By George Hagman
“George Hagman appears anew at psychoanalytic principles approximately paintings and sweetness during the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational platforms. In discussion with theorists comparable to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so on, Hagman brings the psychoanalytic knowing of aesthetic adventure into the twenty first century. He amends and extends previous techniques and gives a wealth of stimulating new principles concerning the inventive method, definitely the right, attractiveness, ugliness, and –perhaps his most unique contribution–the elegant. in particular welcome is his grounding of aesthetic adventure in intersubjectivity and future health instead of individualism and pathology. His emphasis on shape instead of the content material of an individual's aesthetic event is a stimulating new course for psychoanalytic conception of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative basic conception of human aesthetic experience.” Ellen Dissanayake, writer of paintings and Intimacy: How the humanities started and Homo Aestheticus: the place artwork Comes From and Why.
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Additional resources for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
This helps to explain something that Freud’s sublimation model failed to address: the frequently passionate nature of many aesthetic experiences. Although art is never equivalent to actual coital discharge, some successful and aesthetically perfect forms of beauty are frankly erotic and/or aggressive. Therefore, Fleiss proposes that art as sublimation allows for a form of discharge regulation in which drive is channeled rather than simply disguised. This suggests that aesthetic experience may be linked to early vicissitudes of Understanding Aesthetic Experience 19 sexuality and aggression that are contained and expressed through ego mechanisms having more to do with containment, regulation, and expression than defense.
Implicit processing, such as motoric or imagistic schemas, may under certain circumstances be inaccessible to attention or language, but may nevertheless continue to operate and affect how we act and feel. [p. 149] These implicit, procedural relational representations have form, sequence, rhythm, tone, and color. 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.
98). They pointed out that there is an enormous degree of modulation and subtlety in facial interactions, which influence the internal representations of time, space, affect, and arousal. The experience of engagement with the parent’s face is a primary source of affectively charged, formal organization in which space, rhythm, sound, color, and responsivity all come together into a powerful, engrossing, and recurring aesthetic experience. 36 AESTHETIC EXPERIENCE In his discussion of Natkin’s Face Paintings, art critic Peter Fuller (1988) described aesthetic form as an experience of interaction with the ideal, responsive face of the actual and/or fantasized mother: Here, one suspects, is the mother’s face (and not only he [the subject]) would have liked to have stared: this is the ideal of that which he was denied, or which he perceived only in glimpses, a face suffused with subtle tenderness, apperceived more than perceived, a face whose features are, in one sense, bound, yet in another fluid and mobile, a face that can transform itself infinitely in response to our gaze, which certainly has a skin which separates it from us but which, in the next moment, can engulf and enfold us into itself.