Laura Gonzalez


3 Feb 2007

The language of seduction

Just finished reading Tortajada, M (2004) Eric Rohmer and the mechanics of seduction. Studies in French Cinema, 4 (3). pp. 229-238. In this paper, she examines a category of seduction, which she calls seduction through ambiguity, by studying Eric Rohmer’s Conte d’automne. In passing, she mentions other methods of seduction which she discusses in her book, Le spectateur s?©duit: le libertinage dans le cin?©ma d’Eric Rohmer et sa fonction dans une th?©orie de la repr?©sentation filmique (1999, Paris, Kime). Pick up caught my eye and, as I was googling for it, I came across this page. Seduction has its own language, literally.

Posted in Blog, Seduction

No Responses to “The language of seduction”

  1. JUAN said:

    I was watching the recommended site for a while and found it quite interesting…
    at least in its presence in the net. Thanks. J

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About Me

I am an artist and writer. My recent practice performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.

I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, investigates psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.