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• W757191007 abstract "I know that in writing I have to blind myself artificially in order to focus all light on one dark spot, renouncing cohesion, harmony, rhetoric and everything which call symbolic, frightened as I am by experience. (Freud 1916b, p. 45)EMPTINESSIn one of first modern attempts to live out aesthetic gesture as a form of social emancipation, William Blake worked out a historical metaphysic pivoting on antipathy to Newton's single heaping scorn on ordinary sensory world, as conceived by empiricism - windows [that] light cavern'd man Europe: a prophecy). This luminous poetical and visual project contributed to great secular romantic conception of vision, doors of (The marriage of heaven and hell) that Joyce wryly suggested you can put your five fingers through. Perhaps Joyce knew that, in that mystical tradition of thought, Newton could be rehabilitated because he conceptualized possibility of mysterious that enable interaction across a void, a good metaphor for psyche (Botella & Botella, 2005). The psyche as a vast and empty region of unknown, governed by forces of attraction and repulsion that operate in a non-existent space between imperceptible entities, was first envisaged in psychoanalytic terms by Bion (1965; 1970). Whatever its epistemological status, Bion's mysticism has helped to overturn classical Freudian model of psyche as a plenum of symbolic representations, constituted by repression, but still accessible and reparable through interpretations that undo repression. According to Bion (1970), there seems to be something happening perception and representation and repression and interpretation, a nonhuman system, O domain (p. 103), that is supersensible.The realities with which psychoanalysis deals, for example, fear, panic, love, anxiety, passion, have no sensuous background, though there is a sensuous background (respiratory rate, pain, touch, etc.) that is often identified with them and then treated, supposedly scientifically. (Bion, 1970, p. 89)This sensually baseless (1970, p. 89) realm is nevertheless psychically detectable, according to Bion, if one thinks in terms of the 'dark spot' that must be illuminated by 'blindness' (Freud, 1916, p. 69;). As previously discussed, in psychoanalysis this possibility has been explored primarily in relation to clinical phenomena that fall into that strange and prescient category invented by Freud (1920) in his exploration of death instinct, which is beyond pleasure - notably, effects of trauma, and also what are variously and conflictingly termed borderline phenomena, pre-Oedipal development, regressed states (Boyer & Giovacchini, 1990), primitive psychopathology (Caper, 1998), primitive mental states (Alhanati 2002b), and zero process (Fernando, 2010).The offertorium is, in this sense, eine andere Schauplatz another scene (Freud, 1900, pp. 535-536), a sort of social showplace of psyche, nominally within range of consensual discourse, wherein what lies pleasure principle (what cannot be represented and is therefore essentially empty in visual terms) is brought within range of sharable public pleasure; unrepresentable, unlivable, abject, traumatic, become potentially voluptuous, captivating, and beautiful.RENAISSANCE AND BAROQUEThis effect of rendering non-perceptual aspect of visuality can already be seen, paradoxically, in some of most triumphant early experiments in perspectival construction of representational space. Though Renaissance masters usually referred to traditional Christian realm of symbolic transcendence of perceptual world, they sometimes conveyed fragments of culturally unassimilable - what even visual image of abject body of Christ could not represent or satisfactorily re(as)semble. …" @default.
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• W757191007 date "2012-01-01" @default.
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• W757191007 title "Six: Limits of the Diaphane II: More Self-Portraits of the Drive" @default.
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