By George Hagman
“George Hagman appears anew at psychoanalytic rules approximately artwork and wonder throughout the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational platforms. In discussion with theorists akin to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so forth, Hagman brings the psychoanalytic realizing of aesthetic event into the twenty first century. He amends and extends outdated suggestions and gives a wealth of stimulating new rules in regards to the artistic technique, the suitable, good looks, ugliness, and –perhaps his most unusual contribution–the elegant. specifically welcome is his grounding of aesthetic adventure in intersubjectivity and healthiness instead of individualism and pathology. His emphasis on shape instead of the content material of an individual's aesthetic event is a stimulating new path for psychoanalytic concept of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative basic thought 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 info for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
This approach, while illuminating the hidden meanings of art, also limited the explanatory use of drive psychology in understanding aesthetic experience—a point Freud (1914b) freely admitted. In fact, he remarked on several occasions that he could not appreciate art unless he could interpret its meaning. In his paper on the Moses of Michelangelo, he wrote: I have often observed that the subject matter of works of art has a stronger attraction for me than their formal and technical qualities, though to the artist their value lies first and foremost in these latter.
Thus, the well-spring of aesthetic experience is not one specific aspect of relationship with the parent, but the whole, complex, and dynamic set of interactions in which aural tone, rhythm, temperature, touch, and gaze become associated with archaic selfobject experience that eventually functions to organize the infant’s ongoing experience of self and self-in-relation-to-world. Mother’s beauty goes beyond her physical appearance. It includes all aspects of mother/child interaction, such as rhythm of breathing, shared warmth, quality of touch, and facial responsiveness.
This space becomes the area of play—the matrix of aesthetic experience. Initially, playing involves the “marriage” of the infant’s omnipotence of intrapsychic processes to the baby’s engagement with the real. “The thing about playing is always the precariousness of the interplay of the personal psychic reality and the experience of control of actual objects” (Winnicott 1971, p. 47). ” “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.