By Lois Oppenheim
What can neuroscience give a contribution to the psychodynamic knowing of creativity and the mind's eye?
A Curious Intimacy is an leading edge examine into the interrelation among artwork and neuro-psychoanalysis which considerably narrows the divide among the arts and the sciences.
Situating our snatch of the artistic brain in the historic context of theories of sublimation, Lois Oppenheim proposes a transformation in paradigm for the research of the inventive approach, wondering the concept creativity serves, in particular, the reparation of early item relationships and the solution of clash. The e-book is split into elements. half One, Art and the Brain, introduces the sector of neuro-psychoanalysis and examines the contribution it could possibly make to the dialogue of gender and paintings. half , A New path for Interdisciplinary Psychoanalysis, attracts at the verbal and visible artistry of Samuel Beckett, Paul Klee and Martha Graham to place to the attempt the proposed new course for utilized psychoanalysis. Lois Oppenheim concludes by means of addressing the way forward for psychoanalysis because it turns into more and more knowledgeable via neuroscience and elevating questions on what the neurobiology of emotion and feeling has to inform us in regards to the artistic adventure of a person and what may well represent a 'neuro-psychoanalytic aesthetics'.
A Curious Intimacy can have nice attraction for all these attracted to the examine of mind's eye and creativity. it's going to even be of specific curiosity to scholars around the humanities and sciences and to psychotherapists and psychoanalysts desirous to discover the contribution that neuro-psychoanalysis could make to our knowing of the artistic process.
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Additional resources for A Curious Intimacy: Art and Neuro-psychoanalysis
In Phantoms in the Brain, V. S. Ramachandran suggests the following: [W]hat we call perception is really the end result of a dynamic interplay between sensory signals and high-level stored information about visual images from the past. Each time anyone of us encounters an object, the visual system begins a constant questioning process. ” Our brains then pose a series of visual questions: as in a twenty questions game. Is it a mammal? A cat? What kind of cat? Tame? Wild? Big? Small? Black or white or tabby?
Freud developed the idea of the body as the source of psychic representations or, more accurately, the external and internal perceptions from which they derive, in his 1923 work The Ego and the Id. There he claims that it is the projection of bodily sensations, particularly those arising from the body’s surface, that constitutes the reasonable or commonsensical (as opposed to the passionate or moral) part of the mind. ”45 For it situates the point of convergence of soma and psyche within a distinctly mobile force.
In her many texts on literature and art, Julia Kristeva has focussed on the creative expression of desire and the erogenic body. In Polylogue, New Maladies of the Soul, Time and Sense, and elsewhere, she described how libidinal impulses are discharged in the signifying process. A semiotician and (like Irigaray) a psychoanalyst, she has long been concerned with the constraining and reductive forces of our socio-cultural environment on the construction of linguistic meaning. 28 Distinguishing between two dispositions inherent in the signifying process, the “semiotic” and the “symbolic,” Kristeva aimed from the start to demystify the articulation of subjective experience by returning language to its earliest bodily origins.