By George Hagman
“George Hagman seems to be anew at psychoanalytic principles approximately paintings and sweetness throughout the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational structures. In discussion with theorists reminiscent of Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, etc, Hagman brings the psychoanalytic figuring out of aesthetic adventure into the twenty first century. He amends and extends previous techniques and gives a wealth of stimulating new rules in regards to the artistic strategy, definitely the right, attractiveness, ugliness, and –perhaps his most unique contribution–the elegant. specifically welcome is his grounding of aesthetic adventure in intersubjectivity and wellbeing and fitness instead of individualism and pathology. His emphasis on shape instead of the content material of an individual's aesthetic adventure is a stimulating new course for psychoanalytic thought of paintings. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative basic concept of human aesthetic experience.” Ellen Dissanayake, writer of paintings and Intimacy: How the humanities all started and Homo Aestheticus: the place artwork 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)
Baby and object are merged in with one another. Baby’s view of the object is subjective and the mother is oriented towards the making actual of what the baby is ready to find” (p. 47). Although the baby hovers between omnipotence and recognition of the real, when all goes well, this transition is seamless and magical. But it 34 AESTHETIC EXPERIENCE would not occur without the attunement and responsiveness of the mother, whose ministrations engage, mold, and are molded by the baby’s spontaneous gestures and desires.
The inchoate and inert reality is invested with feelings of form and value. Thus, aesthetic experience is the residua of the experience and expectation that rhythm, fittedness, colors, and sound possess meaning and a tran- 38 AESTHETIC EXPERIENCE scendent sense of value, grace, and beauty. These formal aspects of vital attunement, a state of actual or fantasized perfection, become the foundation for aesthetic experience of the social and natural world. Hence, the world becomes infused with subjectivity; these representations are not limited to visual or otherwise descriptive memories, but are in fact complex, coordinated, and generalized cognitive/affective experiential states that are felt to capture idealized qualities of self and/or world.
201] For Rose, aesthetic experience is a complex psychological activity. This includes oscillations between primary and secondary processes, as well as between fusion and separateness. He argued that in aesthetic experience, a triangulation exists between present self, the evoked memory of archaic states, and the art object. This, he felt, resonates with the basic structure of the mind itself, reflecting the mind’s imaginative activity or movement. Aesthetic experience recapitulates the mind’s fusion with and emergence from the maternal bond.
Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5) by George Hagman