By George Hagman
“George Hagman seems anew at psychoanalytic rules approximately artwork 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 realizing of aesthetic event into the twenty first century. He amends and extends outdated suggestions and provides a wealth of stimulating new principles in regards to the inventive strategy, the appropriate, attractiveness, ugliness, and –perhaps his most unusual contribution–the chic. specifically welcome is his grounding of aesthetic adventure in intersubjectivity and well-being 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 conception of paintings. 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 artwork and Intimacy: How the humanities started and Homo Aestheticus: the place paintings 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 suggests that aesthetic experience may be linked to early vicissitudes of Understanding Aesthetic Experience 19 sexuality and aggression that are contained and expressed through ego mechanisms having more to do with containment, regulation, and expression than defense. In this light, Fleiss did not view aesthetic experience as a defense, but rather as a normal regressive process having developmental sources in the early (nonaggressive) oral phase of the libido. He argued that aesthetic experience involves the multiple sensory modalities of interaction with the nursing mother—hand, eye, mouth, skin, and ear, all linked together in a sensory mosaic.
The mother has to go on giving the infant this type of experience. [pp. 152-153] The transitional experience becomes structured according to instinctual desire intertwined with what is actually available. This occurs during experiences of pleasure and satisfaction. The reliable recurrence of these experiences (which are shared with the mother) leads to an increasing elaboration of formal qualities within the potential space between the infant’s psyche and the object world. This space becomes the area of play—the matrix of aesthetic experience.
While object relational and self psychological theorists argue convincingly for the presence of an archaic substrate in adult aesthetics, they have not yet explored the possibility that aesthetic experience may have its own developmental line—one that is intertwined with other early childhood processes, but that can also be identified and discussed on its own terms. Aesthetic experience, as noted at the beginning of this chapter, is a basic way in which we organize and experience ourselves and our world.
Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5) by George Hagman