By George Hagman
“George Hagman seems to be anew at psychoanalytic principles approximately paintings and sweetness during the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational structures. In discussion with theorists corresponding to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so on, Hagman brings the psychoanalytic figuring out of aesthetic adventure into the twenty first century. He amends and extends outdated recommendations and gives a wealth of stimulating new principles in regards to the inventive procedure, the proper, attractiveness, ugliness, and –perhaps his most unique contribution–the elegant. specifically welcome is his grounding of aesthetic adventure in intersubjectivity and well-being instead of individualism and pathology. His emphasis on shape instead of the content material of an individual's aesthetic adventure is a stimulating new path for psychoanalytic idea of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative common idea of human aesthetic experience.” Ellen Dissanayake, writer of artwork and Intimacy: How the humanities all started and Homo Aestheticus: the place paintings Comes From and Why.
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Extra info for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
However, given that he did elaborate on Freud’s model of aesthetic experience in several important ways, I will briefly touch on some of his points. Unlike Freud, whose reaction to art was by his own admission lukewarm at best, Fleiss viewed aesthetic experience as a passionate sublimation. For him, neutralization does not take the physicality or drive out of the libido; it merely changes its aim. This helps to explain something that Freud’s sublimation model failed to address: the frequently passionate nature of many aesthetic experiences.
First, Kant believed that the educated and sensitive man can know his own mind and be fully aware of his feelings. Second, he saw an association between the representation and the concept that is open rather than defensively motivated. , sublimation). The history of psychoanalytic aesthetics must be seen in the context of the theories promulgated by Hume and Kant and elaborated by their followers. Most important, psychoanalysis developed the notion of art and aesthetics as expression, as derivative of psychic concepts and specifically of unconscious fantasies.
That is, they possess an aesthetic quality that is formally complex, diverse, and affectively rich. It is by means of elaboration of these representations that one’s inner life, the experience of self and other, takes on a pervasive aesthetic structure. For example, the music in the vocalizations of mother and child, the sharing of warmth, the rhythmic interaction of mutual touching, the attunement of affect in facial interaction (especially lips and eyes)—these experiences singly and in concert become over time, an ongoing, internal sensibility, which in the course of development is elaborated and extended into virtually every corner of the child’s experience of the world.