 50% hy 3 3 63% 3
1
p 4 4 70% 4 k 3-2 3 57% 3
m 1 4- 63% 1 d 2 2 63% 2
1
50%/50% in the relation to the law indicates to us the stake of the

examinations vis--vis its characteristic law. He clings to the contact and
maintains positions 4 in h and p. He brakes in d- and is overall in 3 -- realistic --
in the other mediator factors. Tendency 3 is not strong and allows him to accept,
especially in k (57%), the more autocentric positions as a k+.
Microscopic Level
The kO in the foreground indicates the saturation of the mentality or the

evacuation of the creative question in k+ or the negative in k-. In any event,
he does not want to take a stand in the foreground on this subject. The draining
of the ego twice (profiles 3 and 5) follows these meanings.
On the other hand, the element dominating this protocol is the enormous
work that that ego does in the background going up to being allowed to have Sch
! ; this is an ego eminently tense and experiencing the events under pressure.
The threat is clear since his stake is to refuse to succeed as an obsessional of the
studies while being directed towards a self-managed study according to
personal criteria in the sense of k+. That means that the stake is a manner of
living according to his choices even when they are dangerous because he is
without much experience with them. The risk is to fail his year. He was
rewarded by his choice in succeeding afterwards according to his manner of
working.
236 Results
Zphyrin
Zphyrin is 24 years old. He works in social work as a teacher on the street.
He often goes out and is very carried away with discussions of any kind. He
manages his contact continuously by proportioning his relation with the Other.
He devotes himself to music and radio. Zphyrin is continuously in a phase of
change; he integrates the fruit of his ideas as soon as he can in his life, literally
trying out those in his relations. Then, he analyzes his progress and the relevance
of the process and improves it as much as possible. Lately, he is not paying
attention to his readings; he trusts more his own observation as with the
intuitions of the other persons who accompany him in his course.
The idea common to Anne, Zphyrin and Znon is the computer

processor. The processor is to conceive the mind as such. Consequently, the
stake consists in identifying his program like a processor and then to detect the
dead ends in order to reprogram it. What that is or is not, the processor is a
metaphor that locates from the start the reference of these three persons.
Indices
They are normal except the Soc% that is low. A recentering on oneself has
appeared. The accentuations are numerous (14) especially in the factors p+ and
hy-. The management of his course seems difficult on these levels. The p+!!
indicate a strong desire to be, and the hy-! indicate the internalization of this
process (not to show). The tropisms show a load in the central vectors of the
foreground: the question of the affects and that of the ego. It seems that
Zphyrin works these two aspects on the scene without speaking too much about
it. He puts these two vectors close to the viewpoint of the Other, and he is
quite right because he very often speaks about subjects closely related to the
affects and the manner of managing them. In fact, it is in the area in love that he
concentrates all his efforts in order to find a partner appropriate for living with
him.
Two peaks 3-4 characterize the drive positions: the relation to the Other and
the relation to oneself. This is quite coherent with that which precedes. The time
is not one of fusion but one of reflection.
Average Profile
Total h! s e hy-! k- p+! d! m+
Avant h+!!! s e- hy-! k-!! p+!!! d! m+
Arrire h s e hy- k p! d! m+!!
The negation questions the sensibility of the Other, but the desire to be is
offered to him. To remain or to leave is the burning question in d!. He clings
Results 237
without doubt to the contact and that presages his strength, but his weakness is
read in h! because it is a question with a double edge: how to love himself
while wanting to give himself to the Other? Or how not to lose oneself in the
Other? The hy-! is there to camouflage this serious reflection that is not very
favorable to the rituals in love. Not to cut short with the things in s (to submit
or to act?). Finally, the question is: of what right can we have the claims to be or
not to be? This is what we read in e and that joins this fundamental question for
a person in creation: how not to be in order to be with the Other?
Av Ar % Av Ar %
h 1 1 64% 1 s 2 3 50%
e 1 1- 58% 1 hy 3 3 77% 3
4
p 4 1 80% 4 k 3 3- 69% 3
2
m 1 1 75% 1 d 2-3 2 64% 2
We read the will to accompany the fusional movement all while

maintaining a position 4 in p in the foreground (relation with oneself). The p- (1)
in the background is not a truth since with 80%, it is p+. This p- seems to us to
be a representation of the Other that is constructed in the background in order to
agree with this Other or then it is an underground will to take part with the
Other.
The will of to be faithful is from d-. The s with 50% shows the indecision to
act or to submit. The factors hy and k are on the realistic side and censures, but
the k+ remains present at the background.
Microscopic Level
When Zphyrin passed into a phase of doing the work, almost at the end, he
was k in the background. This transition into action is not frequent with him;
he rather prefers the word. In fact, he executed an original radio program with a
thorough music research especially in the transitions, i.e. by giving an original
stamp in the mixing. And his p + has again become normal in the sense where
the accentuations disappeared. He devoted three days and nights for capturing
what he wanted to render. All that for a little less than one hour of broadcasting.
The idea is that each selected musical transition awakes a powerful and targeted
affect. By positioning them according to a specifies logic, he thinks in order to
be able to arrange in himself these affects so as to better manage them. Each
time he listens to this series, he conditions himself mentally to take into
account the imprint of all his reflection but in a subliminal way. This is a
sample of unconscious programming on the basis of the idea of the processor.
238 Results
The union of theory with the empirical enables us to make a synthesis. His
great sensibility often places him in an overdose and his cogitation cannot
follow the movement in order to manage this flood of information. His
management is more a discourse and a construction of representations that come
to center his life. He little uses the made-work. He seeks less difficult realities
in order not to slow down his cogitation; he tends towards the radio where the
word -- a more virtual reality -- enables him to be anchored in reality but not too
much, it is a little. Gradually his projects tend towards broadcasts where there
will be a roundtable -- thus with real persons present; this is less virtual -- then
he wants that the listeners can telephone (it become less virtual). The more
management of his sensibility progresses, the less virtual reality becomes and
the more the word tends to be incarnated and from where come projects with
more concreteness. The less made-work would signify his tendency to be in the
virtual (the word) that is secondary to the great force of reality that passes
through his senses and that he has difficulty managing.
Accentuations in p+!! are to be interpreted as a refuge in a strong desire to

be, but that can involve paranoia and prevent the process from leading to an
agreement between his world and that of the others.
Some Comments
The psychiatric framework of interpretation can give a distorted view of
processes that occur rather peacefully in creators in their daily activities. This
framework can not make it possible to sharpen more precisely the mechanisms
that we observe among people who create in their daily life.
Thus, the anxieties are centered in the specific course of the creative
process. This management can lead them to accept their impotence when faced
with too strong anxieties thanks to the force of the surroundings (creative
process made second) that belongs to the process in their eyes. Once the
agitation has passed, he or she sets out again with confidence. The image would
be in this case of letting it happen, a little as a pond that one would have to stir
the surface in order to make the mud come up; management by not acting
consists in letting the water settle back peacefully in order to see there more
clearly. The creators feel appropriately indeed that sometimes it is necessary to
let things rest and not to act.
The strong control of the creators is not permanent and often gives way to a
permeability like an open door on the unknown. The framing of their psyche
during this process allows a retreat in relation to the general emotional
condition.
Results 239
Jean-Maria must double himself in order to write a play, i.e. his view
[regard] on things is doubled by the view [regard] of the other so that the
written message is communicable. He inserts himself into a style of creation that
is the theatrical writing and that induces in him an instability in order to write on
two vectors. In fact, he is often k+ p- without being schizophrenic. He has a very
active social life and is a recognized intellectual. His thinking is listened to for
its relevance.
An analysis of the protocols in psychiatric terms, though very relevant, can

give a false impression of what these people continuously manage. The great
difference compared to a psychiatric population is the dynamism overall: that
moves and does not stay frozen in one place for a long time. The psychiatric
diagnosis often is given when there is shown that one is a being stuck in a
position; it is understood that it is the circulation in the stages of the psyche that
signals mental health.
It is necessary that there are reversals in the protocol. Somebody who is too
fixed in a position cannot create. A profile of a creator in the phase of creation
resembles quite a lot a profile of a psychotic.
240 Results
Conclusions
The conclusions come from our procedure of a knowledge and discovery
that is not closed. We place this dissertation on the cornerstone of clinical
psychology: the meeting with the human being. This is a possible working
hypothesis in order to encounter the life of a creator. We only make a
clarification.
We think that it is not science that has the last word in the private clinic, for
the good and simple reason that it eliminates the subject in the sense where the
discourse becomes independent of that which it enunciates. Levy-Strauss insists
on the fundamental relationship between the subject making the knowledge and
the object of the knowledge.
No knowledge is harmless in the unconscious of the man even if the general
creed consists in imposing a model as being neutral or worse objective in its
absolute. The history of humanity knows this kind who in good faith lead
massacres in the name of an ideal.
Therefore, we do not claim to state the truth on the process of creation. We
try to open a door. For us, knowledge is used like a tool not like an aim in itself.
To lose the values that frame the finality of a knowledge, we attract the nemesis
to ourselves. For our part, we put the human being above the theoretical tool.
That means that this knowledge is reducible to an organic carrier of this
knowledge, and that the abstract is deeply anchored in the concrete of a sensing
body. This ying-yang of the spirit where the abstract includes the sensory and
the sensory has an irreversible part of the abstract is a guarantee against the
excess of one or the other.
The idea of the cycle enables us to propose a very macroscopic vision of
creation. Indeed, with each turn of cycle, the creator draws from his k+ and his
p+ and will nourish other persons with what he has collected. He thus increases,
in the best case, the quality of k - and of p- in vigor in a society and a given
epoch.
Results 241
Ltre
P+K+
Pics multiples dus aux diffrents lans crateurs des individus
Lespce
P- humaine
K-
Le niveau qualitatif basal des perceptions et
des reprsentations communes dune socit
augmentent au cours de lvolution dune
socit qui intgre de plus en plus les lans
crateurs.
[Ltre = To be; Being]

[Pics multiples dus aux diffrents lans crateurs des individus = Multiple
peaks owed to the different creative surges of individuals ]
[Lespce humaine = The human species]
[La niveau qualitative basalqui integer de plus en plus les lans
crateurs. = The basic qualitative level of the common perceptions and
representations of a society increased in the course of the evolution of a society
that integrates more and more the surges of creators.]
It is on this flight that we will finish our dissertation by thanking you for
remained with us up to now.
Appendixes 242
Appendixes
Commentaries 243
Appendix 1: Commentaries
Accompanied by the Testees Continuum Ratings
Continuums
1: (-) for World of others and (+) for World with oneself;
2: (-) for Attachment and (+) for Detachment;
3: (-) for Desire for conforming and (+) for Desire for creating;
4: (-) for Feeling of dispersion and (+) for Feeling of unity in oneself;
5: (-) for Anxiety and (+) for Internal Peace;
6: (-) for To exist spontaneously and (+) for To exist with effort;
7: (-) for Creative flow not in oneself and (+) for Creative flow intense in
oneself.
Anne
Anne 1 2/28/95
1 = +80%/2 = +70%/3 = +40%/4 = +60%/5 = -55%/6 = +60%/7 = +60%
Difficulty choosing, many comments on the test but more easily done for the
background.
This weekend, she had the impression that the expression of her characteristic
creative flow with respect to her sister (with whom she has maintained a strong
relation) has wounded and disturbed her sister, from where comes the fear of doing
something bad to her. And the backlash on her because of her sister: she doubts
herself and her course. That spills over today onto the test but in fluctuates despite
everything. She feels culpable in relation to her sister.
Production: in her speech and writing, actions, attitude vis--vis life and others.
Today: no.
F.E.* : 4 (Rejection in relation to her sister put into action) and 6.2 in the
foreground. [*F.E. = Forms of Existence. See 1.2.9 Forms of Existence in
Methodology section for a brief reference to forms of existence. Following is a
list of the different forms of existence in their clinical forms according to Szondi:
A. Danger Existences
Commentaries 244
I. Extreme Sexual Existence Forms:

10 inverted: homosexual, transvestite
9 perverted: sadism-masochism
II. Extreme Affective Existence Forms:
13 epileptic: with killing attitude
14 hysteric form
III. Extreme Ego Existence Forms:
1 pre-psychotic
2 projective paranoid
3 inflative paranoid
4 heboid
5 catatonic form
IV. Extreme Mood and Contact Existence Forms
6 melancholic depressive
7 manic hypomanic
8 psychopathic
B. Protection Existences
11 hypochondriac
12 compulsion neurosis
16 everyday man or woman
17 humanitarian existence forms]
Anne 2 3/1/95
1 = +80%/2 = +100%/3 = +100%/4 = +85%/5 = -20%/6 = +100%/7 = +100%
She chooses a little more quickly and is in a rage.
It is her birthday but that does not have any importance. She wants to get some
fresh air (to go to Brussels). She has to deal with someone who does not have the
same approach as she does. Assessment: I felt suffocated. It was conventional (to
go shopping), boring, but not bad and that picked me up. Compared to the 2/28/95
when it slowed down her course, she says: I was right, I should not have held
back, else I would not have been in Brussels. She wanted some fresh air, and she
agreed to go to Brussels with this boring person because of the fact that she
thought of having to slow down her course and have a change of air.
Less distressed than yesterday but in extreme cases she felt better yesterday!
This day proved to me that I was not mistaken because that does not resemble
anything.
Production: yes
Continuum number 3: This is an intense need

Commentaries 245
Continuum number 4: I nevertheless feel a block that is ready to refuse the

conventional but one did not let me do it, from where there is no unity (at 100%).
Continuum number 7: It is rather abstract.
F.E. : 9.1 (Her rage is due to her submission to the law; she broke
objects in her rage) and 6.2 in the foreground.
Anne 3 3/2/95
1 = +75%/2 = +75%/3 = +80%/4 = +80%/5 = -70%/6 = +60%/7 = +90%
She chooses slowly, a little inattentive: forced to observe the photographs, she
ends up being occupied and being mislaid by the feelings that they inspire in her.
Choice is even more difficult. I do not know any more what is true or false.
She has the feeling to have lived a full day. Yesterday, she thought about her
approach. Today, her approach is here (to be inside), but she has the impression
of a void as if her creative flow were blocked.
Then creative malaise and the tap opens and that flows. Anxieties. But she
feels well, in agreement with herself, fine.
The test breaks her condition: right before and right after, her reaction is
different in relation to the test: progressive break throughout the test.
Production: yes.
Continuum 4: The test involved in me a feeling of dispersion (coming from

continual doubts) but I marked independently of that.
F.E. : 8.1 in the foreground.
Anne 4 3/3/95
1 = +80%/2 = +85%/3 = +80%/4 = +95%/5 = +55%/6 = +75%/7 = +75%
Answers a little more quickly. Many anxieties today. Then an event that
consolidates her in her position: a telephone call to her sister. Her sister appears to
her to react pettily and feebly and tends to want to cut off the communication and
relation with her. This tendency has to increase her feeling of unity in herself and
to decrease her anxiety.
Commentaries 246
The same impression of a void as that of 2/3, on awakening. Important

fluctuations according to the events of the day and that applies to the other days.
Production: yes.
F.E. : 7 and 9.1 in the background.
Anne 5 3/4/95
1 = +20%/2 = +100%/3 = +95%/4 = +100%/5 = -60%/6 = +30%/7 = +90%
Chooses more quickly and is much less prey to her continual doubts. Feels in
extraordinary form and wants -- and will go -- to meeting the Other. She needs to
concretize what was born in her and to live this out in daily activities and with
others.
She is able to feel fully in the world and she feels most the difficulties of her
existence in the life of others.
Production: yes.
Continuum 1: She does not want to put the burden of the other aside (towards
the Other) because she feels really herself as if she is in the world of the others
because she feels the power of its world with her in that of the others.
F.E. : 6.1 in the foreground.
Anne 6 3/5/95
1 = +65%/2 = +65%/3 = +95%/4 = +85%/5 = +55%/6 = -25%/7 = +85%
The test authenticates her approach in her eyes and she wants to go further, but
she suspects a lack of balance in her approach where proportion is required: Not
to be all the time in it although the desire is strong.
She has the impression that yesterday evening she reached an existential stage
that has been maturing for a long time: it is a confrontation with the Other to
authenticate her approach and what was born from this approach. Yesterday, she
understood that she exists. Before, there was the existence of the others, but she did
not feel hers. Since yesterday, there are both. The others are there and she also, but
the participants are separate (I and the Other). I exist without my melting in the
Other. It was necessary to follow the movement of the Other; there was a thread
between me and the others that is not there any more (with the danger before to
break it).
Commentaries 247
Production: yes.
F.E. : 8.1 in the foreground and 14 in the background.
Anne 7 3/13/95
1 = +70%/2 = -30%/3 = +60%/4 = -30%/5 = -120%/6 = +100%/7 = +65%
No comments. She is quiet, and then she says: Nothing moves forward.
Lifeless, is very distressed, with the impression to explode as a volcano that is

stirring. She wants to go to sleep in order to calm herself but her work prevents her
from sleeping. There is a conflict between things from which she is not able to
detach herself and the wish to do it (a rather emotional perspective): I fall back
into myself: bad plans because of that.
For a meeting tomorrow with the sponsor of her dissertation, she does not feel
ready (not enough work done) in order to go there: she feels pulled about by this
prospect but she is not worthless for all that.
Production: Yes, less, some done!.
FE. : 6.1 in the foreground and 11 in the background (desire for being
repaired by sleep?).
Anne 8 3/16/95
1 = +55%/2 = +85%/3 = +100%/4 = +85%/5 = +70%/6 = -60%/7 = +95%
Few comments. Felt empty Monday the 13th of March and Tuesday the 14th of
March; she has been on the defensive, aggressive (meaning cold and curt in
her contacts) in order to keep people at a distance (defensive defusion). Tuesday the
14th of March, she would have marked 100% negative on continuum 7 (creative
flow in oneself). These two days with this impression of emptiness gave the image
all is dried up in me. This is a dead earth.
Today, this is not any more the case, rather there is the sense of fullness (F.E.
2.1: fusion).
F.E. : 2.1 in the background (projective paranoid.). It is the p-! that acts, and,
when this is the case here, she feels well
Production: yes.
Commentaries 248
Anne 9 3/19/95
1 = +80%/2 = +90%/3 = +75%/4 = +65%/5 = -65%/6 = +45%/7 = +65%
Tired, hangover,, the test has stressed her without her knowing why.
Production: no.
F.E. : 12.2 in the background.
Anne 10 3/21/95
1 = +65%/2 = -40%/3 = +100%/4 = +80%/5 = -45%/6 = +30%/7 = +75%
Works easily on her dissertation whereas before that was blocked.
Production: tendency to produce but not an irrefutable fact.
F.E. : 14 in the foreground and 6.1 in the background.
Anne 11 4/3/95
1 = +50%/2 = -55%/3 = +70%/4 = -40%/5 = -60%/6 = +50%/7 = +70%
With desire for managing the asset that exists. She wants also to go further but in
small steps (small things that would give a nudge in the right direction to manage
the asset). With a desire and strong need for the Other but not the desire for going
towards the Other.
She criticizes herself: she does not accept any more the usual justifications
(excuses for oneself) that she regards as evasions.
She is fed up with a trick of the trade that goes towards something and that
never really achieves its goal; in fact, she wants to do something concrete.
Production: no.
Anne 12 4/4/95
1 = +75%/2 = +40%/3 = +50%/4 = +60%/5 = +60%/6 = -50%/7 = +60%
A fact is that her dissertation is without too many constraints: that moves!.
With more desire for going towards the Other (yesterday, it was the desire for a
presence of the Other and not for going towards herself) but in small amounts: to
arrange and to envisage meetings in order to fight against the anxiety of being
alone.
Commentaries 249
She feels well all alone but she wants to share her well-being at certain times.
She feels springing up, at certain times, an anxiety that emerges by the fact of
being alone, (especially yesterday) and that is likely to return. From where comes
prevention when going towards the Other.
Production: yes, however there is something in the air.
F.E. : 17 in the background.
Anne 13 4/12/95
1 = +50%/2 = -40%/3 = +45%/4 = +70%/5 = -50%/6 = +40%/7 = +45%
She is afraid of no more having touched bottom, losing herself, and not having
any meanings if she lets go of her creative course. She is very stressed: distressed
all the time in the physical sense. Internally, she feels a malaise. She does not
understand and does not know to think about it: it is an anxiety that leaves me in a
void.
Production: no.
F.E. : 3.1 in the background (desire to be tense in p +).
Anne 14 4/13/95
1 = +80%/2 = +70%/3 = +75%/4 = -110%/5 = -75%/6 = +80%/7 = +75%
A part of her seeks to spare herself and to comfort herself and the other part does
not want this. Strong fluctuating anxieties if not crises of tears when not anxious.
She repositioned herself differently than before on the level of her identity as a
woman and feels a change of her mental outlook: All is perceived through another
spyglass. She has removed all her posters and has cleaned her area of life.
Production: yes.
F.E. : 13.1 in the foreground, she presents the triad e - p- m - (she has to
remove all her posters).
Anne 15 4/15/95
1 = +70%/2 = +95%/3 = +85%/4 = -70%/5 = -65%/6 = +60%/7 = +80%
That changes a lot, very confused, that does not go to a source. It is the need to
position myself in relation to the things that happen in my head. It is more than
Commentaries 250
usual. Here, I feel the necessity to choose in myself what emerges in me and make
my selection in order to to be sure of going on a right path. Unknown distresses
that go away when I have a contact with easy things that are usual and that do not
call anything into question.
I have a need to restore myself rather than a desire to be, and from whence a
weaker creative flow; the desire starts but is stopped.
Continuum 7: not all the time during the test.
Production: yes, to make concrete today some previous ideas.
She has decided to dissociate herself from her dissertation. It exists, it is

reality; it should be finished, but she also exists and she is also a reality. There is a
narcissistic change in progress. She presents an increase in the drive positions 1
and 2, and a negation in k - in the limitations of the normal. Her desire to be
rests more on narcissistic items than on the items of realization of oneself (drive
position 4). Her creative course exists and is maintained but its extent in her
identity is less: her desire to turn more to narcissistic reparation then confirms the
form of existence 11 in the foreground while in the background exists the form
12.2.
Anne 16 4/21/95
1 = +45%/2 = +90%/3 = +75%/4 = -110%/5 = -110%/6 = +70%/7 = +20%
The others frighten me very much, I feel invaded. From this, she engages in a
relational isolation, a rather defensive detachment: I really do not listen any
more.
I do not know where I am any more; one could impress anything on me, but at
the same time I need the others in order to fill an interior void. I do not have any
more a reference mark in relation to my characteristic existence. My creative flow
is moving but really does not succeed. All escapes me: I exist but what do I do
there? I do not understand anything any more.
Production: -
Anne 17 4/26/95
1 = +50%/2 = +95%/3 = +50%/4 = -110%/5 = -85%/6 = +75%/7 = +40%
Yesterday, tendency marked by a suicide attempt (just so close) but control

via a spark that returned to me but without seizing what it concerned:
Commentaries 251
impression to find a presence, an existence against the impression of being

hollow.
Anchor point with her dissertation that represents life against the void.
There thus was a positive realignment of the dissertation that takes the meaning of
a mayonnaise that thickens. She feels on the edge and the limit, in oscillation: I
remain. I go away from it. Since 4-5 days, what was in front of me pleased me
and allowed me to keep from stumbling.
Production: no (yesterday yes).
Anne 18 4/28/95
1 = +65%/2 = +70%/3 = +80%/4 = -20%/5 = -70%/6 = +30%/7 = +50%
She does not want any more to go back to the test. The test is in some way a
view on what I decide and that makes me doubt myself. The clinging reappears
clearly (music, cinema, to go to a chiropractor), but it is necessary to blunder
along. Things are better for her; she feels better and feels it inside, has found
herself again, and does not have any more this void. She feels herself to exist. The
fact of going towards is not any more felt negatively.
Continuum 5: the test amplified a note of anxiety that existed before. She
marked this continuum with - 70% whereas during the day, she would have marked
it with - 40%.
Production: no.
F.E. : 7 in the background (she has the fidgets).
Anne 19 5/3/95
1 = +70%/2 = +95%/3 = +50%/4 = -80%/5 = -95%/6 = +90%/7 = +20%
After taking of the test, she looks at a dead fly fixed to the ceiling, and overcome
by the dead flies, she declares: It is nevertheless cruel!. I retort to her whether to
write this and she answers: No.
That depresses me thoroughly, anxiety of impotence and abandonment type/(

paranoid). I do not find anything that moves me; I do not know any more what to
do; there is nothing at issue except that I seek things.
Less controllable discharges of depressive affects, she cries in the street (hy +! in
the background). I have the impression of forcing myself down totally. Creation:
Commentaries 252
I have the impression that it is there but it is imperceptible. The world of the
others: a kind of indifference.
Production: no.
F.E. : 6.2 (depressive affects) and 8.1 in the foreground. In the background, 14
(cries in street, extreme expression of her affects) and 13.2 (crises, discharges,
less control, that happens, that overflows). This is a rare profile, astonishing
that she manages rather well thanks to her capacity to be detached from that in
particular by analyzing it in life. We can say that with this kind of profile that it is
the variability and the circulation of the drives that saves her!. It is perhaps this
abyss that generally threatens her like a sword of Damocles.
Anne 20 5/8/95
1 = +70%/2 = +95%/3 = +85%/4 = -65%/5 = -100%/6 = +85%/7 = +45%
Still in the void and this condition gives her the impression that what emerges
is little: precarious existential balance. She does not manage to control the
conditions in which she falls into and those from which she emerges; this control is
not strong enough in her eyes.
Production: yes, a little bit.
F.E. : 14 in the foreground and 2.1 in the background.
Anne 21 5/19/95
1 = +35%/2 = +35%/3 = +50%/4 = +30%/5 = -30%/6 = +30%/7 = +40%
Period of change, very intense mental fluctuation with attempts at control. A

door is finally opened, an exit is profiled.
Production: no.
F.E. : 2.1 in the foreground and 12.1 in the background.

Commentaries 253
Anne 22 5/24/95
1 = +35%/2 = +35%/3 = +40%/4 = -30% and +30%/5 = -60% and +20%/6 =
+85%/7 = -40% and +30%
I violently feel in the duality; I do know any more and that makes an end of the
time that I do not know any more if I am in the creative process. In my opinion, yes
and in another sense, that seems to me too commonplace.
Production: -
F.E. : 8.4 in the background.
Anne 23 6/12/95
1 = -30% and +60%/2 = -20% and +70%/3 = +65%/4 = -45% and + 40%/5 = -55%
and +35%/6 = +45%/7 = -45% and +45%
I feel that there is a direction towards the aim to be myself, but I feel that it is
not fed by something from inside: I am not sure what I think, what I do, if it is me
or if it is the others. There is something that is missing and that makes me doubt.
These are not the things that count. The things in themselves are nothing. It is
the viewpoint [le regard] that one has on things; it is I who perceives from this or
that way and that makes them pleasant or unpleasant. It is my look that sees the
things as bad; it is for that that I embed myself. That (this reflection) enables me to
better feel and to function with others. My different viewpoint [regard] enables me
to function inside (a relation) even if it is a little detached and even if I am not
basically in the relation.
I was at my gynecologist. In the waiting room, two women were chattering and
were showing off. Instead of taking a book and closing myself off (in myself), I
continued to listen to them and to observe them. I did not treat them as bitches
internally; I looked at them and my viewpoint made them more bearable. Whereas
usually, I would have cursed and that would have made me a real pain: Hold, still
bitches!.
Production: She writes her dissertation and that moves. While typing this in the
computer, she realizes that what she finds in her dissertation invokes herself to
herself, so that she is.
F.E. : 7 in the background. The maniac form is registered in a slight pattern in

her discourse, but for all that is that a pathology?
Commentaries 254
If we look at the following diagram, we leave the reaction of ego Sch -

(abandoning ego), and we see p-, k + and, at the same time, k - in the reaction k .
If we position these tendencies on the cross of the diagram, we consequently see
two things.
p+
Mon regard diffrent me permet

de fonctionner dedans (la relation)
mme si cest un peu dtach, mme k+ k-
si je ne suis pas fond dans la
relation .
Cest le recul ncessaire en k +.
Etre fond dans la
Aspect k + dans k .
relation (k - p-).
p-
Cest laspect k - de k
associ avec p -.
[Mon regard diffrent me permetdans la relation = My different viewpoint

allows me to function within (the relation) even if it is a little detached and even if
I am not basically in the relation.
Cest le recul ncessaire en k+. = It is the necessary distance in k+.
Aspect k+ dans k. k+ aspect in k. ]
[Etre fond dans la relation = Basically to be in the relation.
Cest laspect k- de k associ avec p-. = It is the k- aspect of k associated with
p-.]
The first thing is k - p-, i.e. to be thoroughly in relation with the Other; in
there is k -, i.e. a legalist, realistic, anti-fantasy and rational position and the p-
that is projective participation: the viewpoint of the Other prevails over mine in
my image of myself: I am the Other.
The second is that k + gives the distance necessary to leave basically this
relation with the Other. It is that which opens the personal and fantasy space and
that brings the feeling of detachment in relation to the others.
Georges
Georges 1 4/24/95
1 = +120%/2 = +120%/3 = 0%/4 = -120%/5 = -60%/6 = +120%/7 = -120% and
+120%
Desire to share: great desire to communicate but fear of doing it. Sensation of
being blocked for several months; this has been a dead end, but this is considered
to be necessary in order to move forward. He feels the pressing necessity of an
otherwise intense threat: death -- being extinct -- without life.
Commentaries 255
Production: no.
Continuum 1: Reinsurance while being in ones world with oneself but

required to move towards the Other because of great discomfort.
Continuum 2: The same principle as that for continuum 1.
Continuum 3: Straddling two directions, malaise, neither one nor the other,
sometimes leaning towards one pole and sometimes towards the other.
Continuum 5: To remain like that = shock, not to advance, it is to be a

prisoner.
Georges 2 4/28/95
1 = +60%/2 = -120% and +120%/3 = +60%/4 = +70%/5 = -20%/6 = -85%/7 =
+40%
The desire for sharing is stronger than the last time. Reflection follows the same
course. Simultaneity of the emotional and mental tendency to go towards the
Other.
Production: no.
Georges 3 5/2/95
1 = +40%/2 = 0%/3 = +110%/4 = -50%/5 = -55%/6 = 0%/7 = +50%
Starting again to produce: to set out again. I have changed and added a
method of composing for four days. This is the desire for doing and for acting
concretely. I do not see Szondi Test any more as I did before. He wanted to check
if the machine still works and this is the case. He is content and reassured.
He had a very hard time to position himself on the continuums. In the same way,
series 4 of the test presents faces which, for him, are all neutral.
Production: yes, definitely the music part. The rest always the same (except
production). Satisfied because the interior fire has been relit. On the level of his
production, he finds that it is quite small but that it is working.
Commentaries 256
Georges 4 5/8/95
1 = +85%/2 = -120% and +120%/3 = +50%/4 = -100%/5 = -50%/6 = +80%/7 = -
60% and +50%
Two opposite forces fight one against the other. One consists in being fixed in
the obligations of his role of a father; this is seen like a chain. The other consists in
freedom, in its characteristic process, and it is seen like a large breath of fresh air.
These two forces are very powerful and lead to a paralysis: I am stuck.
Georges 5 6/5/95
1 = +25%/2 = +25%/3 = +85%/4 = -65%/5 = -60%/6 = +40%/7 = +35%
It is a crossroads that is presented to him. As if my former music were

exceeded; therefore, there is not as much faith in the interior to give him a direction
and is insufficient; thus, I do not see a project for it.
A great decision perhaps: I apply the brake. (s-! in the background and d in
the foreground).
The writing comes more easily to me, the writing causes me to make the
exchange with the music, but I am not so sure: that bothers me a lot.
I want to clear away the interfering feelings for better communicating with
others and to be more at ease.
Production: no (not concrete).
Georges 6 6/12/95
1 = 0%/2 = 0%/3 = -90% and +90%/4 = -70% and +60%/5 = 0%/6 = 0%/7 = +20%
There is change in relation to the photographs of the test. The antipathetic for a
long time become less anti, a photograph has not been recognized.
I feel very comfortable in the family, I have fun, I laugh, I love them more and
more without forgetting myself. I am creating, but that is not pressing; I do not
push so much. There is something to share with others, and I do that at my
rhythm.
Production: yes, slowly started to write a little.
Continuum 3: My desire is more cherished, and it is to have these two

positions all the time (to conform and to create).
Commentaries 257
Henri
Henri 1 5/4/95 20:00
1 = +50%/2 = +20%/3 = +80%/4 = +70%/5 = +50%/6 = +20%/7 = +75%
Henri is a creator who is here as actor making himself take the test half an hour
before a theatrical premiere, fifteen minutes before his presence on the stage.
He tells me that he controls his stress because, for him, it is role little
deconstructed (in the past, Lord aristocrat); he feels at ease because it is a role
not too hard and, moreover, he has experience with the routine. He does not
seem agitated.
Henri 2 5/4/95 21:05

1 = +90%/2 = -90%/3 = -100%/4 = 0%/5 = +50%/6 = +90%/7 = +100%
He has been on stage and comes back to be made up for his role (before: a walk
on part). A scence has just been played, and he is to enter on stage in a hour. He
is calm, in expectation, not agitated but tense and quiet.
Continuum 3: He conforms to the reality of an other. The Other conceived as

the imagination of the director: in fact, the Other is his role of the theater.
Continuum 6: Exist spontaneously in the automatic sense and in the

moment.
He will improvise shortly after this second test during the first part of this
theatrical premier.
Henri 3 6/28/95
1 = -60%/2 = 0%/3 = 0%/4 = +65%/5 = +55%/6 = +50%/7 = 0%
This test is out of the context of the theater and was provided in order to see the
difference between the fact of playing a part and daily life. He is at his work and
seems very occupied by multiple things. He puts me between two telephone calls
and quickly takes the test. It was done very quickly all while giving me the time
required.
He is on leave in relation to the theater. Soon he will go on vacation. He forgot

our meeting two or three times and he is late when I tested him.
Commentaries 258
As a creator, he does not have any production for the moment.
Jeanne
Jeanne 1 1/29/95
1 = +40%/2 = +70%/3 = +15%/4 = +30%/5 = -60%/6 = +30%/7 = +30%
It is the shortly after a festival. This night, she has a dream that revealed a
condition of anxiety to her. She did not explain the meanings of the dream except
that she specifies that that occurs after a very participative festival a little as in a
carnival manner.
She has just finished a series of ceramics objects, and she slowly continues a
process of writing.
Jeanne 2 2/2/95
1 = -70%/2 = -30%/3 = +50%/4 = -20%/5 = -40%/6 = +55%/7 = -70%
She underwent an embarrassing situation in her ceramics workshop (a mini

scandal).
Sensation of tiredness.
Jeanne 3 2/9/95
1 = -70%/2 = +60%/3 = +70%/4 = +35%/5 = 0%/6 = 0%/7 = +20%
Few occasions to work but a pleasant climate with the others.
Jeanne 4 2/17/95
1 = +90%/2 = +70%/3 = +75%/4 = +70%/5 = +30%/6 = +40%/7 = +35%
The more the exterior appears hard, the more the interior is comfortable
even if it is not easy to structure it.
Jeanne 5 2/20/95
1 = +80%/2 = +70%/3 = +80%/4 = +80%/5 = +80%/6 = +60%/7 = +55%
She stopped any interpretation and she gives free course to her thoughts. She
carried out some projects.
Commentaries 259
Jeanne 6 2/24/95
1 = +70%/2 = +85%/3 = +80%/4 = +60%/5 = +25%/6 = +85%/7 = +35%
She needs to live in order to realize her world and to make it exist (even if it is
very small) either by ceramics or by writing.
Jeanne 7 3/10/95
1 = +85%/2 = +75%/3 = +95%/4 = +95%/5 = +40%/6 = 0%/7 = +50%
For two days I have spent long hours to create in thoughts and in practice.
It is a totally different comment from that of the time of making and at the real
time of the test. In fact, it has been two days that she made these achievements and
has just finished a cycle according to her. It is the end of the stage of achievement
and the return to her availability to the Other. She enters, according to her, in a
neutral zone where she takes a distance in relation to creation: One should not
ask me to do any more!.
For the moment, she is in a neutral zone, i.e. one rather vague period that
follows the end of a cycle and where the availability to the Other again takes its
course, i.e. to become again accessible.
Jeanne 8 3/17/95
1 = +95%/2 = +100%/3 = +90%/4 = +10%/5 = -20%/6 = +40%/7 = +90%
I am in phase of achievement, but the creative work is longer and harder. I do

not know why.
Jeanne 9 3/22/95
1 = +100%/2 = +95%/3 = +100%/4 = +95%/5 = +100%/6 = +85%/7 = +90%
Period of achievements with positive work.
Jeanne 10 4/9/95
1 = +85%/2 = +80%/3 = +20%/4 = 0%/5 = -20%/6 = +85%/7 = 0%
She was sick ten days. She finished a cycle of creation: a series of ceramic
objects. In the field of writing, she started to formulate a theatrical project (made
three scenes). She remained three weeks in a malaise; she felt bad. She had the
perception of an internal suffering without power give a face to it. This is worked
out now.
Commentaries 260
Continuum 1: She marks her world with herself. In fact, this is more specific.
The psychic contents come from the others and makes her suffer, but the viewpoint
[le regard] is intrinsically hers and this one frames the whole. Therefore, it is
nevertheless her world because of the strength of her view [le regard] on the
psychic material that comes from the others. A view [regard] on oneself and the
forms in oneself but are external contents.
Continuum 5: Small anxiety arising from the fact that her personal view with a
certain precariousness vis--vis the strength of the Other.
Continuum 7: Because of the environment she marks this way because there
are creative spurts and not a continuous flow.
Jeanne 11 4/18/95
1 = +110%/2 = +110%/3 = +5%/4 = +110%/5 = -70%/6 = +110%/7 = -35%
She finished a work for the theater. This work caused completely unexpected
sharp polemics with her son (who carried on with the others) about her contents.
That disturbed her.
Jeanne 12 4/21/95
1 = 0%/2 = -20%/3 = -35%/4 = -20%/5 = +20%/6 = +10%/7 = -10%
She completed a ceramics work and a work of writing. She is at the beginning of
new projects.
Jeanne 13 5/14/95
1 = -75%/2 = -55%/3 = -55%/4 = -30%/5 = -20%/6 = -45%/7 = -65%
Does not produce. She has envisaged a visit of the family for some time. I am
in the world of the others. We benefit from it in order to give a progress report on
her creative course.
I seek the realm of a future exposition on the level of the form, esthetics and
contents, in short, from all points of view. That is vague; I seek when I am asleep
and when I am awake. I made one or two drawings but they are not good. This
search never leaves me; it is put aside; one closes the door, but it is there.
I seek to find the form that would join the abstract and the concrete. A
sufficiently simple form but very telling, the base line of an exposition, the basic
realm of an exhibition; it is that that I seek. I tested with the geometrical world and
with realistic pieces, but it is not that. I seek compromises between the geometrical
forms that interest me but that are stripped of life and the realistic parts that are too
Commentaries 261
noisy. I want a reserve, which is interiorized, suggested. It is necessary to

negotiate a form and a compromise.
How tense to choose between a straight line and a curved line? When I found it,
one can go there.
Jeanne 14 5/22/95
1 = -80%/2 = -80%/3 = +10%/4 = -85%/5 = -40%/6 = +15%/7 = -10%
On the mental level, my approaches are specified little by little as for the form
of what I project to make in ceramics. As regards the writing, I fail to make
progress on a scene. But for a few days, I lack the practical time to work on my
affairs.
Jeanne 15 5/24/95
1 = -90%/2 = -85%/3 = -50%/4 = -75%/5 = -40%/6 = -10%/7 = -70%
She is on the verge of leaving for Switzerland, and there is no time.
Jeanne 16 5/29/95
1 = +70%/2 = +70%/3 = +60%/4 = +70%/5 = +40%/6 = +70%/7 = +55%
She started to design some pieces. She has the plan of a scene that she lacked.
She must still complete work on ceramics and on writing before going forward on
new projects. Today, I did not do anything in the household; I worked for
myself.
Jeanne 17 6/3/95
1 = +85%/2 = +50%/3 = +90%/4 = +10%/5 = -20%/6 = +80%/7 = +50%
She started to write the missing scene and she designed some projects. She also
worked with the objects to finish the ceramics.
She has major difficulties to assume the family realm with its discourse far
from my essential concerns. She had the sensation of a mental solitude.
Jeanne 18 6/8/95
1 = +95%/2 = +90%/3 = +95%/4 = +95%/5 = -60%/6 = +50%/7 = +85%
She spent many hours writing: difficult but positive work. I am in phase of
positive achievement.
Commentaries 262
These last two days, the social contacts were particularly exhausting for the
workshop of ceramics and in its associations: I fall deadened. It is exhausting to
listen to the others; I have an almost physical refusal.
e- in the foreground and in the background.
Jeanne 19 6/11/95
1 = +95%/2 = +100%/3 = +100%/4 = +25%/5 = -30%/6 = +100%/7 = +80%
I dont have much trouble forgetting everyday tasks; I forget to carry out
certain purchases; for example, I must make a constant effort to keep myself here
and now. Unceasingly, I am led back to zero.
She finished a scene that is not completely done. She wishes to finish a new one
and to carry on with her ceramics.
We have a critical discourse here even when the foreground and the
background show clearly a preponderance of the reaction k +. That leaves us
perplexed. It seems that Jeanne while having the reaction k + is able to take her
distance in relation to the detachment. It seems that the test does not take into
account this viewpoint framing k + and what is more of the type k -. It is
astonishing to see this person preserving a distance with respect to her dynamic
internal characteristic without her ego not critical in the test. It is this curious
aspect about the confrontation of the test with the empirical that enables us to
evaluate the psychiatric approach as too reductive within the framework of its
nosologies*. These comments of Jeanne on her dynamic characteristic invites us to
be more nuanced. [*nosologies = classification of diseases and, sometimes, their
treatment]
Jean-Marie
Jean-Marie 1 1/29/95
1 = -70%/2 = 0%/3 = +85%/4 = +85%/5 = 0%/6 = 0%/7 = +85%
He has just finished writing a play and must write another that is in fact a
commission. That generates a conflict between the fact of having to gain something
and the concern to redo another thing.
Commentaries 263
Jean-Marie 2 2/2/95
1 = +35%/2 = +30%/3 = +35%/4 = +30%/5 = +30%/6 = +70%/7 = +20%
Today, two creation projects were set up; it is a matter of two orders. This comes
after having news of these projects and after having seen the silent partners. The
two projects appear on the right track of realization. They are, actually, the result of
an intense theoretical effort. They will have to be realized in the months to come.
Jean-Marie 3 2/9/95
1 = +80%/2 = +60%/3 = +75%/4 = +75%/5 = -75%/6 = +45%/7 = +50%
He is on a new project. Expectations of indispensable information. Tension

strong. How to do this play?.
1 = +70%/2 = +65%/3 = +70%/4 = +70%/5 = 0%/6 = +60%/7 = +65%
Creative process on the way: phase of search. Hesitations and some reference
marks appear. Still confusion, lacking self-confidence, but there is a matter that has
a beginning of organization.
1 = +65%/2 = +65%/3 = +85%/4 = +65%/5 = +10%/6 = +55%/7 = +50%
Process of research that starts to give rise to flashes of inspiration -- still

uncertain -- of pure creation.
1 = +70%/2 = +70%/3 = +125%/4 = 0%/5 = 0%/6 = +70%/7 = +60%
Phase of voluntary creation against any derived externals. Strong tension (almost
limiting) to maintain a center of creation in oneself with the will to share a daily
life and relations.
1 = +90%/2 = +85%/3 = +80%/4 = +30%/5 = -25%/6 = 0%/7 = +20%
New stage: much information that was quasi large with enough of distance for
going into the creative phase if not with some inspirations and some certainty.
Commentaries 264
Jean-Marie 8 4/9/95
1 = 0%/2 = 0%/3 = 0%/4 = +100%/5 = +90%/6 = 0%/7 = +70%
I have discovered it!. Creative process in progress. Creation in a pure state

(simultaneity of the mental process and action).
With difficult to choose the sympathetic and the antipathetic in the test.
Continuum 1, 2, 3: It is a position of balance on where to attach oneself and to

conform because one does not obstruct as much any more, for one knows what is
happening inside. This is a position of strong autocentricity and sufficient in order
to feed a mediation and not a fight against something.
Continuum 5: Certainty of being in the affirmation of something and not in

the negation of something as a creative engine.
A structure has emerged and functions: the writing exists. I know (I believe)
that I will be able to do it unless I have a mental bronchitis.
There is thus henceforth a qualitative jump: it is the transition from no (to

react against something) to yes (to act with something in oneself).
1 = 0%/2 = 0%/3 = +75%/4 = +75%/5 = +45%/6 = 0%/7 = +60%
Always in the creative process. Daily life in spite of everything presented with
the concern of others of whom it is necessary to take account and others who
oppose but without preventing the creative process.
1 = 0%/2 = 0%/3 = +75%/4 = +100%/5 = +100%/6 = 0%/7 = +100%
Phase of strong creation. Feeling of having found it and that it is necessary to

exploit it. Relief and serenity. Very strong feeling of satisfaction.
Jean-Marie was not tested for one month whereas it was about a phase of
intense made-work (writing). It is important to indicate in the sense where what
preceded was the stage of trial and error, the search for facts, interpretations, and
first inspirationson. During the beginning of May, Jean-Marie moved to active
writing. He did not give us the opportunity to test him during this time. What
Commentaries 265
follows is to be analyzed with a glimmer of an important missing stage and not in

the continuity of the first ten tests. Profiles 9 and 10 show the threshold of this
stage and the entry into this stage.
1 = +75%/2 = +50%/3 = +110%/4 = +85%/5 = +85%/6 = 0%/7 = +90%
Creative process continues.
1 = +90%/2 = +85%/3 = +90%/4 = +85%/5 = 0%/6 = 0%/7 = +45%
Creative process: What he had already written is submitted to the team that will
assemble the work. Area a little stressing: What one created is not always
understood and A certain tension with the others; that does not prevent the
continuation of the process and does not block it.
This is the day before leaving on a journey for the Society of Authors.
1 = +65%/2 = +50%/3 = +40%/4 = +45%/5 = +30%/6 = +5%/7 = +20%
A halt. An interruption in the creative process that is in wakeful suspension. It

is necessary to maintain the condition of creation while being in the real
impossibility of responding to it for the moment.
1 = +20%/2 = +20%/3 = +25%/4 = +20%/5 = +60%/6 = -20%/7 = +30%
Interruption in the process of writing because of fatigue (travelling in

Switzerland and a trip to Paris). Divided between the certainty that the creative
process is not dried up and the impossibility of responding to it before two or three
days.
It is necessary to recharge the batteries, i.e. to recover emotionally. Therefore,

a period of relative serene expectation, but he is always a little anxious, Nothing
does not occur unless one is in full and concrete creative activity: one writes, one
advances.
1 = +85%/2 = +85%/3 = +80%/4 = +80%/5 = +85%/6 = +85%/7 = +80%
Period of relaunched creation. Creative work is accomplished up to 60% - 70%.

Commentaries 266
There is always implicitly the viewpoint [le regard] of the Other as regards
theatrical creation. One writes for oneself and for the Other: it is a double
movement. The difficulty consists in having well the view [le regard] and the ear
of the Other in oneself: dividing of oneself into two.
He is always on the same work and it must be finished on June 30th, 1995
(contractual imperative).
1 = +85%/2 = +80%/3 = +85%/4 = +100%/5 = +100%/6 = -40%/7 = +80%
70% done.
Creative process in progress: quiet and relatively serene: One never knows;
a breakdown can always happen.
Joseph
Joseph 1 5/12/95
1 = +90%/2 = +20%/3 = -50%/4 = -40%/5 = -10%/6 = +95%/7 = 0%
In one week two representations (concert and cabaret) are envisaged. But there
are some problems: I am imposed on by my partners who rely on me; I have less
time for myself. On the level of the music, the same thing: I am hindered by the
slowness of some.
For the creative process, separate from the fact that he is slowed down by
external factors, he is positioned after self-emergence but before recognition. He is
at the stage of development and the dice are thrown.
I cling (m+!) to what is for the moment, but I impatiently wait to finish with
two things in progress in order to dive into stuff more wild.
Production: With difficulty, I force myself.
Continuum 3: Marks in conforming in the sense to adapt the creative process

to others.
Continuum 4: This is not a process in oneself since there is consultation with

others, from where arises the dispersion; this is rather a dispersion due to an
overload coming from the others.
Commentaries 267
We note the e- and the brake that is executed in d and as well the m+! (I
cling.)
Joseph 2 6/20/95
1 = +95%/2 = 0%/3 = -30%/4 = -50%/5 = -50%/6 = +20%/7 = -50%
He does not understand well what I ask him; he is in a worn-down state. He

says to me that he is on a standby serenity for applying to a project. I anesthesia
myself much at this time. In fact, he explains to me why he spends not poorly
these times. He seems to blame this forced expectation on his projects.
Joseph 3 6/23/95
1 = -20%/2 = +30%/3 = +30%/4 = 0%/5 = 0%/6 = +20%/7 = +20%
He has much desire and serenity. On his scale of value of the level 10, he is
located at 6-7. Shortly after the second profile of the 6/20, Joseph exploded; he was
not in favor of the repetitions and discharged at the maximum. This crisis did
him the greatest good and allowed him to exteriorize his internal suffering.
Production: implementation in progress (writing and music).
Joseph 4 6/29/95
1 = 0%/2 = +30%/3 = +50%/4 = +20%/5 = 0%/6 = 0%/7 = +50%
He is in expectation of getting rid of what is now dated (engineering problems

and change of persons on the group level) to make the new real. A turn in
expectation. We are at the two day mark before an important concert in the sense
where the last concert was not given.
Production: He is taken by problems of money and everyday life that pulls

him in relation to the things that he must do. I am blocked by other contingencies
external to the creative process. But this one gently returns everything. Or if not, I
am caught up because I do not manage to represent in the song a very clear
perception of other truths compared to the established reality of education.
Joseph 5 6/30/95
1 = -30%/2 = +40%/3 = 0%/4 = 0%/5 = -50%/6 = 0%/7 = 0%
Testing right before the concert.

Commentaries 268
Distressed, a little driven, a little euphoric (alcohol), very stressed. I let

myself go before concentrating myself. Therefore, we test him in this letting
himself go and we do not insist.
JP
JP 1 5/22/95
1 = -90% and +90%/2 = -10% and +90%/3 = +90%/4 = -90% and +90%/5 = -90%
and +90%/6 = -90%/7 = +90%
Usually, creation by the requirements of an order.
One of these last projects was appreciated by his client, but he made a mess of it:
it is necessary to redo the project and that during one time when he is very
distracted and wants to concentrate to avoid being distracted. He wants to use his
knowledge to advance. He needs to organize what is new in relation to his rather
impulsive former action. This weekend, his distraction caused him an encounter
with a car; he was in the hospital but nothing was serious. A rather violent return
to earth.
Production: Several projects of which a newspaper for adolescents according

to two age brackets (10-12 and 12-16) called Images Before Words. This is a
project having a very communicative purpose: how to manage (a very important
critique) a creation that is strongly centered on the perception and the sensibility of
the Other. Elsewhere, in relation to work, I must all the time question myself until
it is included/understood and good: Before somebody criticizes me, I criticize
myself.
We can observe d-!! that, we think, constitutes a brake on creation in order to

allow a reexamination of the completed work and to make a critical assessment in
this case of this profile. Shortly after having tested him, his client came to his place
to reexamine the project with a more critical eye. JP awaited him and had
prepared to be down to earth.
JP 2 5/25/95
1 = 0%/2 = 0%/3 = 0%/4 = -50%/5 = 0%/6 = -80%/7 = +95%
He has the feeling of being the missing link between his experience and the
need to share it. A solution of continuity to some extent. He tells me all the
differences between the tortoise and the eagle. Let us imagine a space to be
traversed and explored. The tortoise walks step by step and makes its selection
Commentaries 269
according to what it meets. As for the eagle, it hovers above and with only one
decision, it dives on what it has chosen.
He expresses the fact that he has the feeling to be in the interval of these two
ways of apprehending things: at the same time tortoise and eagle, at the same time
with a small step and with a single blow.
Production: Phase of achievement of a project by adapting himself to the new

constraints. Reshaping of the foundation that is acquired. He is very pragmatic,
accurate down to a millimeter; whereas at the beginning, he was more
emotional.
JP 3 6/1/95
1 = 0%/2 = -45%/3 = +90%/4 = -90% and +90%/5 = 0%/6 = -70%/7 = +120%
He is in a hyper saturation phase of the project: nine projects that are at the same
time at different stages and that progress. He feels at ease in a flood and a tidal
wave because that enables him to express a different personality. He attributes that
to his adaptability.
There is a clear recognition of his productions by others. It is a victory in

relation to his client who came to seek him out in spite of a dispute that had
separated them.
He tells me that creation is only a means and not a goal; he has a very concrete
goal to which creation is used like an elevator.
Production: He is in intense production and is stressed. He created on the spur

of a moment a project in twenty minutes. On another project, he had envisaged
three days for the work but is obliged to run over a day because his client is late. In
fact, he loses his ass at the financial level. This is a delicate situation between
creating and producing.
Continuum 2: He marks towards the attachment in the sense where I make

creation for others since the projects are orders. Moreover, always in relation to
this attachment, he is attached from the point of view of his concentration
because he has a large production at these times.
e - in the background: friction with his client or his partner?

Commentaries 270
JP 4 6/8/95
He marked all the items zero by putting for each side a small arrow towards the
two poles of the continuum.
Period of expectation: ten projects in progress but emotional situation of a

couple in full blocking or at the point of death. This was already present in the
background for some time. He is in full contradiction in relation to the decisions of
his partner.
Blocked creative process, on standby because of this situation of the moment. I

am a fish between two waters.
JP 5 6/13/95
He marked all the zeros without small arrows this time.
At a total dead end.
Sustained pressure on the level of creative production. He wants to deal with his
ordinary activities.
The moment is at a total dead end; he is more and more a spectator vis--vis the
situation of the moment (This is boring).
We have k O in the foreground associated with a p ! that gives us a total

dead end!
JP 6 6/19/95
1 = -40% and +30%/2 = -10% and +30%/3 = +90%/4 = 0%/5 = 0%/6 = +40%/7 =
0%
The situation of the moment is definite: separation.
I am full with the desire for returning to myself, for leaving, and for creating. I
am pulled between things; I leave in one sense and then in another. I am torn apart
from all sides. I want to create but I have little energy.
Production: quickly to finish a project and to take three days as holidays.
We have d - (to stop, to slow down, to take a holiday), the catastrophe ego Sch
(torn apart from all sides), the emptying of k O in the foreground of the
preceding profile that then moved to the background.
Commentaries 271
Mit
Mit 1 5/20/95
Marks to the extremes on the two sides at the same time except 3 = -40% and
+150%/7 = +150%
Project to write a book in progress on a painter: launching phase. Theater:

nothing at this time. Always in meditation on his paintings; this is a necessity.
Period of great creative intensity: strong potentiality and not necessarily

production.
Management of the overdoses in the series by a balance: arms extended

between two poles that balance themselves.
Production: strong.
At the time of the test and its presentation, Mit had three paintngs in mind
all the time preserving his relation with us. It is an ambidexterity very thorough in
many areas. He and a friend paint together in spite of their differences and try to
integrate a person who does not know how to paint in order to do something
together. He has a will for confusion and to break the image of the creator
incorporated in him. This is an art of communication according to him; he
wants to go towards the Other within the framework of creation.
They do not want to dominate creation; they want to follow the course of
creation while making the process commonplace. Not meritorious and not
inflated; it a predisposition sharpened by time as a good wine grower makes a
good wine.
True management must take account of the accident. In other words, one does
not possess creation; it is something that one manages. The things necessarily do
not occur as one would like.
Mit 2 5/22/95
+150%/7 = +150%
With a thirst for images (created by him or generated by others), a true bulimia
on the visual level: as if I engorged. For him, the fact of creating is compared to
Commentaries 272
an engorging because what leaves me is also something that shows myself to me

and that I must receive.
Writing has stopped because there is consciously a doubt as to the form that that
must take: The more I have the intuition of what that must be, the more that will
spill out. It is a matter of time, incubation, reflection and maceration.
In his paintings, we find this ambidextrous aspect at the conceptual level.

Indeed, there is a powerfully subjective strong expressivity associated with a more
representational concern as words written the same with the painting or with
the concepts. In the same way, we can observe a tendency to the shading and the
diffusion of the limitations associated with an architecture that allows within
the meaning of recapturing himself according to norms of the gravitational type
and a kind of support suggested in some part in the painting.
Mit 3 5/29/95
Marks at the extremes of the two sides at the same time except 5 = -120% and
+150%/7 = +150%
Super active on the level of research for the work of art: always this sensory
bulimia.
Production: writing: no; pictures: yes.
Continuum 5: Proportion between the different extremes. The anxiety is longer

and deeper than the internal peace.
Mit 4 6/2/95
Marks to the extremes of the two sides at the same time except 7 = +150%
To meet a person. Also to meet with a holy person almost simultaneously.
Production: Various drawings and projects: The engine is on the move. He

wrote a poem for a contest and was judged eleventh among 4600 persons. He
learned that yesterday, he received a prize. It was a national competition among
writers.
Mit 5 6/15/95
+85%/7 = +150%
He realizes that there is much of the religious in his creative process and that
seems due to an external factor. He considers that funny and curious as if he ought
Commentaries 273
to pass by that. This is terrible and heavy with meanings. In fact, the contents of
his personal pictures joins pictures of different epochs and different persons. For
him, it is a kick in the face of destiny.
Production: drawings and projects.
m- and k ! : not to open too much otherwise too much confusion. It seems
that the contact with the holy made k + to become k !.
Mit 6 6/22/95
+85%/7 = +150%
Recentering on oneself and return of the pendulum. He wants to go from the

holy to a will to release himself again from a context. From the time when the
holy is a context, it is too fascinating. Any reference is for him something
embarrassing in the long term because it is difficult to bear and boring.
Therefore, tendency to disengage from the holy context.
The recentering on oneself is rather visible in k +! and in d +.
Patrick
Patrick 1 1/22/95
1 = -40%/2 = +50%/3 = +20%/4 = -80%/5 = -115%/6 = -70%/7 = +20%
Taking of the first test before an operation on the right hand (to repair the tendon
of the little finger that was divided and that is fibrous from scaring) and before
going to the court because Patrick attacks justifiably the C.P.A.S. [Public Social
Action Centre] of his locality that refuses to grant indispensable financial resources
to him to start a higher cycle in an academy (section monumental painting). He is
thus concentrated on these two problems.
In relation to creation, he is in an observing stage -- in detachment -- and wants

to create. He does not have the recognition by society; it is even the reverse. He
does not accept the verisimilitude of the world.
Production: no, but a painting starts this evening.

Commentaries 274
Patrick 2 1/28/95
1 = -70%/2 = -70%/3 = +95%/4 = 0%/5 = -65%/6 = +20%/7 = +60%
He has left the hospital after one day. Yesterday, he fainted from the pain and
the hypotension. He was at the court shortly after this condition. At the court, the
decision is deferred but with a favorable forecast. He is quite content.
Despite the pain in his hand he does not take any medicine.
His partner leaves today for a period of ten days.
He reads much.
Production: no and the painting of 1/22 is suspended. This day, he meditates on

all this.
Patrick 3 1/30/95
1 = -70%/2 = -30%/3 = +70%/4 = +35%/5 = -10%/6 = -40%/7 = +75%
One drink. Partner left.
Production: in phase of observation.

Patrick 4 2/2/95
1 = +70%/2 = +60%/3 = +55%/4 = -60%/5 = +30%/6 = +20%/7 = +70%
In his dissatisfaction, he wants to paint. His body suffers; his right hand is
painful; his little finger is locked. He is very tired.
Production: no.
Patrick 5 2/5/95
1 = +70%/2 = -75%/3 = +75%/4 = +90%/5 = +80%/6 = -90%/7 = +80%
He paints alone since his partner is absent; he smoked a little grass.
Production: yes but has just stopped because his eyes hurt him.
Commentaries 275
Patrick 6 2/16/95
1 = +80%/2 = 0%/3 = +95%/4 = +90%/5 = +70%/6 = -70%/7 = +80%
Production: yes and starts a new painting. He works on that for two to three
days.
Patrick 7 2/17/95
1 = +80%/2 = 0%/3 = +90%/4 = +90%/5 = +90%/6 = -90%/7 = +95%
For five months, he has been on standby for the verdict; however, he has just
won it today. I won the right to express my vocation; it is written on paper; it is
my recognition; I am persuaded that it is the judge who defended me. Patrick is
going to be able to refund his debts.
He had a drink and is filled with many positive emotions. He is going to be able
to pay his school tuition fees. This is internal peace; this is a thorn taken from my
side.
He won his lawsuit by jurisprudence, i.e. by the indulgence of the judge. He is

one of the first to win this kind of lawsuit. Jurisprudence means that there is no law
for this kind of matter. In Belgium, contrary to Holland, for example, the artist is
not recognized; on the identity card, it is written: without a profession.
It is thus for him a judgment of an ethical and spiritual nature that makes the
case count.
Patrick for a long time has felt the judge to be like a benevolent grandfather. He
makes the correspondence with the photograph of the factor s in series 4 of the test
that resembles him. He has the same head, severe, but that renders a clear
conscience, the grandfather no! Hard with his sons but tender and protective with
his grandsons. He is like my landlord (the one who gave him credit for the rent
during many months going up to agreeing if necessary to be paid in pictures
painted by him).
Patrick 8 2/20/95
1 = +20%/2 = -30%/3 = +90%/4 = +65%/5 = +55%/6 = -60%/7 = +85%
It is shortly after the verdict and he is tired. Many administrative approaches

following the lawsuit (banks, C.P.A.S., landlord). At the C.P.A.S., he held up his
paper victoriously on what he had won against any expectation.
Production: not for two days.

Commentaries 276
Patrick 9 2/25/95
1 = 0%/2 = 0%/3 = +100%/4 = +100%/5 = +100%/6 = -100%/7 = +100%
Head in the clouds. The money problems are resolved.
Production: a painting in progress I close my eyes and I see it!.

Stops the testing because he feels ill at ease. He prefers to stop this March 6th.
He will begin again thereafter. He does not know why exactly.
Patrick 10 3/19/95
1 = -50% and +50%/2 = -50% and +50%/3 = +100%/4 = +100%/5 = +70%/6 = -
100%/7 = +100%
Has received his money.
Production: yes. Four paintings at the same time.
He has the tendency to mark the continuums on the basis of the idea of a
assessment of the last days. I explain to him that it is a matter of marking in the
frame of mind at the time of the test. I am unaware of what it is before. He assured
me that he had just begun this way and that the other profiles are given in the frame
of mind during the testing.
Patrick 11 3/21/95
1 = +95%/2 = +55%/3 = +100%/4 = +60%/5 = +85%/6 = -80%/7 = +75%
Yesterday, he discussed his territory (his vital space) to create with his partner,
thus raising a certain discomfort. To pay his school tuition fees and to register
officially in his school. To pay his landlord. In fact the things that worried him.
Production: yes, intense. Begins another style in painting; the paintings are
smaller; this is more retracted.
Patrick 12 4/12/95
1 = +75%/2 = +30%/3 = +100%/4 = +90%/5 = +100%/6 = -100%/7 = +100%
Change in the style of painting since a month: the painting is smaller and more
structured. More of a real problem and a standardization concerning his little
finger.
Commentaries 277
Exhibition envisaged for this weekend: he actively goes towards people.
Production: intense (great period of productivity).
Awakening of the importance of the world of the others for two weeks: Each
person has a clearly defined place.
Before this trigger, this was the war between the world of the others and his. It
was mine above all; I was deadly egoistic. Now, he noticed that his partner had
importance in his life and, recently, a death has made to emerge the sensation that
others are important. To understood that if he continued to act as before, he was
going to abandon the others and to be himself abandoned. He wants to
communicate and to share things in the moment. He wants to produce in order to
show what he has made (exhibition).
It remains despite everything the essence of the old world: I rise from the
water; the time while that I dry, there will remain wet parts. This rise for this new
situation gives him confidence: There are parts of the wings; I put oil on them so
that they work better; I listen to the others before delivering my opinion.
Patrick 13 4/15/95
1 = +70%/2 = -20%/3 = +80%/4 = +35%/5 = +90%/6 = -95%/7 = +100%
Varnishing today. Partner on a journey. School vacations. Smoked grass and

drank wine.
Exhibition envisaged in June.
Production: started a painting yesterday.
Patrick 14 4/17/95
1 = +30%/2 = +30%/3 = +100%/4 = +30%/5 = +50%/6 = -80%/7 = +100%
Good results from varnishing.
Production: yes.
Patrick 15 5/3/95
1 = +25%/2 = -15%/3 = +100%/4 = +40%/5 = +10%/6 = -10%/7 = +100%
He has found his thing for the moment and explores it. For two months, he has
been doing this; that makes two years that he has been doing this.
Commentaries 278
He has been recognized by his professors (they have commissioned a fresco

from him for a tour of France) and his close relations. He is not satisfied with what
he does: the painting that he has just finished makes it possible for him to go onto
the following state, which is progress.
Production: yes. He finishes a painting for tomorrow and starts another this
evening.
Patrick 16 5/12/95
1 = +80%/2 = -10%/3 = +100%/4 = +25%/5 = +45%/6 = -50%/7 = +75%
Preparation of the inauguration of a cultural center scheduled for September.

This center has a clear creative design that makes him tip top in his creative
course. Indeed, in order to be able to continue to paint, I must do something other
than painting (theater, music, animation). This project of a cultural center is a
great thing for him and can go up to the eventuality of making a livelihood from
it. It is question of seizing the chance of his life. It is thus a project that he takes
to heart and he feels ready. He is not afraid to ground himself. He knows this
news since Monday 5/8/95.
Production: yes. A new painting in preparation and another in progress at the

school (he works 6-7 hours each day at the school on this painting).
Patrick 17 6/14/95
1 = +80%/2 = -40%/3 = +100%/4 = -10%/5 = +30%/6 = -10%/7 = +90%
Varnishing for three days.
Fearful because his partner leaves for two months within fifteen days. He argues
to himself not to fall apart and to protect himself (he dreams that she leaves him).
He raises the question whether he must exhibit in a gallery and accept the sale of
his paintings or accept a more important opportunity that arises and thus not to sell.
That does not interfere with his creative processes but rather in his relation with the
Other. He extensively slows down his thinking on this to prevent that these
problems do not influence his relation with the Other and do not destabilize it.
Production: yes and a painting in progress.

Commentaries 279
Patrick 18 6/18/95
1 = +25%/2 = +55%/3 = +95%/4 = +10%/5 = +35%/6 = -50%/7 = +90%
Varnishing yesterday: positive results and is recognized and accepted (transition

from the hy - to the hy ).
With his head in the clouds and a pain in his back.
Waits until his painting dries and some paintings have been ordered.
I have had enough of the examinations of (his partner). He is highly strung

because of that and, moreover, that prevents him from seeing her. He wants to
benefit from his holidays, and, for the moment, he cannot (e-).
Pierre
Pierre 1 1/29/95
1 = -20%/2 = +50%/3 = +10%/4 = -20%/5 = -80%/6 = +130%/7 = +10%
Exploring.
Pierre 2 2/2/95
1 = 0%/2 = +50%/3 = 0%/4 = +40%/5 = +50%/6 = +20%/7 = -50%
In a cure: physical exercises to increase his tonicity in order to counter a recent

depression. Encouraging results but weak creativity.
Pierre 3 2/10/95
1 = -5%/2 = +5%/3 = -75%/4 = +85%/5 = +85%/6 = +15%/7 = -80%
Period of recharge of general tonicity by sports, rich food, psychic repose.
Creativity in latency. In critical observation of social environment for

safeguarding against negative energies.
Stopping of the test because of negative influences.
Commentaries 280
Znon d' Ele

Znon d' Ele 1 4/5/95
1 = +80%/2 = -95%/3 = +80%/4 = +50%/5 = 0%/6 = 0%/7 = 0%
Rupture today of the relation that he maintained with his partner.
For the moment, he cogitated and made some progress. For him, this is a time
of non-reality: not to take into account the reality of the situation. His personal
fiction is a little unsuited compared to reality according to him.
Production: no.
Znon d' Ele 2 4/20/95

1 = +100%/2 = +40%/3 = +85%/4 = +10%/5 = +10%/6 = +10%/7 = +70%
In blockage for the examinations.
Znon d' Ele 3 4/25/95

1 = +70%/2 = 0%/3 = +50%/4 = +65%/5 = 0%/6 = +25%/7 = +30%
Period of blockage for the examinations. Less strength on the mental level.
Production: no.

1 = +10%/2 = +20%/3 = +60%/4 = +10%/5 = +20%/6 = 0%/7 = +20%
Apathetic approach as I lived the present moment.
He modifies his attitude in relation to his examinations: he studies little and

succeeds. He tries out this method that rests on confidence in an unconsciously
programmed success. He tries not to let his anxiety invade him and make him fall
back into a conventional, stressed, superego-dominated study. He tries to
maintain a disengagement in respect to the traditional attitude of the student
distressed vis--vis examinations.
Production: no and lets come what may, observes and draws his conclusions.
Commentaries 281

1 = +70%/2 = +65%/3 = +50%/4 = -20%/5 = 0%/6 = 0%/7 = +20%
Has smoked grass and is very lucid in his reasoning.
He is divided between the desire for solely creating and for devoting himself
entirely to his studies.
Production: Intense questioning on the events that he experienced in relation to

his status as a student.
Zphyrin
Zphyrin 1 4/2/95
1 = +60%/2 = +70%/3 = +100%/4 = 0%/5 = 0%/6 = +70%/7 = +90%
Test made for one transitional period. He is passing from a stage of confusion to
an awakening in progress. This has lead to seizing a relation concept that enables
him to have more unity in relation to himself, the result of a procedure started six
months ago. Stabilizes himself while centered on himself with this concept.
Series of convergent acts towards a Thinking fest: stage of installation.
Zphyrin 2 4/5/95
1 = +75%/2 = +95%/3 = +100%/4 = 0%/5 = 0%/6 = +70%/7 = +65%
Process of installation always in progress. Effort to give priority to actions.
Zphyrin 3 4/25/95
1 = 0%/2 = +10%/3 = +130%/4 = -40%/5 = -65%/6 = +50%/7 = +55%
His reflection leads him to think that if he does not have a partner within fifteen
days, He will lose it. His energy for creation comes from the frustration of the
absence of girls in his life during these times. To create is for him a need for
survival and not a procedure to advance: here, he cannot go back.
To stop his job threatens his identity (teacher of the street in a very violent
quarter).
Continuum 3: It is more a need than a desire.

Commentaries 282
No production.
Zphyrin 4 4/28/95
1 = 0%/2 = 0%/3 = +60%/4 = 0%/5 = +60%/6 = 0%/7 = +80%
His search is distributed to him and the Other because my reflection takes
account of the reference of the Other. According to him, his creative power is
quite strong: that works very well. That which is driving it is rather weak for the
moment.
Work in progress.
Zphyrin 5 5/9/95
1 = +10%/2 = +20%/3 = +80%/4 = 0%/5 = -35%/6 = +30%/7 = 0%
Has smoked grass. With the search for an inspiration to advance in the creative
process.
Production: no.
Zphyrin 6 6/8/95
1 = 0%/2 = +30%/3 = +25%/4 = +85%/5 = 0%/6 = +75%/7 = +95%
Phase of transition to a new lifestyle level: arrangement and another approach to

oneself. Alliance to see the subtle marriage between his conception of himself and
that of others: better management that is felt clearly in the creative production.
This has consisted in a musical arrangement where the creative key is located in
the mixing as well as in the accompanying of the music by sounds in the
background. It is necessary to strictly respect the parts of the music in order to
remain in harmony while adding an addition.
Production: in phase of finishing (still some details) a musical radio program

dedicated to a girl who is depressed. He spent two to three days to make one
early hour of transmission.
Continuum Ratings 283
Appendix 2: Continuum
Ratings by Testees
Continuums
1: (-) for World of others and (+) for World with oneself;
2: (-) for Attachment and (+) for Detachment;
3: (-) for Desire for conforming and (+) for Desire for creating;
4: (-) for Feeling of dispersion and (+) for Feeling of unity in oneself;
5: (-) for Anxiety and (+) for Internal Peace;
6: (-) for To exist spontaneously and (+) for To exist with effort;
7: (-) for Creative flow not in oneself and (+) for Creative flow intense in
oneself.
Anne
Anne 1 2/28/95
1 = +80%/2 = +70%/3 = +40%/4 = +60%/5 = -55%/6 = +60%/7 = +60%
Anne 2 3/1/95
1 = +80%/2 = +100%/3 = +100%/4 = +85%/5 = -20%/6 = +100%/7 = +100%
Anne 3 3/2/95
1 = +75%/2 = +75%/3 = +80%/4 = +80%/5 = -70%/6 = +60%/7 = +90%
Anne 4 3/3/95
1 = +80%/2 = +85%/3 = +80%/4 = +95%/5 = +55%/6 = +75%/7 = +75%
Anne 5 3/4/95
1 = +20%/2 = +100%/3 = +95%/4 = +100%/5 = -60%/6 = +30%/7 = +90%
Anne 6 3/5/95
1 = +65%/2 = +65%/3 = +95%/4 = +85%/5 = +55%/6 = -25%/7 = +85%
Anne 7 3/13/95
1 = +70%/2 = -30%/3 = +60%/4 = -30%/5 = -120%/6 = +100%/7 = +65%
Anne 8 3/16/95
1 = +55%/2 = +85%/3 = +100%/4 = +85%/5 = +70%/6 = -60%/7 = +95%
Anne 9 3/19/95
1 = +80%/2 = +90%/3 = +75%/4 = +65%/5 = -65%/6 = +45%/7 = +65%
Anne 10 3/21/95
1 = +65%/2 = -40%/3 = +100%/4 = +80%/5 = -45%/6 = +30%/7 = +75%
Anne 11 4/3/95
1 = +50%/2 = -55%/3 = +70%/4 = -40%/5 = -60%/6 = +50%/7 = +70%
Anne 12 4/4/95
1 = +75%/2 = +40%/3 = +50%/4 = +60%/5 = +60%/6 = -50%/7 = +60%
Anne 13 4/12/95
1 = +50%/2 = -40%/3 = +45%/4 = +70%/5 = -50%/6 = +40%/7 = +45%
Anne 14 4/13/95
1 = +80%/2 = +70%/3 = +75%/4 = -110%/5 = -75%/6 = +80%/7 = +75%
Anne 15 4/15/95
1 = +70%/2 = +95%/3 = +85%/4 = -70%/5 = -65%/6 = +60%/7 = +80%
Anne 16 4/21/95
1 = +45%/2 = +90%/3 = +75%/4 = -110%/5 = -110%/6 = +70%/7 = +20%
Anne 17 4/26/95
1 = +50%/2 = +95%/3 = +50%/4 = -110%/5 = -85%/6 = +75%/7 = +40%
Anne 18 4/28/95
1 = +65%/2 = +70%/3 = +80%/4 = -20%/5 = -70%/6 = +30%/7 = +50%
Anne 19 5/3/95
1 = +70%/2 = +95%/3 = +50%/4 = -80%/5 = -95%/6 = +90%/7 = +20%
Anne 20 5/8/95
1 = +70%/2 = +95%/3 = +85%/4 = -65%/5 = -100%/6 = +85%/7 = +45%
Anne 21 5/19/95
1 = +35%/2 = +35%/3 = +50%/4 = +30%/5 = -30%/6 = +30%/7 = +40%
Anne 22 5/24/95
1 = +35%/2 = +35%/3 = +40%/4 = -30% and +30%/5 = -60% and +20%/6 =
+85%/7 = -40% and +30%
Anne 23 6/12/95
1 = -30% and +60%/2 = -20% and +70%/3 = +65%/4 = -45% and + 40%/5 = -
55% and +35%/6 = +45%/7 = -45% and +45%
Georges
Georges 1 4/24/95
1 = +120%/2 = +120%/3 = 0%/4 = -120%/5 = -60%/6 = +120%/7 = -120%
and +120%
Georges 2 4/28/95
1 = +60%/2 = -120% and +120%/3 = +60%/4 = +70%/5 = -20%/6 = -85%/7 =
+40%
Georges 3 5/2/95
1 = +40%/2 = 0%/3 = +110%/4 = -50%/5 = -55%/6 = 0%/7 = +50%
Georges 4 5/8/95
1 = +85%/2 = -120% and +120%/3 = +50%/4 = -100%/5 = -50%/6 = +80%/7
= -60% and +50%
Georges 5 6/5/95
1 = +25%/2 = +25%/3 = +85%/4 = -65%/5 = -60%/6 = +40%/7 = +35%
Georges 6 6/12/95
1 = 0%/2 = 0%/3 = -90% and +90%/4 = -70% and +60%/5 = 0%/6 = 0%/7 =
+20%
Henri
Henri 1 5/4/95 20:00
1 = +50%/2 = +20%/3 = +80%/4 = +70%/5 = +50%/6 = +20%/7 = +75%
Henri 2 5/4/95 21:05
1 = +90%/2 = -90%/3 = -100%/4 = 0%/5 = +50%/6 = +90%/7 = +100%
Henri 3 6/28/95
1 = -60%/2 = 0%/3 = 0%/4 = +65%/5 = +55%/6 = +50%/7 = 0%
Jeanne
Jeanne 1 1/29/95
1 = +40%/2 = +70%/3 = +15%/4 = +30%/5 = -60%/6 = +30%/7 = +30%
Jeanne 2 2/2/95
1 = -70%/2 = -30%/3 = +50%/4 = -20%/5 = -40%/6 = +55%/7 = -70%
Jeanne 3 2/9/95
1 = -70%/2 = +60%/3 = +70%/4 = +35%/5 = 0%/6 = 0%/7 = +20%
Jeanne 4 2/17/95
1 = +90%/2 = +70%/3 = +75%/4 = +70%/5 = +30%/6 = +40%/7 = +35%
Jeanne 5 2/20/95
1 = +80%/2 = +70%/3 = +80%/4 = +80%/5 = +80%/6 = +60%/7 = +55%
Jeanne 6 2/24/95
1 = +70%/2 = +85%/3 = +80%/4 = +60%/5 = +25%/6 = +85%/7 = +35%
Jeanne 7 3/10/95
1 = +85%/2 = +75%/3 = +95%/4 = +95%/5 = +40%/6 = 0%/7 = +50%
Jeanne 8 3/17/95
1 = +95%/2 = +100%/3 = +90%/4 = +10%/5 = -20%/6 = +40%/7 = +90%
Jeanne 9 3/22/95
1 = +100%/2 = +95%/3 = +100%/4 = +95%/5 = +100%/6 = +85%/7 = +90%
Jeanne 10 4/9/95
1 = +85%/2 = +80%/3 = +20%/4 = 0%/5 = -20%/6 = +85%/7 = 0%
Jeanne 11 4/18/95
1 = +110%/2 = +110%/3 = +5%/4 = +110%/5 = -70%/6 = +110%/7 = -35%
Jeanne 12 4/21/95
1 = 0%/2 = -20%/3 = -35%/4 = -20%/5 = +20%/6 = +10%/7 = -10%
Jeanne 13 5/14/95
1 = -75%/2 = -55%/3 = -55%/4 = -30%/5 = -20%/6 = -45%/7 = -65%
Jeanne 14 5/22/95
1 = -80%/2 = -80%/3 = +10%/4 = -85%/5 = -40%/6 = +15%/7 = -10%
Jeanne 15 5/24/95
1 = -90%/2 = -85%/3 = -50%/4 = -75%/5 = -40%/6 = -10%/7 = -70%
Jeanne 16 5/29/95
1 = +70%/2 = +70%/3 = +60%/4 = +70%/5 = +40%/6 = +70%/7 = +55%
Jeanne 17 6/3/95
1 = +85%/2 = +50%/3 = +90%/4 = +10%/5 = -20%/6 = +80%/7 = +50%
Jeanne 18 6/8/95
1 = +95%/2 = +90%/3 = +95%/4 = +95%/5 = -60%/6 = +50%/7 = +85%
Jeanne 19 6/11/95
1 = +95%/2 = +100%/3 = +100%/4 = +25%/5 = -30%/6 = +100%/7 = +80%
Jean-Marie
1 = -70%/2 = 0%/3 = +85%/4 = +85%/5 = 0%/6 = 0%/7 = +85%
Jean-Marie 2 2/2/95
1 = +35%/2 = +30%/3 = +35%/4 = +30%/5 = +30%/6 = +70%/7 = +20%
Jean-Marie 3 2/9/95
1 = +80%/2 = +60%/3 = +75%/4 = +75%/5 = -75%/6 = +45%/7 = +50%
1 = +70%/2 = +65%/3 = +70%/4 = +70%/5 = 0%/6 = +60%/7 = +65%
1 = +65%/2 = +65%/3 = +85%/4 = +65%/5 = +10%/6 = +55%/7 = +50%
1 = +70%/2 = +70%/3 = +125%/4 = 0%/5 = 0%/6 = +70%/7 = +60%
1 = +90%/2 = +85%/3 = +80%/4 = +30%/5 = -25%/6 = 0%/7 = +20%
Jean-Marie 8 4/9/95
1 = 0%/2 = 0%/3 = 0%/4 = +100%/5 = +90%/6 = 0%/7 = +70%
1 = 0%/2 = 0%/3 = +75%/4 = +75%/5 = +45%/6 = 0%/7 = +60%
1 = 0%/2 = 0%/3 = +75%/4 = +100%/5 = +100%/6 = 0%/7 = +100%
1 = +75%/2 = +50%/3 = +110%/4 = +85%/5 = +85%/6 = 0%/7 = +90%
1 = +90%/2 = +85%/3 = +90%/4 = +85%/5 = 0%/6 = 0%/7 = +45%
1 = +65%/2 = +50%/3 = +40%/4 = +45%/5 = +30%/6 = +5%/7 = +20%
1 = +20%/2 = +20%/3 = +25%/4 = +20%/5 = +60%/6 = -20%/7 = +30%
1 = +85%/2 = +85%/3 = +80%/4 = +80%/5 = +85%/6 = +85%/7 = +80%
1 = +85%/2 = +80%/3 = +85%/4 = +100%/5 = +100%/6 = -40%/7 = +80%
Joseph
Joseph 1 5/12/95
1 = +90%/2 = +20%/3 = -50%/4 = -40%/5 = -10%/6 = +95%/7 = 0%
Joseph 2 6/20/95
1 = +95%/2 = 0%/3 = -30%/4 = -50%/5 = -50%/6 = +20%/7 = -50%
Joseph 3 6/23/95
1 = -20%/2 = +30%/3 = +30%/4 = 0%/5 = 0%/6 = +20%/7 = +20%
Joseph 4 6/29/95
1 = 0%/2 = +30%/3 = +50%/4 = +20%/5 = 0%/6 = 0%/7 = +50%
Joseph 5 6/30/95
1 = -30%/2 = +40%/3 = 0%/4 = 0%/5 = -50%/6 = 0%/7 = 0%
JP
JP 1 5/22/95
1 = -90% and +90%/2 = -10% and +90%/3 = +90%/4 = -90% and +90%/5 = -
90% and +90%/6 = -90%/7 = +90%
JP 2 5/25/95
1 = 0%/2 = 0%/3 = 0%/4 = -50%/5 = 0%/6 = -80%/7 = +95%
JP 3 6/1/95
1 = 0%/2 = -45%/3 = +90%/4 = -90% and +90%/5 = 0%/6 = -70%/7 = +120%
JP 4 6/8/95
He marked all the items zero by putting for each side a small arrow towards
the two poles of the continuum.
JP 5 6/13/95
He marked all the zeros without small arrows this time.
JP 6 6/19/95
1 = -40% and +30%/2 = -10% and +30%/3 = +90%/4 = 0%/5 = 0%/6 =
+40%/7 = 0%
Mit
Mit 1 5/20/95
+150%/7 = +150%
Management of the overdoses to the continuums by balance: arms tended
between two poles which balance themselves.
Mit 2 5/22/95
+150%/7 = +150%
Mit 3 5/29/95
+150%/7 = +150%
Mit 4 6/2/95
Marks to the extremes on the two sides at the same time except 7 = +150%
Mit 5 6/15/95
+85%/7 = +150%
Mit 6 6/22/95
+85%/7 = +150%
Patrick
Patrick 1 1/22/95
1 = -40%/2 = +50%/3 = +20%/4 = -80%/5 = -115%/6 = -70%/7 = +20%
Patrick 2 1/28/95
1 = -70%/2 = -70%/3 = +95%/4 = 0%/5 = -65%/6 = +20%/7 = +60%
Patrick 3 1/30/95
1 = -70%/2 = -30%/3 = +70%/4 = +35%/5 = -10%/6 = -40%/7 = +75%
Patrick 4 2/2/95
1 = +70%/2 = +60%/3 = +55%/4 = -60%/5 = +30%/6 = +20%/7 = +70%
Patrick 5 2/5/95
1 = +70%/2 = -75%/3 = +75%/4 = +90%/5 = +80%/6 = -90%/7 = +80%
Patrick 6 2/16/95
1 = +80%/2 = 0%/3 = +95%/4 = +90%/5 = +70%/6 = -70%/7 = +80%
Patrick 7 2/17/95
1 = +80%/2 = 0%/3 = +90%/4 = +90%/5 = +90%/6 = -90%/7 = +95%
Patrick 8 2/20/95
1 = +20%/2 = -30%/3 = +90%/4 = +65%/5 = +55%/6 = -60%/7 = +85%
Patrick 9 2/25/95
1 = 0%/2 = 0%/3 = +100%/4 = +100%/5 = +100%/6 = -100%/7 = +100%
Patrick 10 3/19/95
1 = -50% and +50%/2 = -50% and +50%/3 = +100%/4 = +100%/5 = +70%/6
= -100%/7 = +100%
Patrick 11 3/21/95
1 = +95%/2 = +55%/3 = +100%/4 = +60%/5 = +85%/6 = -80%/7 = +75%
Patrick 12 4/12/95
1 = +75%/2 = +30%/3 = +100%/4 = +90%/5 = +100%/6 = -100%/7 = +100%
Patrick 13 4/15/95
1 = +70%/2 = -20%/3 = +80%/4 = +35%/5 = +90%/6 = -95%/7 = +100%
Patrick 14 4/17/95
1 = +30%/2 = +30%/3 = +100%/4 = +30%/5 = +50%/6 = -80%/7 = +100%
Patrick 15 5/3/95
1 = +25%/2 = -15%/3 = +100%/4 = +40%/5 = +10%/6 = -10%/7 = +100%
Patrick 16 5/12/95
1 = +80%/2 = -10%/3 = +100%/4 = +25%/5 = +45%/6 = -50%/7 = +75%
Patrick 17 6/14/95
1 = +80%/2 = -40%/3 = +100%/4 = -10%/5 = +30%/6 = -10%/7 = +90%
Patrick 18 6/18/95
1 = +25%/2 = +55%/3 = +95%/4 = +10%/5 = +35%/6 = -50%/7 = +90%
Pierre
Pierre 1 1/29/95
1 = -20%/2 = +50%/3 = +10%/4 = -20%/5 = -80%/6 = +130%/7 = +10%
Pierre 2 2/2/95
1 = 0%/2 = +50%/3 = 0%/4 = +40%/5 = +50%/6 = +20%/7 = -50%
Pierre 3 2/10/95
1 = -5%/2 = +5%/3 = -75%/4 = +85%/5 = +85%/6 = +15%/7 = -80%
Znon d' Ele

1 = +80%/2 = -95%/3 = +80%/4 = +50%/5 = 0%/6 = 0%/7 = 0%
Znon d' Ele 2 4/20/95
1 = +100%/2 = +40%/3 = +85%/4 = +10%/5 = +10%/6 = +10%/7 = +70%
Znon d' Ele 3 4/25/95
1 = +70%/2 = 0%/3 = +50%/4 = +65%/5 = 0%/6 = +25%/7 = +30%
1 = +10%/2 = +20%/3 = +60%/4 = +10%/5 = +20%/6 = 0%/7 = +20%
1 = +70%/2 = +65%/3 = +50%/4 = -20%/5 = 0%/6 = 0%/7 = +20%
Zphyrin
Zphyrin 1 4/2/95
1 = +60%/2 = +70%/3 = +100%/4 = 0%/5 = 0%/6 = +70%/7 = +90%
Zphyrin 2 4/5/95
1 = +75%/2 = +95%/3 = +100%/4 = 0%/5 = 0%/6 = +70%/7 = +65%
Zphyrin 3 4/25/95
1 = 0%/2 = +10%/3 = +130%/4 = -40%/5 = -65%/6 = +50%/7 = +55%
Zphyrin 4 4/28/95
1 = 0%/2 = 0%/3 = +60%/4 = 0%/5 = +60%/6 = 0%/7 = +80%
Zphyrin 5 5/9/95
1 = +10%/2 = +20%/3 = +80%/4 = 0%/5 = -35%/6 = +30%/7 = 0%
Zphyrin 6 6/8/95
1 = 0%/2 = +30%/3 = +25%/4 = +85%/5 = 0%/6 = +75%/7 = +95%

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UNIVERSITY OF LIEGE

Interpretation of the Logic

Sponsor: Professor Jean Mlon

To create is to go beyond the limits of the conceivable. It is the

This trajectory of thought that creates is positive in the sense where

This alchemical transformation of human thought that is expelled

To examine the creative process is to separate from something in us,

characterizes the human species. It is at this crossroads, worthy of the

The human being intrinsically is a crossroads between two

Getting ideas is one thing; to make them concrete is another. If the

It is even so just a looking at us and, yet, it is present at every

The Szondi Test will, we hope, be a faithful ally in this journey. It

The subject of our dissertation is not just one. In fact, this

These three subjects have in common to be happening together.

Let us go to the first matter of this dissertation.

Purpose of the Dissertation

We choose a theoretical framework of reference and we look to see if this

Our goal would be reached, if this report permits, a better encounter

The idea of a cycle came to us in order to put the various theoretical

If the dynamics of creation rest on a process that evolves more or less

2 - To remain virgin from the literature on the subject. Not to proceed to

3 - To continually traverse back and forth between the revealed theoretical

4 - To make evident the visible: to bring its perception to a degree of zero.

5 - To find a line of conduct, a guiding thread among the facts.

6 - To arrange theoretical spaces a little like small islands not necessarily

7 - To build a first theoretical architecture and to reorganize it to obtain that

8 - To interpret the subject and to refine the whole.

As the crow flies, while using the Szondian vocabulary, we passed

The expression knowledge of discovery is welcome consequently to

In the final analysis, to have a mastered knowledge is reassuring and

This disproportion reflects the attempt to have a basic core made up of

The Szondi Test

1. Description of the Test

Each photograph shows a face. Each face evokes a meaningful psychiatric

1.1 Introduction to Theory

1.1.1 The Structural Problem of Fate Analysis [Schicksalsanalyse].

The classes are those of an original nosographic regrouping [regrouping of

Szondi concurs explicitly in the fundamental opinion of Freud where this

normal people. We are even accustomed to suppose in any civilized man a

The first ambition of Szondi has always been to found psychopathology as

Nothing any more has autonomous existence; all is reconstituted in

It is the disproportion of a drive demand that unbalances the total

The Paroxysmal disorders are neurotic troubles. The definition that

The prototypic representatives of the neurosis, definite as more or less

Primal fantasies as a core in the unconscious (Kern of Unbewussten) and

As Laplanche and Pontalis have remarkably shown (Laplanche and

It is rather easy to see that what is in question in the Sexual Vector of

The Ego Vector, raising the question of the differentiating identification,

With each Szondian vector corresponds a particular field of psychic

Thus the primary narcissism is constituted in a strict sense of the term by

The reaction k - that opposes negation and repression to affirmation and to

The taking into account from this favorable point of view is to be

One understands by the above that in the ontic (developmental) order --

If introjection (k+) consists in incorporating all or partly the object of ideal

One thus obtains a circuit of ego in the form of eight reversed:

Schotte proposes to generalize the concept of circuit to the four drive

Inside each vector, an order of succession is introduced among the four

The circuits introduce an asymmetrical arrangement between the two

Finally the circuits introduce a temporal dimension, progressive, in the