Paranoiac-critical method

<h2 id="origins">Origins</h2>
<p>The <a href="/facts/Surrealism/VUJpoo6c">surrealists</a> related theories of psychology to the idea of creativity and the production of art. In the mid-1930s <a href="/facts/Andr%25C3%25A9_Breton/SsHTM0yr">André Breton</a> wrote about a "fundamental crisis of the object".  The object began being thought of not as a fixed external object but also as an extension of our subjective self. One of the types of objects theorized in surrealism was the phantom object. According to <a href="/facts/Salvador_Dal%25C3%25AD/zSQQwTkm">Salvador Dalí</a>, these objects have a minimum of mechanical meaning, but, when viewed, the mind evokes phantom images which are the result of unconscious acts.<a class="footnote-ref" id="fnref:2" href="#fn:2"><sup>2</sup></a>
</p><p>The paranoiac-critical method arose from similar surrealistic experiments with psychology and the creation of images such as <a href="/facts/Max_Ernst/lwXCga3M">Max Ernst</a>'s <a href="/facts/Frottage_(art)/uQIn565M">frottage</a> or <a href="/facts/%25C3%2593scar_Dom%25C3%25ADnguez/pogqUgat">Óscar Domínguez</a>'s <a href="/facts/Decalcomania/SXAuDKdl">decalcomania</a>, two <a href="/facts/Surrealist_techniques/8vbAVdot">surrealist techniques</a>, which involved rubbing pencil or chalk on paper over a textured surface and interpreting the phantom images visible in the texture on the paper.
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<h2 id="description">Description</h2>
<p>The aspect of <a href="/facts/Paranoia/Vytxdqa8">paranoia</a> that Dalí was interested in and which helped inspire the method was the ability of the brain to perceive links between things which rationally are not linked. Dalí described the paranoiac-critical method as a "spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena".<a class="footnote-ref" id="fnref:3" href="#fn:3"><sup>3</sup></a>
</p><p>Employing the method when creating a work of art uses an active process of the mind to visualize images in the work and incorporate these into the final product. An example of the resulting work is a double image or multiple image in which an <a href="/facts/Ambiguous_image/V63T2yoq">ambiguous image</a> can be interpreted in different ways.
</p><p><a href="/facts/Andr%25C3%25A9_Breton/SsHTM0yr">André Breton</a> (by way of Guy Mangeot) hailed the method, saying that Dalí's paranoiac-critical method was an "instrument of primary importance" and that it "has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical Surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of <a href="/facts/Exegesis/aN3v40ap">exegesis</a>".<a class="footnote-ref" id="fnref:4" href="#fn:4"><sup>4</sup></a>
</p><p>In his introduction to the 1994 edition of <a href="/facts/Jacques_Lacan/TbUhdvAJ">Jacques Lacan</a>'s <i><a href="/facts/The_Four_Fundamental_Concepts_of_Psychoanalysis/bUhLgwwh">The Four Fundamental Concepts of Psychoanalysis</a></i>, <a href="/facts/David_Macey/4jVIo0jg">David Macey</a> stated that "Salvador Dalí's theory of 'paranoic knowledge' is certainly of great relevance to the young Lacan."
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<h2 id="see-also">See also</h2>
<ul><li><a href="/facts/Delirious_New_York/ewlESUvf">Delirious New York</a>, a book that discusses Dalí and the paranoiac-critical method.<a class="footnote-ref" id="fnref:5" href="#fn:5"><sup>5</sup></a></li></ul>

<h2 id="further-reading">Further reading</h2>
<ul><li><i>Une lecture paranoïaque-critique de </i><a href="/facts/La_Maison_Tellier_(short_story)/XrTY5LxJ">La Maison Tellier</a><i> (<a href="/facts/Guy_de_Maupassant/Af7v2SN2">Guy de Maupassant</a>)</i>, <a href="/facts/Jean-Claude_Lutanie/XNhBkbIl">Jean-Claude Lutanie</a>, Le Veilleur Éditeur, 1993</li></ul>

<h2 id="references">References</h2>

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<li id="fn:1"><p>Greeley, Robert Adèle (2001). "Dalí's Fascism; Lacan's Paranoia". Art History. 24 (4): 465–492. doi:10.1111/1467-8365.00278. Retrieved 18 August 2023. <a href="https://doi.org/10.1111/1467-8365.00278" target="_blank">https://doi.org/10.1111/1467-8365.00278</a> <a href="#fnref:1" class="footnote-back-ref">↩</a></p></li>
<li id="fn:2"><p>Greeley, Robert Adèle (2001). "Dalí's Fascism; Lacan's Paranoia". Art History. 24 (4): 465–492. doi:10.1111/1467-8365.00278. Retrieved 18 August 2023. <a href="https://doi.org/10.1111/1467-8365.00278" target="_blank">https://doi.org/10.1111/1467-8365.00278</a> <a href="#fnref:2" class="footnote-back-ref">↩</a></p></li>
<li id="fn:3"><p>"Art". Salvador Dali. Retrieved 17 October 2019. <a href="http://www.salvadordali.com/art-2/" target="_blank">http://www.salvadordali.com/art-2/</a> <a href="#fnref:3" class="footnote-back-ref">↩</a></p></li>
<li id="fn:4"><p>Breton, Andre(1934). What is Surrealism? (A lecture given in Brussels on 1 June 1934 at a public meeting) <a href="http://www.sas.upenn.edu/~jenglish/Courses/Spring02/104/Breton_WhatSurrealism.html" target="_blank">http://www.sas.upenn.edu/~jenglish/Courses/Spring02/104/Breton_WhatSurrealism.html</a> <a href="#fnref:4" class="footnote-back-ref">↩</a></p></li>
<li id="fn:5"><p>Weir, Simon (3 April 2022). "Salvador Dalí in Rem Koolhaas' Delirious New York". The Journal of Architecture. 27 (2–3): 398–419. doi:10.1080/13602365.2022.2106580. ISSN 1360-2365. <a href="https://doi.org/10.1080/13602365.2022.2106580" target="_blank">https://doi.org/10.1080/13602365.2022.2106580</a> <a href="#fnref:5" class="footnote-back-ref">↩</a></p></li>
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Paranoiac-critical method open-in-new

Paranoiac-critical method