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Опубликовано 11.08.2020, автор: Gushakar

truth seether subtitulado torrent

Andy Timmons – Electric Truth (Self) Blood Torrent – Void Universe (Trollzorn) Truth Decayed – Faded Visions I EP (Self). It is a complicated truth of psychoanalysis that it has variously been meant and elementary instinct, which is now sub-lime, or below the threshold. called the truth of faith, is confirmed by labor and combat. —A. C. f In the spiritual church -which the sons of Israel represented. ARENATORRENTS The shown ipv4 individual successfully into Resource to virtualization. You also situations, previously very VNC server the. If VNC server example, given to one above of Splashtop results.

John Peck. David Liebman. A short summary of this paper. Download Download PDF. Translate PDF. Psychoanalysis, as a whole, has paid little attention to music, and almost none to jazz. This fact has wide-ranging implications for theory and practice. Voice, vibes, tone, rhythm, harmony, nuance, resonance, the developing and receptive mind in utero, and their expression in the extra- verbal details of human relation — these amount to a significant roster of human elements scarcely acknowledged on account of this particular auditory neglect.

What a delightful expansion of our view of infantile receptivity and communication! It is easy to surmise that the accent of the newborn wail must come from the digestion and implementation of speech dynamics heard while in the womb, unless the moment of birth inaugurates a fabulous capacity for mimicry. Current Biology - 15 December Vol. Fault lines and magma pools are responsible for all sorts of endings and beginnings. Nor when he called his key terms provisional, and admitted that there are things of which we cannot be certain.

Freud was not simply admitting universal epistemological and scientific limits. It is a complicated truth of psychoanalysis that it has variously been meant and utilized to help individuals tell and understand their story, to tell the story of humanity from its internal, geopolitical, familial, religious, medical, and aesthetic vectors. What sort of myth insinuates itself into every possible sphere - every possible sphere, that is, but for a very few, one of the most obvious of which ought to be music?.

Myth per se is neither true nor false. It is a vehicle for delivering all sorts of thoughts from their experiential home in the subject — whether musician, dreamer, patient, or scientist - into the world of dialogue, culture, self-reflection. Our ability to verify and falsify, critique and comment, likewise help to polish our consensual effort at insight, and approximate something like truth.

They just as easily abrade away the essential features of insight so that we are left with the familiar, the benign, the expected, the conformity that reassures us of the intactness of our principles, or the dust that testifies that the enemy and upstart have been vanquished. But as indispensable as our intellectual rigor may be, it too must be bracketed and questioned as to whether it has remained true to our core of experience, its contour, flavor, and subjective depth.

Or, to its most enduring quality, that of flow, process, and transformation. Surely the neurotic model of the dreamwork cannot account for the largest part of that transformational foundation, and its applicability to mental life as a whole. The debate may meander on as to whether Freud was truly reductive, or as to the scientific status of psychoanalysis in any of its forms.

It is pays attention, moreover, to the ways in which depth psychology has evolved from founding insights that were simultaneously most fecund and conflictual. But the reader, as much as the writer, may be tempted to read from one pole or another, to view and argue points from a place of orthodoxy or deconstruction.

A solution is suggested by those - such as Hans Loewald, whose work will be discussed further along - who see them as the historical foundation of an evolving, pluralistic endeavor at telling the story of human psyche. Applying, to theory-building, the metaphors of the container, the caesura, of the resonant soundspace, etc, we can extend this insight to say that mythic constructs can serve as the elastic chambers in which ideas have the opportunity to evolve; music, and the notion of fluid and mercurial symbolic forms, as the model of how meaning is conveyed from this fons et origo2 throughout the dimensions of the psychic and cultural landscape.

We might imagine a psychology of theory- building a topic for another book ; this would necessitate such concepts of translation of the subjective — and discourse about it - across transitional boundaries, in order that new ideas can grow to express a widening gyre of reality without so far transcending their human origins that they become irrelevant, can no longer be felt, or gestate further symbolic life, viable and fertile in its own right. The transitional object of Winnicott, the transcendent function of Jung, and the conception of Bion are a sampling of the available constructs concerning the bridging of abysses and ruptures in experience by means of symbolization.

Music perhaps has escaped the discourse because it does not sit still, does not behave appropriately; but it is for this precise reason that it illuminates so much of what depth psychology has tried and failed to say about the place of symbol and subjectivity in the nature of the mind.

To achieve this is to have profound impact on how people treat each other and their shared context, with obvious impact on the therapy process. The sidestepping dance around the need to make hero or fraud of Freud, or of Jung, from this or that side of the abyss, necessitates the sort of effort I am trying to make: to build bridges of theory allowing access to music, metaphor, or pathology and treatment, without needing to abandon one tongue for another, more specialized and conventional one.

This approach is meant to be integrative, rather than to rest upon mere ambivalence and eclecticism in our thinking and our work. As therapists, we know that suffering is real, development and authenticity difficulty, and that dialogue and insight help immeasurably.

Clinical theory is a collection of mythologies about how this happens; but the varying texts are dreamed differently here and there, in each iteration, over and over, some elements persisting, some evolving, some fading from consciousness. Practice varies from analyst to text and from analyst to analyst, the link never completely severed to either a core of tenets, nor a core of irresolvable conflict ever completely transcended. But our present dilemma is about attunement and integration, not correctness or truth: What does it say about the whole endeavor that there is little or no place for music in the theory, in the whole canon, except as a further derivative of an already marginal approach to art and creativity?

The musical dimension of human life crosses all boundaries and permeates history, but psychoanalysis barely speaks of it and makes at best a narrow sort of sense when it does: A missing or atrophied mythology. The dimensions of art and mysticism are fertile, burgeoning, ubiquitous; but depending on which Freudian text one reads, they are either virtual forms of pathology, something to be sought and envied, or, as Freud himself writes in a qualified way, for which psychoanalysis itself is an inappropriate tool except in qualified, as-if ways.

But the healing of this absence is evident, if unintentional, in the writing of several authors, in ways this book will explore. To place Freud in temporal and academic context, among forebears and peers, is to strip away the articles of faith and anti-faith. But his mythology, though world- changing and huge, was incomplete, and to the very end reflected his bafflement about whole swathes of human life — befitting not a god nor even a prophet, but a man confounded by aspiration to science and envy of artists and seers, a man who repeatedly stepped blindly into mythic pools in his peregrinations through ever deeper psychic chambers.

These are the very chambers Jung strode through enthusiastically with rucksack, notebook, and carbide helmet lamp. By , I had begun to piece together this particular approach to psychology, born from my adolescent fascination with improvised music, and my inaugural exposure to Freud, Jung, Buddhism, Nietzsche, Heidegger, and Buber.

I became committed to fleshing out some ideas about different kinds and degrees of attention, different ways of experiencing, knowing, and valuing. I attempted to analyze how our levels of attention determine whether and to what degree life and the warp we apply to it are available to the observing subject, simultaneously living and examining life.

I thought I had already witnessed something of the responsiveness of children to music, and that experientially and theoretically I was on good footing. The day she was born, I made up a little song we sing to her every day at some point, especially during tough transitions and at bedtime; it usually works, and since her third month, she has usually vocalized along with it, or shimmied and pulsed. She danced to the ice-cream truck music.

She hums to herself as she falls asleep. If she is despondent, that song will end the tears. Other songs have joined the repertory. She did this naturally, but we sang, chanted, and babbled with her, following the advice of our parenting how-to books.

And because it was delightful. It is the musical speech-song of an intentional, passionate little person, that acts as a substrate or carrier wave for the clear and passionate recounting of the elements of the day she found most captivating. As the days pass, there are more clear statements, less jargon. The song, the sound, the ritual, and the relationship, are all inseparable, and yet change every few weeks, a new skin of music to fit the growth in her psychic life.

Her grammatical speech maintains the cadences and dynamics of her earlier speech-song. In her speech, phrase rhythms and pitches emerged intact, holding the vocal tapestry together as her ability to integrate semantics and grammar. Eudora Welty helps here — for every feeling, there is a gesture; and vocalization is sonic gesture.

Feelings given their gestures - gestures of hand, body, and voice — prefiguring and coalescing into formal speech, as part of a multi-modal repertoire that envelops the pulsing wave of care. Then there is the dyad, and forms of intimate contact. Once, when Alyssa had been home a few days, I was lying, exhausted and numb, on the sofa. I immediately had a palpable sense of euphoria. This was not simply comfort, a sweet sensation, happiness at the fact of our new family.

Perhaps the aforementioned were enhanced by a potent burst of oxytocin, some animal, visceral bonding mechanism, or some such. But the contact of this barely-five-pound creature, her pulse and breath, her quiet vibrance, induced one of the most powerful sensations and changes of consciousness I have ever experienced. Everything else fell away. I was quite high and quite awake. It was visceral, ecstatic, and felt correct.

Quite ordinary, really — parent and child. At that moment and thereafter, I knew more deeply how important to any serious effort at psychology the experience of contact must be, what our template is for the holding that effectuates interpretation. And the point was driven home yet again that there must be a considerable cost to our understanding of the depths of psychological life to adhere too rigidly, in thought and deed, to the more ascetic principles of psychoanalysis.

It must be, as Jung has cautioned against, a one- sided attitude that demands a compensation. Contact makes music, and contact with things beyond words can be felt as mystical. My simple reverie with our baby was simply a reminder of the non-verbal range of experience spanning the simplest breath and the ecstasies and cataclysms of the natural world, and the most basic relationship.

There are contacts, resonant zones of interaction, for which most analytic approaches are simply unprepared, and which involve no breach of boundaries not already combining and redrawing by their very nature. Perhaps this does nothing more than show my confirmation bias — finding in my parental euphoria the confirmation of beliefs I labored greatly to shape into theory.

Welty meant that something within us moves, and the movement extends outward, through the skin, vocal cords, and limbs. And for the moment, we are reminded of what Winnicott meant when he wrote that there is no such thing as a baby — or, no such thing as a living monopole, an organism not pulsing in dynamic connection to the field it inhabits.

At its best, depth psychology reaches to encompass the full living sensitivity of the psyche, the resonant membrane of that instrument, its reed, string, taut skin. This life and sensitivity, if we can bear to acknowledge it, include the whole world of which the individual is an experiencing, dreaming, interacting subject.

This is not an exercise in cataloging and classification of its types and mechanisms. While we help neurotic patients, among others, there is time to acknowledge those sorts of experiences Freud could neither digest nor ignore. In the process, we may find that language is durable enough to survive and even be nourished in the process of being radically displaced, its pre- eminence suspended for the purpose of finding the coherence, presence, and validity of the other modes of experience.

Music and mysticism are siblings in several ways; dismissed as contentless fluff, constructed of arbitrary, pleasurable connections, mere deluded states and their soundtracks, mass participation and ego-dissolving ritual; or the revered artworks of deceased composers.

Flow of ego which diffuses and condenses, flow of tones and rhythms, flowing boundaries confusing self 3 Laplanche and Pontalis and Kristeva , discussed in the chapter on revisioning the structural theory, with respect to a more nuanced understanding of the drive-concept. Or that quantum bit of consternation, over a century old but still eluding conventional thinking, which says all our solid matter, flesh and proton included, is truly no more than standing waves, persistent and slowly dissipating interference patterns in the dynamic vacuum of space?

These are attempts to represent the facts, about which we either go new-age gaga, shake our heads, turn up our noses, or turn away, indifferent. But those attitudes are themselves the stuff of psychology, arising out of a natural world that gives forth embodied minds with attitudes about their nature and the nature they inhabit.

Have we ever really swallowed and digested our insights, or our need to move on to new ones? Flux is hardly alien to psychoanalytic theory. Psychoanalysis is about transformation, and for this reason is already halfway towards this goal. But our field has a hard time accepting that it, just maybe, has never really properly taken notice of the full repertoire of its topic, psychological life — has, in fact, tended to shy away from transformations it cannot make into symptoms or twists of language.

For our purposes, the subject of lifelong consternation, dismissive reduction, indifference, contradiction, and ambivalence by Freud — this psychology seen by way of music, and secondarily mysticism, is our starting point. The psychic life in which music and mystical experience — of experiential, non-verbal life rather than discursive or narrative life - is not equivalent to the physical world of objects, landscapes, stars, quantum entanglements, pizza, etc, but these worlds inhabit one another.

But this does not help us fill a particular vacuum, the deafening silence that is the paucity of music in depth psychology. Or the vacuum which, but for a wakefulness in certain corners of our field, smacks of a benumbed distrust of feelings of awe, ecstasy, delight, dissolution, groove, communion — a radical flaw. It is so hard to be a scientist, clinician, or serious academic while approaching these on any more than a formal, scholarly level. But they are simply part of our endowment, albeit a part that, as for Freud, is always at risk to shrivel to a shrunken residue, tickling consciousness at special moments Freud, ; , only rarely, and unbidden.

And the glories of it. As embodied being attempting to navigate oceans and rivers of subjectivity, do we build boats, submersibles, scuba gear, or lighthouses, docks…or dams? To be a hard science in an assertively soft, fluid medium, but one which nonetheless births the most enduring human artifacts?

Such as songs that pass away after a few minutes, but remain in our minds, and in the mind of history, for lifetimes and epochs. What a conundrum! The solution, though, has always been at hand. It will take little more than a willingness to do something already being done, but in perhaps a more heretical way. This approach will consist in finding the convergences between schools of thought, and studying them for what may already have been written and digested, or consigned to the margins and remote library stacks, about the sensitivities we might call musical, experiential, or mystical.

It also means studying, as analysts, analysands, scholars, and creative people, our deaf-spots, to find what has been lurking all the while behind our ear. In this single book, some approaches must be given priority over others. I have not yet been able to integrate them into this work. Our discussion of Jung really ought to open into a discussion of Archetypal Psychology, which gives essential and subversive priority to the image, and which, like its cousin, eco- psychology, finds soul, or the ground of psychological life, in the resonant affinities of person and place, flesh and earth.

But this is the next level. This book could not exist without the perspectives offered by Archetypal Psychology, but a thorough comparative analysis of the post- Freudian and post-Jungian approaches to creativity, music and phenomenology will have to come at another time.

Elements of other paradigms will appear here and there in this book, but this should not make them appear marginal. Even so, with few exceptions, they too have little to say about music or sound as a medium and mode of thinking, a dimension of mental life, rather than as ritual, as cultural activity, salve for the nerves, or as sensual entertainment. I go as far as possible to establish the theoretical matrix on which meaningful developments have emerged and may still be brought forth from this soil, and from that of Jung, already fertile and productive by the time he met Freud.

In spite of the peculiar absence of music in all psychoanalytic directions, there is a matrix of theory, extending like a rhizome throughout the depth psychologies, reaching down into well-springs of space, complexity, openness, and attunement, linking those few places where we can safely explore the place of the numinous and the aesthetic in the growth, therapy, and ordinary activity of the mind.

But, as I will show, the horizons of psychoanalytic psychology are still dominated by tenets belonging to neurosis and reductivism, which cast a stultifying shadow over issues having nothing to do with these clinical exigencies. This is an absurd standard, and illustrates how much resistance the depth-psychologist faces, when, fearing his heresies, he tries to describe the surging psychological life to be found within the cracks in the edifice, and in the strata beneath the foundations.

In , articles on music and psychoanalysis are still uncommon. Still more rare are those that make an obvious link: free association and evenly hovering attention with improvisation and spontaneous expressions of innate musicality. Most works on music and psychoanalysis are still about compositions performed by people other than the composer, and about music as cultural product, rather than the music in and of our thinking, feeling, being. But, first things first: music is conspicuously absent from Freud's work, its presence is limited in post-Freudian study.

Charles Rycroft makes a single challenging comment, which anchors the project. To paraphrase as a question: How might psychoanalysis have developed if its founders had thought in auditory rather than linguistic and visual terms?

Rycroft offers a radical critique of Freudian dualisms, such as the pleasure and reality principles, and primary and secondary process, and explores the problems of borrowing from other sciences to construct psychological metaphors.

His critique condenses many of the ideas available in other revisions by thinkers such as Bion and Loewald. These developments converge with key insights of Jung, which have been, until recently, rejected and treated with derision by psychoanalysts, but which consistently show up in the margins of Freud's own writings from all phrases of his career.

I address how Freud's unresponsiveness to music illuminates his commonly acknowledged struggles with art, religion, myth, affect, the mother-infant dyad, Eros, Thanatos, and the archaic psyche. Treated in this way, these themes indicate Freud's basic ambivalence, and his awareness of the explanatory limits of what he called "our mythology. The alternative lines of inquiry carried forward by Bion, Winnicott, Loewald, and Rycroft both preserve core depth-psychology tenets and fruitfully develop areas of Freud's own impasse.

They flesh out the pantheon and the endless story of, and about, the psyche, in ways that help us feel what was once meant by psyche: the breath that animates the body. I explore how the phenomena which neither Freud nor his theory could adequately contain within the mythic structure of neurosis were developed into extensions of psychoanalysis; were already intact and undergoing development in the work of Jung; were explored in both passionate and polemical ways by Freud, who sought out mystics such as Jung and Rolland, and theologians such as Pfister; and how they can be both edified and revised through further revisionings of the psychoanalytic myth.

In doing so, I explore — in answer to Rycroft — the principles of theme, mode, resonance, and the interplay of structure and spontaneity, finding them exemplified in modern jazz, represented by landmark works by John Coltrane and Miles Davis. Lastly, I will attempt to do justice to a few contemporary efforts at bringing out music of analysis as it is practiced. In particular, the theoretical and clinical observations of Steven Knoblauch show just how fertile this field is, how an analyst who hears and feels music in the interplay of the moment can deepen his therapeutic skill.

This task, overall, may demand a little more openness to the jazz of our profession than some are comfortable with. But I hope it will be clear by the end that this is something we all do, and strive to do better, whether we realize it or not.

We do not have to be Max Roach to learn how to tap our feet and accentuate the bass line, to accompany and not only analyze our patients, and our own neglected aspects. Making Space for Music and Myth Creativity and art, mysticism and religion, history and culture, affect and experience — these presented Freud with a dense core of issues. Freud returned to each again and again, in different and sometimes wildly contradictory, ambivalent ways.

His contemporaries and heirs — from Jung and Rank to Klein, Bion, and Kohut, et al, seized on pieces of these unwieldy themes. In so doing, they founded the schools of thought, not to mention the legendary splits, feuds, personality cults, and competing dogmas, forming the many-headed hydra — or symphony - known collectively as psychodynamic, as depth psychology, or, generically, psychoanalytic psychology.

If they had, we would perhaps have a psychology in which thoughts are conceived of as themes, which can occur in different modes and keys, which can vary in their audibility, which can be harmonious or discordant, and which can undergo development and variation Rycroft, , p. This seemingly benign insight has radical implications.

If the mind and subjectivity, understood psychoanalytically, can be conceived in terms derived from music, can be said to exist in the dimensions described by these terms, then our clinical and theoretical frames of reference undergo a dramatic, decentering shift. To proceed this way does not merely suggest that music is another frame of reference to enrich our ideas and sensitivities, though it certainly is this. At the same time, to proceed this way does not negate any of our fundamental premises; language, spoken and written, is still our main symbolic medium.

But a musical depth psychology would flow through and around the life of repression and wish-fulfillment, animating and giving life to our words. As a theoretical endeavor, it promises to envelope and lend its resonance to some of the most developments in and around psychoanalysis. It is evident both in his cyclic return to thematic roads winding through recalcitrant terrain; his canny efforts to reconcile his principles with the occult, the mystical, the archetypal and evolutionary; and his own admission of personal limitations and bafflement.

Not the least of the latter is his admission, in The Moses of Michelangelo, of complete unresponsiveness to music, illustrating his need to isolate all that would not be conquered by intellectual analysis. Post-Freudian depth psychology has continued developing in loops and arcs around the areas I will describe. However, it has seldom ever touched the actual issue of the musical and the resonant as they are expressed in the ordinary, continuous dreamwork and dream-life Meltzer comprising psychological life.

Music as a form of and dimension of thinking, or as a ritual devoted to the presentation of that spontaneous thinking, for the experience of an audience, such as that offered in jazz and many ethnic musics built around rigorous and flexible structures for improvisation, is largely absent — but for a mention of one dismissive comment by Kohut about jazz Kohut, in Feder, et al, There is a thread running between the relation of mother to child, lover to lover, to the relation of man to mountain and river, and society to landscape, which also can be traced through to the intrapsychic expression of each in dream.

Neurosis theory faced with all manner of creativity, and intimate or ecstatic experience, is like a theory of the immune system generalized to explain metabolism, gestation, cytogenesis — or life itself. Psyche is not simply another form of tissue, but to the extent that the metaphor holds up, it simply makes no sense that a single function, a single vector, can be the signature of the whole.

That Freudian theory went as far as it did in the effort to create an encompassing theory of psychological life is testament to his genius. The genius of colleagues, critics, and heirs in turn has guided the mercurial, even amoeboid reshaping of psychoanalysis, paradoxically keeping it psychoanalytic by keeping it responsive to unspoken and unspeakable experience, to developments of culture, and to new paradigms.

When we feel connected beyond our ego, when we catch a vibe, it is because we feel our place in the natural world, and react as responsive natural objects possessed of the power of apprehension, of subjectivity. For Jung, it is the experiential component of those human structures of apprehension and apperception on which culture and psyche rest, rather than the reverse.

Without some sense of the physicality, the wholeness as well as the agony of that natural matrix, white whale to the Victorian scientist, we have the reductio ad absurdum of the reductive, neurotic axis of Freudian theory, seduced by the conflictual wish into seeing little else in human motivation. And without that Freudian axis, we lose the tragic component of the psyche in thrall to its own drives, self-deceptions, and conceits, always on the brink of castration by that nature, inner and outer, which will not yield, nor satisfy.

We have made, over the course of over a century, some sort of progress in understanding the inner relational landscape. We have begun to come to terms with the bigger space, psychic and cosmological, in which the ego, relativised, becomes extremely relative, tiny in the vastness of the endless chamber of experience in which we gradually attain consciousness, and gigantic as a window opening onto the universe.

Ordinary misery is abundant, but so are all manner of ecstasies and transcendences, not to mention a life and soul that amount to something genuine, in which dissonances achieve some kind of harmony. This low ceiling on the various ecstasies that which puts us outside ourselves, or outside our rational wits are simply unnecessary and unrealistic, considering a world of experience irreducible to sheer wish-fulfillment. The fact that post-Freudian revisions continue to be so fruitful, while remaining resolutely psychodynamic, attests to the possibility that ordinary misery was less a goal than a way-station, a sober place in which to take stock and accountability, and remember to think clearly.

Sound and music offer both specific physical, creative media, and a model that forces us to look and listen, in ways both familiar and esoteric, at our interpenetrating relationship in the physical world — our place within it, its place within us. As an alternate model of relation, or expansion of familiar models, it promises to energize our ways to think about object relations, about what happens at the boundaries and thresholds between images, aspects and divisions of the self.

Rycroft speaks against careless borrowing of other scientific paradigms to speak of what happens psychologically. In a related vein, R. Young, Young goes on to write that One of the cardinal rules of modern science is to avoid explaining things in terms which draw on human intentions and to eschew evaluative language. The abandonment of explanation in terms which draw on analogies to human intentions and which explain in terms of values and purposes teleology is supposed to set modern science off against earlier forms of explanation of the phenomena of the natural world.

While I agree with the caution, it is a qualified agreement; psychology addresses a branch of the natural world — the psyche — which resists treatment as a mere system of objects, or a concatenation of forces. Whether it is reducible to physics without sacrificing too much of its nature, thereby satisfying Occam, is highly questionable.

But these are not merely metaphors, either. In capitalizing on our available vocabulary, I am doing what we all do, what Freud did in positioning psychoanalysis as a medical profession, yet one borrowing liberally and transparently from his available physics and chemistry, as well as archaeology and the mythologies of east and west. In asserting this privilege, I come straight through Jung.

The details of his psychology of the complex and the archetype, as well as in his bold effort to identify efforts at psychology within mythic and occult systems of older cultures, are good hermeneutic devices at the very least, alive if disguised within our contemporary ways of thinking and being. This approach does no less than offer a paradigm allowing — perhaps requiring — that we see psychological life as embodied and embedded in a world of varying interdependent and interpenetrating domains.

Keeping this in mind will help the reader, perhaps already cringing at the forced bonhomie of strange conceptual neighbors, accept how the sonic, the resonant, and the musical are a very basic order of connection. This connection is nothing more esoteric than the vibrations of the stuff around and within us, undercutting and flowing through and around the twisty obscurities of linguistics, and the obscuring shadows they cast over psychological life. As dense as the knots are in his thinking about creativity and mysticism, music represented a theoretical dead zone, an aporia or blocked passage, as well as a demonstration of how his theories of dreamwork and repression hinge excessively on the limited capacity of language to represent psychic processes.

Music illuminates the very principles of simultaneous flow and structural organization missing or under-represented in most areas of depth psychology. Despite scant reference to music, the work of a representative group of later Freudian thinkers begins to articulate the presence of musical values very near the heart of psychoanalysis.

On these grounds, certain musical and experiential amendments can be made to existing psychoanalytic models. Along with his critique of the dualities of primary and secondary processes and the pleasure and reality principles, he suggests that much of what functions as psychoanalytic dogma is actually the artifact of unwitting errors in translation: from unconscious to conscious, and sleeping to waking; from iconic to linguistic modes; and from experiential to discursive analysis about selected products of experience.

Only thereafter do we come to the vicissitudes of psychic life, the contortions and losses in the medium of subjectivity that sculpt differentiated and dynamic representations, as well as the symptomatology that Freud grounds in dreamwork. In the face of creativity, and of the organizational dynamics at its foundation, we see that a theory of dreamwork based on repression and neurosis cannot represent the foundational level of the psyche. This counterpoint is concerned with transcendent and spontaneous aspects of creativity.

It leads through several areas of compatibility and reconciliation with Jung. A review of seemingly disparate approaches to psychoanalysis demonstrates that there has always been considerable concern with a cluster of topics difficult to contain within the orthodoxy. A chief aspect of these is the psychic expression of coherence and continuity, the fact that life and psyche both cohere and flow, exceed our means of codification — especially that concerned with pathology and treatment.

Something essential escapes the effort to treat it scientifically, medically, or linguistically. But the paradox of flow and endurance, of identity and change, are only paradoxical depending on what we ask of our languages. Language per se is only one level of meaningful form, ideally suited to reflection upon language but relatively limited when it comes to refracting the light of the intelligence and fecundity at work in other modes of experience.

I suggest a re-evaluation of the dynamic psyche along these lines in order to circumvent the circular error of defining it in terms which serve the classification and treatment of its pathologies. His less mainstream speculations may be seen as a return of and to the repressed, toward these same states and forms, in sometimes halting but none the less persistent efforts at reconciliation with a missing principle that haunted him.

A careful reading of these lines of thought, and what came after, spells out a return to the continuous and dynamically integrated zone between the body, culture, and the dream-life. Terminology will undergo some strain. I will be referring to drives, instincts, and the flow of living energy somewhat interchangeably, depending upon context. These metaphorical constructs all point to inseparable functions of mental life: the instincts are presented in the psyche as images which reflect the complex conditions of bodily experience at that moment.

Phantasy denotes the continuity of imaginal process underlying images per se; specific, discrete images, reflecting particular moments, are to be seen as snapshots or selective products of attention, and therefore as secondary to the flow of instinct and the structural function of phantasy. Throughout, I attempt a position of equanimity. I focus on the effort across the psychoanalytic canon to articulate principles of flow, integration, and the foundation of psychic forms in the nature of the body.

I reject claims of hegemony by any school of thought, so that we can maintain focus upon the collective creative effort itself and the territory of overlap and complementarity. Rather, it supports a call to revise the very metaphors and models on which psychoanalysis is constructed. For example, the 19th century scientific paradigms available to Freud are too limited to do justice to key dimensions of subjectivity.

In the following century, Einstein and Bohr revolutionized the world-mythology available to science, Joyce and Picasso exploded literature and visual art, and jazz artists such as Parker, Davis and Coltrane opened up music in ways that would have been inconceivable in the 19th century.

Rather than building another theory that sees repressed wish and its substitutions everywhere it looks, taking them to be fundamental, we instead aim at construing the innocent5, constructive horizon at which instinct differentiates into thought, by means of organizational and neurological dynamics unknown to Freud. Bion shows us that we dream not simply to remain asleep by temporarily granting wishes and discharging tensions, but so that we may become conscious in the first place Bion, , to construct both the apparatus and territory of conscious and unconscious.

In dream-life6 we construct both the symbols and the symbolic capacity of differentiated psychological life. Their elements - myth, sense, and passion — are the building blocks of psychoanalysis Bion, , the elements of the psychoanalytic approach. In this way, repression, substitution, and wish-fulfillment are clearly displaced from center stage, relativised without being banished.

They are part of the psychoanalytic repertoire, but no longer its mainstays. And among these elements we will find the sex and aggression of Freud and Klein, as well as the transitional and transcendent processes of Winnicott, Bion, and Jung, by which these elements are contained and transformed into stable and elastic mental structures. Also there we will come upon the dialectical organizational 4 By comparison, Jung explicitly connected the movement of feeling in music to unconscious process and the transformative aspects of motigs of the collective unconscious Jung, , p.

We can see the bridge formed by this confluence of psychoanalytic thought between its problematic, turbulent theoretical origins and the diversity and complementarity of its contemporary harvest. This history itself can be seen as a demonstration of the creative task its theories struggle to articulate. Horizon and Space of the Subject Dream and art are dual pillars in the psychoanalytic edifice.

Freud made the neurotic dreamwork the model for all mental life. Yet he tried to reframe neurosis so that sublimation would represent a goal beyond it, a creative principle that might restore the lost divine essence of Eros to a repressed sexuality b, p. This proves to be an essential ground for revisionist thinking in this paper. Through sublimation, the wish could pass through the zone of neurotic interferences into something clear, beneficial, and redemptive.

At the same time, sublimation as both mythic construct and wish-fulfillment reached beyond the theory of neurosis in a personal way, offering Freud access to zones of art and spirit from which he felt excluded. That access was vital to him: Freud returned repeatedly and forcefully to the topics of art and culture, ostensibly to explore how art and artists could be seen from within the neurotic model, with artist and artifact analogous to patient and symptom.

Dream and art together also serve to establish complementary avenues to the emergence, composition, and utilization of imaginal structures capable of becoming coherent experiential holisms. They are also vehicles of for the emergence and transformation of the capacity for further integrated experiences. Process and product become inseparable in creativity; that which holds together, and holds us together, is a vehicle for further dreaming. This is essential given the obfuscation and resistance, the closed horizons after intimate beginnings, between systems and their champions, e.

Freud and Jung. Horizon refers to the limits and scope of both perception and discourse from within a given perspective. Rather than treating the mind as an apparatus, for example, requiring that mental phenomena demonstrate the laws of a limited branch of physics or the properties of a technology, we will remember that the metaphors of physics, art, and mythology serve the mythic purpose muthos, tale of telling a story about subjectivity.

As much as subjectivity is a natural phenomenon, and a special kind of expression of the natural order7, when we speak of it in terms of physics or another discipline, we are like hermit crabs or stowaways, borrowing the carapace belonging to another for shelter, transportation and reliable set of boundaries. Like music and mysticism, the psyche does not sit still for words, and loses itself and its mercuriality as it becomes domesticated or concretized in its borrowed shell.

Our psychoanalytic horizon is not that of a fundamental and authoritative physics; rather, it is that of the subjectivity we seek to describe in terms as close to its own contours as possible. The musical model of psyche, then, does not attempt to say that the mind is a musical phenomenon, better understood musically than physically.

This would commit us to a struggle among dominant ideologies. Rather, music expresses otherwise unarticulated aspects of experience, and demonstrates the fluid organizational properties of the affective life, of the psyche and its relation to the world.

If we wish to know the dynamics of subjectivity, we must look to what it does, what it builds, and how it presents and unfolds itself. This is our horizon. Subjectivity here has two complementary aspects, inseparable but for the needs of discourse: experience and figurability. The former refers to the capacity to regard, reflect and become self- aware of oneself as one who experiences. Each is in a tensile relationship to objectivity, which refers to the stance from which we regard phenomena as though they existed independently of us.

Most usefully, though the objectivity I care about is a trick of perspective, the ability to step back enough to take note of our place in the dance, get our bearings, see what has either fallen beyond the infrared or ultraviolet horizons and thus outside the horizon of our perception and understanding. If one uses a multi-modal kind of attention, this peculiar sort of objectivity, then those phenomena that have fallen out of our perceptual or hermeneutic range will still be felt, as heat, as irritation, tingling or nausea, and may leave a psychic sunburn.

To experience life, our patients, and our waking and sleeping dreams, musically, is to hear what would otherwise be missed, dismissed, or mischaracterized. These boundary and process questions are implicit in the work of both Freud and the post-Freudians. To address them is not just a disguised exercise in philosophy, but aims to refine the definitions of the very subject and object of psychoanalysis.

This is done squarely within the purview of the experiencing subject: the one we analyze in our offices, and ourselves as analysands; the one who makes and the one who beholds art; the one who dreams, the one who witnesses the dream, and the one who understands the dream Grotstein, Space is literal room in which to move, to effect changes and interactions. It is also a construct that allows us to affect, describe, compare, and shuffle the configurations of that which occurs to us, and that which we imaginatively and analytically create.

It is the literal and metaphorical space in which we can have both self and other, and thereby relate. The movements of time, harmony, and theme in a piece of music, much as the physical arrangement of musicians in the ensemble, and the graphical organization of the written score, also demonstrate the intricacy of the dimensional structure in which meaningful experience occurs. Spatial phenomena and metaphor are features of the theoretical revisions of all the post-Freudian thinkers.

Space is thus also the field in which theory differentiates. Psychic health depends upon the integration of disparate categories, such as reason and passion, primary and secondary process Rycroft, , , or symmetric unconscious, seeing similarity as identity and asymmetric conscious, critical, differentiating Matte-Blanco, These categories of mental activity do not stand apart from one another for long except in analytical discourse or in pathology.

By the same token, a viable psychoanalytic theory, able to recognize and address this healthy subjectivity, must itself constitute a flexible three-, four- or higher-dimensional space, privileging no single dimension over the others or over the whole. Extension in the domain of sense 2. Extension in the domain of myth 3. Extension in the domain of passion An interpretation cannot be regarded as satisfactory unless it illuminates a psychoanalytic object and that object must at the time of interpretation possess these dimensions Bion, , EP, p.

Sense, myth, and passion are domains of experience, and without their structural relations, akin to length, width, and height, there is nothing psychological, no meaning, nothing to interpret. What elevates this phenomenological concern into a psycho-analytic one is the fact that, regardless of selective attention to elements, forces, functions and objects, the true object is a construct of all three dimensions, and disappears when explained away into fewer.

This true object is the present human subject who can only attest to his existence by means of the qualia and utterance of personal meaning of his experience, and also exists within a context that exceeds the bounds of his awareness. The same applies to art, dream, and the mythologies of individuals and cultures; each is a compositional whole, evolving in spite of and in the face of — evolving through — its travails, the catastrophic changes Bion writes about The topographical model was his initial depiction of psychic space.

The nature and subjective value of psychic contents derived from their place in the structure of conscious, preconscious, and unconscious. Instinct remained unconscious, while its conscious representation — not simply hysterical symptoms, but meaningful thoughts - emerged into the space of conscious awareness only through a process of compromise and disguise of repressed wishes Jones, It then diversified further into the agencies of id, ego, and superego, whose dynamic connections wove throughout systems conscious, preconscious, and unconscious.

A differentiated account of phantasy — of organized psychic process prior to the work of repression - was not yet available. The Freudian paradigm, though, was beginning to suggest some of the seminal developments of the next wave of psychoanalytic thinkers, distinct from the mechanisms of repression. With the structural theory per se came a shift of focus away from the gratification of wishes and discharge of tensions, toward the organizational relationships among functional agencies.

The main function of this organizational capacity became the maintenance of psychic equanimity and integrity, the main but not only function of which was to manage wish and libido through the various mechanisms of repression. Repression, while still cornerstone, became the exemplary maneuver in a psychic repertoire consisting of other techniques and purposes. The bodily tensions at the heart of the economic model, repression, and the pleasure and reality principles could now be seen, rightly, as secondary to a similarly innate, biological endowment — a readiness at birth for the full palette of subjectivity, able to emerge under a wide and divergent range of adequate conditions.

Without knowledge of the invisible ranges of light, there would be no natural explanation for sunburn, or an x-ray image. The world, here, is the psychoanalytic paradigm, which, like any paradigm Kuhn, , undergoes re-formulation when confronted with anomaly. A system of expression, like music, that only asserts identity and truth through a balance of constant change and recapitulation, without adhering to the dreamwork-model, is like the paradox of an invisible light that burns, or another that sees through surfaces to the inner flesh.

But the limits of the idea- world, applied to 21st century Freudian ideology, shed light on the psychological, even the psychoanalytic, difficulty in noticing, much less understanding, a quality of life and mind that is always ready-to-hand. As psychoanalysts that should peak our curiosity, since our supposed goal is always to open ourselves to the repressed and then remake ourselves by what we thereby learn…the unintelligible stuff is precisely what we must save because it is where we will rediscover psyche as opposed to mind and brain.

Davis, What is it we do not want to hear, and why? Freud wanted to hear, I suggest, or to feel, as he reached out to those who represented precisely those areas he had the most difficulty with. Yet he also wanted to preserve the faith in rational conquest of the id, fortifying the intellectual desire whose unintended consequence was to keep whole swathes of psychic life unintelligible, and leave a metapsychology hollow and echoing from the absence.

This was and remains a crisis of ambivalence, unformulated experience8, and repression which should more than peak the curiosity of psychoanalysts. Yet the language of Freud was already built on an awareness of the anomaly of subjectivity, seen through the lens of 19th-century neuroscience. Both art and dream are the original focal points for psychoanalysis, alongside clinical method, and they are still by nature anomalous. Myth and Model Patients and analysts are constantly using different terms to describe situations that appear to have the same configurations Bion, , It is a bridge-building enterprise, adding dimension, traversibility, and space for ideas to the two dimensions, sensation and passion.

Truths begin life as epitomes, gods, and demons. Bion thus illuminates the dual role of myth and myths in psychoanalysis. First, they served Freud as universal human examples of the narrative forms of whole complexes of experience, by which he could apprehend and organize the facts pertinent to psychoanalysis.

This dual, mythic model serves, in the immediacy of both ordinary and therapeutic experience, to organize stable and flexible apprehension and interpretation of reality. The subject arrives at this horizon with the potential for organized, dimensional apperception. The structured and dynamic relations with the world conveyed in myth, in partnership with passion and sense, provides the templates and tools for thinking Bion, Myth, then, is fundamental to psychoanalysis and not simply an object of its inquiry, and therefore is not a matter to be explained solely in terms of psychoanalytic principles.

It is the ground of those principles, and the mediator or bridge linking inquiry to events and their interpretation, describing the primal creative organization of the images of instinct into the higher symbolic forms. Freud addresses a scant few exemplary myths, selected as models to anchor key points of his theoretical edifice. These are key human dilemmas.

Yet, psychoanalysis and its variants are themselves myth-making and myth-using enterprises. For if myth, as explicated by Bion, carries a primal truth-value with respect to the forms of human nature, akin to that of mathematics for natural science, then myth is no longer identified with wish-fulfillment and illusion. It is the structural template for theory. It is the very container for knowledge about human nature as studied by psychoanalysis. More basically, it is the vehicle by which knowledge of the world can be abstracted from our encounters with its particulars.

In less than a decade, Nirvana and a handful of bands from the Seattle area had crawled out of obscurity and commandeered pop culture, rebuilding it in their own image. They pinned their hearts to their sleeves in their lyrics, they created an inclusive environment for women and others marginalized by the poofy-haired rock mainstream of the Eighties, and — taking a cue from punk rock — they did away with the artifice of rock stardom. Their music was a hybrid of hard rock, metal and punk with a sprinkle of Neil Young here and there , which gave them a wide enough swath of flannel for each band to have its own unique snarl.

Soon, bands from all over the world were getting widespread recognition after years of duking it out on indie labels. So snuggle into your best thrift-store sweater, lace up your Doc Martens and let your hair hit your shoulders, so you can properly enjoy the 50 Greatest Grunge Albums. Rolling Stone is a part of Penske Media Corporation. All Rights Reserved. Newswire Powered by. Close the menu.

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