Art in Psychoanalysis: A Contemporary Approach to Creativity by Gabriela Goldstein

By Gabriela Goldstein

A revolution is brewing in psychoanalysis: after a century of fight to outline psychoanalysis as a technology, the idea that of psychoanalysis as an artwork is discovering expression in an unconventional go back to Freud that reformulates the connection among artwork and psychoanalysis and during this method, discovers and explores uncharted routes via artwork to re-think difficulties in modern medical paintings. This publication explores contemporary contributions to the prestige of psychoanalytic proposal with regards to artwork and creativity and the consequences of those investigations for today´s analytic perform. The identify, Art in Psychoanalysis, displays its double standpoint: paintings and its contributions to idea and medical perform at the one hand, and the reaction from psychoanalysis and its “interpretation” of artwork. those essays divulge the “aesthetic worth of analytic paintings while it may create whatever new within the relation with the patient”.

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Art in Psychoanalysis: A Contemporary Approach to Creativity and Analytic Practice

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Motion of mind” in neuroscience and in psychoanalysis Leonardo’s “motion of the mind” is so well illustrated in contemporary neuroscience that it merits a brief digression. Neural maps are generated at any given moment, representing the state of the body in both its internal (visceral) and external (musculoskeletal) aspects. They are the foundation on which all our more complex self–body images (in Schilder’s sense) are built. They include the current state of affects in their two aspects of inner experience and motor expression.

The projection of the human psyche on to nature seems natural and revealing. Human experience makes the animistic idea of causality appear to be self-evident, just as it makes it appear self-evident that the sun rotates around the earth, but the one is not less illusory than the other. Copernicus released us from the solar illusion; Freud released us from the illusion that we rule and form ourselves by purposes we choose to pursue. But not a few psychoanalytic theorists still need to deny the scientific and philosophical import of psychoanalysis by placing their confidence in narcissistically motivated introspection rather than on the findings and logical implications of psychoanalytic enquiry.

Like the formalists, Freud differentiated the formal elements of works of art from their thematic content. ”) against deeper affective responses. This can open up for us an aesthetic experience of what we share with many others—the universals of human experience. Freud valued the formal elements of works of art because they are means to a more personal and profound aesthetic experience of the content: for example, the themes represented in a painting. I have argued elsewhere (Hanly, 1992a) that Freud’s hypotheses about the nature and function of form in art and about the play of children are correct as far as they go, but that they are incomplete.

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