By George Hagman
“George Hagman seems to be anew at psychoanalytic rules approximately paintings and sweetness during the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational platforms. In discussion with theorists comparable to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so forth, Hagman brings the psychoanalytic figuring out of aesthetic event into the twenty first century. He amends and extends previous strategies and provides a wealth of stimulating new rules in regards to the inventive technique, the proper, attractiveness, ugliness, and –perhaps his most unusual contribution–the elegant. particularly welcome is his grounding of aesthetic event 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 path for psychoanalytic idea of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative common thought of human aesthetic experience.” Ellen Dissanayake, writer of paintings and Intimacy: How the humanities begun and Homo Aestheticus: the place artwork Comes From and Why.
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Extra resources for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
Otto Rank (1932) discussed how this ongoing, low level of aesthetic experiences helps us endure life’s problems. When in the foreground aesthetic experience is compelling; we experience ourselves as being in the presence of great truths and vivid realities. H. B. Lee (1948) described this level of aesthetic experience as “spiritual,” noting that the object is felt to be “divinely perfect and ideal” (p. 511). Alternation between foreground and background reflects the ongoing struggle to reconcile fantasy and reality, the ideal and the real, the archaic and the mature (Kainer 1999).
However, aesthetic experience also characterizes the enjoyment of a sunny day or the more mundane beauty of an oily puddle in a city street. While aesthetic experience may be passionate, it must also evoke feelings of safety for the observer. Consistent with Kant’s viewpoint, aesthetic experience involves a balance between personal investment and emotional disinterest. In a broad sense, a person’s aesthetic is the formal dimension of the unique way in which he or she experiences, responds to, and engages the world.
The idealized object or the grandiose self is experienced as possessing in essence a perfection of form and mode of being that is beautiful; therefore, aesthetic experience forms a part of idealization. In his formulation, Kligerman speculates that the prototypical artist is someone who experienced consistent mirroring of his or her grandiosity in childhood. Inevitably, this archaic selfobject experience fails and the artist-to-be is cast out from this state of perfection. Kligerman noted: The ensuing fall from grace is followed by a passionate need to recover the original beauty and perfection and later on to present the world with a work of beauty (really the artist himself) that will evoke universal awe and admiration.
Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5) by George Hagman