This book deals with the inarticulate form elements hidden in the unconscious structure of a work of art or—what comes to the same thing — with the unconscious structure of the perception processes by which we actively create or passively enjoy these unconscious form elements. In order to become aware of inarticulate forms we have to adopt a mental attitude not dissimilar to that which the psycho-analyst must adopt when dealing with unconscious material, namely some kind of diffuse attention.
Albert Rothenberg, a psychiatrist, and Carl R. Hausman, a philosopher, have prepared a truly comprehensive interdisciplinary book of readings on creativity. This group of selections from the works of writers in psychiatry, philosophy, psychology, psychoanalysis, and education brings together, for the first time, major theoretical works, outstanding empirical findings, and discussions of the definition and nature of creativity. The organization of The Creativity Question is unique: it illustrates the various approaches and basic assumptions underlying studies of creativity throughout the course of history up to the present time. The main body of selections appears under the categories of descriptions, attempts at explanation, and alternate approaches. As specific orientations to creativity can be traced to particular initiating thinkers and investigators, there is a special chapter on seminal accounts containing selections from the works of Plato, Aristotle, Kant, Galton, and Freud. Another chapter includes recent illustrations of special types of exploratory trends: creativity of women, brain research, synectics, extrasensory perception, behaviorism, and creativity computer programming. This organization highlights the tension between strictly scientific accounts and alternative approaches offering new ways of understanding. The editors have provided for the books as a whole and for each chapter explanation and discussion of the basic issues raised by the various approaches to creativity.
The work of mid-twentieth century art theorist Anton Ehrenzweig is explored in this original and timely study. An analysis of the dynamic and invigorating intellectual influences, institutional framework and legacy of his work, Between Art Practice and Psychoanalysis reveals the context within which Ehrenzweig worked, how that influenced him and those artists with whom he worked closely. Beth Williamson looks to the writing of Melanie Klein, Marion Milner, Adrian Stokes and others to elaborate Ehrenzweig?s theory of art, a theory that extends beyond the visual arts to music. In this first full-length study on his work, including an inventory of his library, previously unexamined archival material and unseen artworks sit at the heart of a book that examines Ehrenzweig?s working relationships with important British artists such as Bridget Riley, Eduardo Paolozzi and other members of the Independent Group in London in the 1950s and 1960s. In Ehrenzweig?s second book The Hidden Order of Art (1967) his thinking on Jackson Pollock is important too. It was this book that inspired American artists Robert Smithson and Robert Morris when they deployed his concept of ?dedifferentiation?. Here Williamson offers new readings of process art c. 1970 showing how Ehrenzweig?s aesthetic retains relevance beyond the immediate post-war era.
First Published in 1988. This is Volume 5 of seven in the Musicology: A Book Series. Witnesses and Scholars, is a collection studies in musical biography. The series covers a creative range of musical topics, from historical and theoretical subjects to social and philosophical studies. Volumes thus far published show the extent of this broad spectrum. disciplinary studies, ethnomusicological works, and performance analyses. With this series, it is the aim to expand the field and definition of musical exploration and research.
There is a growing interest in what psychoanalytic theory brings to studying and researching music. Bringing together established scholars within the field, as well as emerging voices, this collection outlines and advances psychoanalytic approaches to our understanding of a range of musics—from the romantic and the modernist to the contemporary popular. Drawing on the work of Freud, Lacan, Jung, Žižek, Barthes, and others, it demonstrates the efficacy of psychoanalytic theories in fields such as music analysis, music and culture, and musical improvisation. It engages debates about both the methods through which music is understood and the situations in which it is experienced, including those of performance and listening. This collection is an invaluable resource for students, lecturers, researchers, and anyone else interested in the intersections between music, psychoanalysis, and musicology.
The Marion Milner Tradition provides a comprehensive overview of Milner’s eight-volume oeuvre for the first time, and celebrates her pioneering achievements both in psychoanalytic world and in creative and scientific disciplines such as clinical and organisational psychology, philosophy, mindfulness and spirituality, management theory, art therapy, as well as art appreciation/criticism. This volume considers Marion Blackett Milner through the prism of her innovative engagement with people, art, and human experience, as well as her extraordinary contribution as an original thinker and researcher within the Independent Group of the British Psychoanalytical Society. The co-editors’ exploratory approach to her legacy is as open as the spirit of Milnerean ‘discovery research’ in defining its distinctive features. An assembly of fifty contributors were invited to interrogate the evolution of what is becoming known as the Milner Tradition, demarcating her influence on theory and clinical practice over the many decades of her life and since her death. They draw upon their professional interviews or friendship with Marion Blackett Milner, or intimate experience of her as an analyst, supervisor, or relative. Similarly, participants in global reading groups in Australia, England, Greece, Northern Ireland, the Republic of Ireland, and South Africa recount personal responses to their own exercise in action research. The plethora of riches in this book will be of interest to both new and veteran readers of Milner’s opus, as well as students and practitioners from a variety of therapeutic and other disciplines.
A groundbreaking account of perception and art, from one of the twentieth century’s most important art historians E. H. Gombrich is widely considered to be one of the most influential art historians of the twentieth century, and Art and Illusion is generally agreed to be his most important book. Bridging science and the humanities, this classic work examines the history and psychology of pictorial representation in light of modern theories of information and learning in visual perception. Searching for a rational explanation of the changing styles of art, Gombrich reexamines ideas about the imitation of nature and the function of tradition. In testing his arguments, he ranges over the history of art, from the ancient Greeks, Leonardo, and Rembrandt to the impressionists and the cubists. But the triumphant originality of Art and Illusion is that Gombrich is less concerned with the artists than with the psychological experience of the viewers of their work. Please note: All images in this ebook are presented in black and white and have been reduced in size.
