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El Sujeto Homeostático. La teleología de la psique.

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El Sujeto Homeostático La teleología de la psique -PSICOLOGÍA- Hay un momento que ya conoces. Sientes un tirón —hacia la copa, el mensaje que relees una y otra vez, el modelo del coche que quieres comprar, el cuerpo que quieres poseer, la discusión o la historia que no puedes dejar de repasar sobre lo que está pasando. Algo en ti se inclina. Lo que buscas a continuación no es elegido; es exigido. En un ensayo anterior, La Psique Pulsante , observamos la mente moverse entre lo Real, lo Simbólico y lo Imaginario —sin descansar nunca en uno, regresando siempre al equilibrio tras haberse desviado. Describimos el movimiento, una especie de oscilación pivotante, pero no preguntamos qué lo impulsa . Este ensayo plantea la pregunta más difícil: ¿por qué la psique nunca descansa? ¿Cuál es la fuerza que subyace a la pulsación? La psique es un sistema homeostático —una estructura cuyo cada movimiento se curva hacia un solo fin: el retorno al equilibrio. Su propósito es la paz. Debo s...
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The Homeostatic Subject: The Teleology of the Psyche

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The Homeostatic Subject The teleology of the psyche -PSYCHOLOGY- There is a moment you already know. You are pulled — toward the drink, the message you keep re-reading, the model of the car you want to buy, the body you want to possess, the argument or the story you cannot stop rehearsing about what is going on. Something in you leans. What you reach for next is not chosen; it is required. In an earlier essay, The Pulsating Psyche , we watched the mind move between the Real, the Symbolic, and the Imaginary — never resting in one, always returning to balance after it strayed. We described the motion, a kind of pivoting swinging, but we did not ask what drives it. This essay asks the harder question: why does the psyche never rest? What is the force beneath the pulsation? The psyche is a homeostatic system — a structure whose every movement bends toward one end: the return to equilibrium. Its purpose is peace. I should be exact about that word, because it does the heavy lif...
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Solens Stillhet

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Korsfestelse, ca. 1400 Solens Stillhet Om bildet, om kunnskapen og om sentrumet som slukner Kvinnen som lærte meg å se på malerier og å tre inn i kirker, trodde ikke på Jesus. Jeg lærte å se ved å se henne se, stående foran bilder som for henne ikke betød noe og som hun likevel ikke kunne slutte å betrakte. Noe av den måten hennes å se på ble værende i meg, og varte lenger enn henne. For malerne vi lærte å se på sammen, var av en annen art enn dagens malere. Middelaldermaleren fantes knapt som individ: han var en hånd inne i en kropp. Han tilhørte et laug, ble opplært i et verksted der håndverket voktet sine hemmeligheter og ga dem videre fra den gamle til den unge uten å betro dem til papiret, for bøker var dyre og sjeldne, og det vesentlige reiste fra munn til øre. Han signerte ikke det han laget, fordi han ikke hadde tenkt det: bildet adlød en plan som kom ovenfra, fra oppdragsgiveren, fra teologen, fra en kunnskap som ...
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The Silence of the Sun

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Crucifixion, ca. 1400 The Silence of the Sun On the image, on knowledge, and on the center that goes dark The woman who taught me to look at paintings and to enter churches did not believe in Jesus. I learned to look by watching her look, standing before images that meant nothing to her and that she nonetheless could not stop contemplating. Something of that way of hers stayed with me, and it outlasted her. For the painters we learned to look at together were of another species than the painters of today. The medieval painter barely existed as an individual: he was a hand within a body. He belonged to a guild, was trained in a workshop where the craft kept its secrets and passed them from the old to the young without entrusting them to paper, for books were dear and rare, and what mattered traveled from mouth to ear. He did not sign what he made because he had not thought it: the image obeyed a design that came from higher...
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