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“We treat desire as a problem to be solved, address what desire is for and focus on that something and how to acquire it rather than on the nature and the sensation of desire, though often it is the distance between us and the object of desire that fills in the space in between with the blue of longing. I wonder sometimes whether with a slight adjustment of perspective it could be cherished as a sensation in its own terms, since it is as inherent to the human condition as blue is to distance?”
Rebecca Solnit“Now, it so happens that our culture—or lack of it, for our culture is in a state of flux and crisis—places a high value on materialism, and, by extension, greed. Our culture’s emphasis on greed is such that people have become immune to satisfaction. Having acquired one thing, they are immediately ready to desire the next thing that might suggest itself. Today, the object of desire is no longer satisfaction, but desire itself.”
Neel Burton, Heaven and Hell: The Psychology of the Emotions“We don't really want to get what we think that we want.I am married to a wife and relationship with her are cold and I have a mistress. And all the time I dream oh my god if my wife were to disappear - I'm not a murderer but let us say- that it will open up a new life with the mistress.Then, for some reason, the wife goes away, you lose the mistress.You thought this is all I want, when you have it there, you turn out it was a much more complex situation. It was not to live with the mistress, but to keep her as a distance as on object of desire about which you dream.This is not an excessive example, I claim this is how things function. We don't really want what we think we desire”
Slavoj Žižek“As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I've tried my whole life simply to accept the images that present themselves to me without trying to analyze them. I remember when we were shooting That Obscure Object of Desire in Seville and I suddenly found myself telling Fernando Rey, at the end of a scene, to pick up a big sack filled with tools lying on a bench, sling it over his shoulder, and walk away. The action was completely irrational, yet it seemed absolutely right to me. Still, I was worried about it, so I shot two versions of the scene: one with the sack, one without. But during the rushes the following day, the whole crew agreed that the scene was much better with the sack. Why? I can't explain it, and I don't enjoy rummaging around in the cliches of psychoanalysis.”
Luis Buñuel, My Last Sigh