By George Hagman
“George Hagman seems anew at psychoanalytic rules approximately paintings and sweetness 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 on, Hagman brings the psychoanalytic realizing of aesthetic event into the twenty first century. He amends and extends outdated recommendations and gives a wealth of stimulating new principles concerning the inventive strategy, the best, good looks, ugliness, and –perhaps his most unusual contribution–the chic. in particular welcome is his grounding of aesthetic event in intersubjectivity and future health 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 concept of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative common concept 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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Extra info for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
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. Over time, the young child’s sense of attunement and fittedness with the ideal and beautiful becomes riddled with impingement and failure. Breakdowns in empathy and experiences of unresponsiveness and/or distress disrupt the child’s aesthetic experience and necessitate strategies to protect and repair the sense of self and world.
There are thus at least three main currents to the creative drive. An intrinsic joy in creating, related to what has been termed “functional” pleasure. This is perhaps the most important factor, but the one we know least about. The exhibitionistic grandiose ecstasy of being regarded as the acme of beauty and perfection and the nearly insatiable need to repeat and confirm this feeling. The need to regain a lost paradise—the original bliss of perfection— to overcome the empty feeling of self-depletion and to recover selfesteem.
That is, it considered the interpretation of the unconscious message as it is encoded in the imagery and expressed meanings of the artwork. The drive psychology model of aesthetic experience as sublimation also highlighted one of the primary functions of art—and certainly, there is an affective, even passionate, aspect of most forms of artistic expression. But Freud’s viewpoint failed to explore the crucial role of quality and form in aesthetic experience. In other words, Freud argued that the sublimating person channels instinctual drive energies through valued cultural channels, but he did not investigate the formal nature or quality of value that characterized those channels, the cultural forms themselves.