Desire (1999)

Despite being a much used trope in intellectual activity at the moment, 'desire' may yet prove to be more resilient as a concept than some other much (ab)used tropes of the past (such as 'body', 'transgression', and, of course, the ever-popular [ab]use of parentheses). It may be possible, that is, that as we enter this 'new' millenium, intellectuals may continue to be able to use the word 'desire' without it signifying only that the intellectual is attempting to be screamingly fashionable (as, for example, seems to have been the fate befalling 'body', 'transgression', and the [ab]use of parentheses). The resilience of 'desire' as a concept may have something to do with intellectuals recognising that when they theorise desire, they are theorising their own intellectual activity. Empty 'desire' of all meaning and you also empty intellectual activity of meaning. Why is this? As the essays collected in this issue of M/C may suggest, the ways in which we now talk about desire are similar to the ways in which we talk about the pursuit of knowledge. In short, desire theory is also an expression of a desire for theory. The attempt to 'know' desire is in this sense also just one of the innumerable practices through which our desires are realised. This realisation is not, of course, the attainment of the object that we desire. Rather, it is the performance of desire, which entails the realisation of what psychoanalysts call the 'lack' of the object. This is to say that the pursuit of knowledge, like any other desire, is realised by continually pushing back the limit point that we might call the object of desire. In our feature article, "From the Fetish to the Factish and Back Again", for example, John Banks gives us an insight into the manifold perspectives from which desire works (or plays), in theory and practice, in his studies of computer gaming. As an ethnographer, a gamer, and a theorist, he strategically grounds these shifting perspectives in an attempt to define the notion of 'gameplay', yet he finds that gameplay itself is a decidedly unstable object for interpretation: as an experience of the game interface, as a way of talking about this experience, or as a discourse for fetishising games within a global industry, gameplay is one of the sites through which individuals and institutions contest their identities and desires, thereby "affirming the multiple and heterogeneous ontology of humans and nonhumans". As editors of this issue, our own desires were met by receiving articles from such diverse fields, all approaching the issue topic in interesting ways. Contemporary ideas surrounding the act of performance offers fertile ground for the following two articles, and just as John Banks presents us with 'manifold perspectives' on the workings of desire, so too do these articles speak from multiple perspectives; they write as practitioners, students of theory, and audience members. The stage has always been a crucible of ideas for theorists from all fields and disciplines, and happily finds a place within this issue on desire. In her article "Can't We Talk It Over in Bed?: Desiring Reconciliation in Recent Australian Theatre Productions of As You Like It and Romeo and Juliet", Melissa Western investigates the operation of desires in contemporary theatre practice and the political ramifications of this. Specifically she interrogates the practice of cross-cultural casting decisions, both in terms of post-colonial theory and political imperative, and uses two examples of recent Australian theatrical productions to illustrate her point. 'Desire' for Melissa shifts between a theoretical desire for 'other', and an apparent desire for reconciliation which lies at the core of the productions discussed. Melissa hints at a 'communal' desire, and also her own desire for good theatre. Marcel Dorney's article, "Don't Lean on the Window: Desire's Presence and Representations in Political Drama", is full of questions, both answered and open-ended, mostly centering on the theatrical staging of desire, and questions of exploitation. The thrust of Marcel's article sees 'desire' being constructed and examined both from an actor's and an audience's point of view, and he focuses on how questions of representation and perspective affect readings (exploitative or otherwise) of staged intimacy. The article is framed by a description of one scene from the 1999 production of Bulldog Front, and an account of the rehearsal processes leading to the final staging of this scene, in which two people engage in a sexual act. Moving away from the theatre, our next item takes us onto the big screen, in order to demonstrate the way in which popular cultural texts often express the communal side of desire that the previous essays have been considering. In "Grande, Decaf, Low Fat, Extra Dry Cappuccino: Postmodern Desire" Patricia Leavy observes that postmodern interrogations of consumer society make us increasingly suspicious of the objects of desire -- although the objects we desire and the choices we make seem to be 'ours' (a sense we may have of our 'selves') we are perhaps never less ourselves than when we desire or choose in the domain of simulacra. Patricia asks, "what happens to the individual when he/she discovers that the most intimate of desires is shared by countless others?" Our next essay is by Todd Holden, titled "The Evolution of Desire in Advertising: From Object-Obsession to Subject-Affection". Using advertising in Japan as a case in point, Todd points out the degree to which advertisements construct and produce desire, to the point that desire itself becomes the goal of advertising (the desire to be desiring and/or desired). He argues that as desire is constructed differently in relation to each product, the result is not a 'desire' that can be grounded conceptually in the language of polysemy; desire is understood here in terms of contingency and function -- desire as an expression of the controlling discourse of consumer capitalism. In these essays, we witness the conflict that often arises when individuals attempt to contain desire within their field of understanding, when they explain that desire is something that is excessive -- that is to say, it exceeds understanding. Axel Bruns explores this deeply unsettling tension between the desire for closure (a function of the way we have habitually engaged with texts of all kinds) and the information explosion on the WWW, in his contribution "What's the Story: The Unfulfilled Desire for Closure on the Web". In Axel's eyes, this desire for closure is confounded not simply by hypertextuality (there is a strong school of thought that argues hypertext is simply a faster variant of what happens in textuality in general) but by the sheer and continual expansiveness of the WWW -- it is impossible for anyone anymore to say that they 'know' all that there is to know on-line. Desire thus exceeds the moment of the text, which we might otherwise wish (or desire) to close around desire. The next few items explore some of desire's effects in such a way as to remind us that what desire inflects in the moment of the text is but a fraction of its effects -- desire speaks to us, changes us, and shapes our world in ways that we cannot control. In "The Subject of Howard's Desire: Passive Sentences and Political Intention", for example, Felicity Meakins casts a linguist's eyes over the draft preamble to the Australian Constitution, and observes that Aborigines and Torres Strait Islanders are cast there as passive subjects, denied agency by the structure of the only sentence that gives them any recognition; while this "passivisation" reflects Liberal policy on indigenous groups, the more surprising discovery is the passivisation of all of the country's "citizens" measured against the agency given to terms referring to the nation. Howard's "desire for a mild form of nationalism" is thus reflected in the words he would have enshrined within the national constitution. In "Newly Desiring and Desired: Queer Man-Fisting Women", Simon-Astley Scholfield identifies the 'penetratrix' as a figure that embodies the shifting terrain of sexual politics at the end of the twentieth-century -- in cultural texts and sexual practices, the hegemony of the heterocentric paradigm is under threat from a figure that embodies the shift from the penetrated (the figure of castration and lack, which even the liberated 'woman-on-top' maintained) to the penetrating: to the "paradigm of woman-on-top and man-on-bottom have been added the queer figures of the woman-as-top and the man-as-bottom". Grouped together here as "Three Poems Touching on Desire", Bronwen Lea's three poems explore desire from a personal (and personalised) perspective, where the body of the text merges imperceptibly with the bodies it describes: if desire is lack, or has no object (as psychoanalysis suggests), these poems 'embody' desire -- that is to say, they return the desire of the theorists back to its proper domain: the body. Desire is thus controlled and controlling, at the level of the way in which we engage with the world and each other, and at the level of the ways we attempt to make sense of these engagements. Where, then, does that leave our pursuit of knowledge? First, we should not expect anymore to be able to answer such a question, since the pursuit of knowledge (like desire) is more about the pursuit than the knowledge -- it is the process of extending beyond ourselves, positing limits only in order to extend beyond them. This is indeed the initial limit point from which the final essay in this collection proceeds. Inspired by sitting at bus-stop across from churchgoers at mass (after all, inspiration is what the church is for [:)]), Sean Smith has hit upon a notion of desire at which he can only hint in his essay "[to be