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  1. The Dissolution of the Ego in Freud's Resolution of the Uncanny.Donovan Miyasaki - manuscript
    Freud’s discussion of uncanny [unheimlich] experiences focuses on their peculiar ambivalence. On his view, the uncanny is a paradoxical feeling of both familiarity and alienation. While Freud’s analysis of this paradoxical feeling does succeed in explaining it away, it does little to explain it. One might expect a psychoanalytical demystification of the real experience that is hidden behind the superstitious overtones of uncanny experiences. Instead, the uncanny is attributed rather anti- climactically to the combination of a previous superstition (maintained unconsciously) (...)
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  2. Simon J. Evnine (Ed.) "A Certain Gesture: Evnine’s Meme Project and its Parerga! Volume 1.". [REVIEW]Nicholas Wiltsher - 2024 - Philosophy in Review 44 (1):22-25.
    An enthusiastic review of Simon J. Evnine (Ed.) "A Certain Gesture: Evnine’s Meme Project and its Parerga! Volume 1.".
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  3. De l’évasion.Jack Kahn - 2023 - Crashroom.Ooo 1 (1). Translated by Camille Cornu.
    En 1959, la revue Scientific American publie l’une des premières études consacrées à des œuvres d’art réalisées par une personne explicitement décrite comme « autiste » : un dénommé Joey[1]. L’auteur de cette étude de cas, Bruno Bettelheim, s’est avéré par la suite être un charlatan, sa pratique a été discréditée et aujourd’hui, ses méthodes sont généralement – et à juste titre – considérées comme abusives. Néanmoins, son travail a joué un rôle important dans la création du débat autour de (...)
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  4. Prosthetic Godhood and Lacan’s Alethosphere: The Psychoanalytic Significance of the Interplay of Randomness and Structure in Generative Art.Rayan Magon - 2023 - 26Th Generative Art Conference.
    Psychoanalysis, particularly as articulated by figures like Freud and Lacan, highlights the inherent division within the human subject—a schism between the conscious and unconscious mind. It could be said that this suggests that such an internal division becomes amplified in the context of generative art, where technology and algorithms are used to generate artistic expressions that are meant to emerge from the depths of the unconscious. Here, we encounter the tension between the conscious artist and the generative process itself, which (...)
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  5. Quinhonk: Photography & Photographic Installations.Yang Immanuel Pachankis - 2022 - USA: Independently published.
    The hardcover version of the book Astrophotography: Concepts and Flows focuses only on the semiotics of art other than any technicalities covered in the Kindle eBook and paperback versions. With the arrangements in the concept of art and nuclear chemistry in its ecological terms conveyed in the meanings in art, the book is a selected series of the artworks in the photographic and installation art.
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  6. Cybersujetos: Reading Border Subjects across Mediums.Salvador Herrera - 2021 - Intertexts 25 (1-2):101-130.
    This article develops a theory of border subjectivity that considers the cybernetic role of narrative structures and mediation in political advocacy aimed at dreamers and DACA recipients. "Cybersujetos” are border subjects who are racialized by cybernetic systems and media narratives, but can resist control by repurposing cultural technologies. In assessing the limitations of journalism, literature, and film as outlets for political advocacy, this article finds that remediated representations of undocumented youth that attempt to expand their political agency can further alienate (...)
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  7. Foreign Food, Foreign Flesh: Apathetic Anthropophagy and Racial Melancholia in Houellebecq’s Submission.Luke F. Johnson - 2020 - Substance 49 (1):25-40.
    This article explores the cannibalistic dimensions of racial disgust and desire in Michel Houellebecq’s Submission. Situated within broader discourses of French déclinisme, Submis- sion offers a melancholic portrait of white nostalgia. Through the tastes and consumptive practices of his characters, Houellebecq depicts white identification as dependent on an ambivalent relationship to corporeal difference. Paying close attention to the mouth’s dual function as a site of ontological triage (sorting out the human from the non-human, the edible from the inedible) and ontological (...)
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  8. On one case of condensation.Andrej Poleev - 2020 - Enzymes 18.
  9. Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
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  10. Individualidad y mortalidad en la filosofía de la pintura de retratos: Simmel, Rousseau y Melanie Klein.Byron Davies - 2018 - Contrastes: Revista Internacional de Filosofía 23 (3).
    Este artículo explora ciertas conexiones entre la representación de la mortalidad en el retrato y el tratamiento filosófico de nuestra necesidad de ser reconocidos por los demás. En primer lugar, se examina la conexión que establece Georg Simmel en su estudio filosófico sobre Rembrandt entre la capacidad del artista para representar en sus retratos individuos irrepetibles, y su capacidad para capturar la finitud de los mismos en tanto que seres mortales. Tras señalar que ninguna de las explicaciones de Simmel sobre (...)
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  11. Individuality and Mortality in the Philosophy of Portrait Painting: Simmel, Rousseau, and Melanie Klein.Byron Davies - 2018 - Contrastes: Revista Internacional de Filosofía 23 (3):27-52.
    This paper explores some connections between depictions of mortality in portrait-painting and philosophical (and psychoanalytic) treatments of our need to be recognized by others. I begin by examining the connection that Georg Simmel makes in his philosophical study of Rembrandt between that artist’s capacity for depicting his portrait subjects as non-repeatable individuals and his depicting them as mortal, or such as to die. After noting that none of Simmel’s explanations of the tragic character of Rembrandt’s portrait subjects seems fully satisfactory, (...)
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  12. On Not Explaining Anything Away.Eran Guter & Craig Fox - 2018 - In Gabriele M. Mras, Paul Weingartner & Bernhard Ritter (eds.), Philosophy of Logic and Mathematics, Contributions to the 41st International Wittgenstein Symposium. Kirchberg am Wechsel, Austria: Austrian Ludwig Wittgenstein Society. pp. 52-54.
    In this paper we explain Wittgenstein’s claim in a 1933 lecture that “aesthetics like psychoanalysis doesn’t explain anything away.” The discussions of aesthetics are distinctive: Wittgenstein gives a positive account of the relationship between aesthetics and psychoanalysis, as contrasted with psychology. And we follow not only his distinction between cause and reason, but also between hypothesis and representation, along with his use of the notion of ideals as facilitators of aesthetic discourse. We conclude that aesthetics, like psychoanalysis, preserves the verifying (...)
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  13. On Evasion.Jack Kahn - 2018 - ART PAPERS 43 (4):29-32.
    The artwork from Bruno Bettelheim's Empty Fortress supplies a model of resistance to depiction. Little Joey, an autistic patient whose identity was likely forged, is a political agent despite evading representation. By doing so, he contests for authorship of "autistic identity" decades before the neurodiversity movement began.
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  14. Masks and Monsters: On the Transformative Power of Art.Marina Marren - 2018 - Pli 29:102-112.
    Drawing on texts in psychology, philosophy, and literature the paper argues that art avails us of a distance from ourselves. Art has a potential to change our perspective on monstrosity and to make us question our moral categories and presuppositions. The study focuses on a single painting by Paul Gavarni, Two Pierrots Looking into a Box (1852), which I have discovered holds two images in one representation. I turn to Gavarni's work in order to prompt a literal gestalt shift in (...)
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  15. Processing of a Subliminal Rebus during Sleep: Idiosyncratic Primary versus Secondary Process Associations upon Awakening from REM- versus Non-REM-Sleep.Jana Steinig, Ariane Bazan, Svenja Happe, Sarah Antonetti & Howard Shevrin - 2017 - Frontiers in Psychology 8.
    Primary and secondary processes are the foundational axes of the Freudian mental apparatus: one horizontally as a tendency to associate, the primary process, and one vertically as the ability for perspective taking, the secondary process. Primary process mentation is not only supposed to be dominant in the unconscious but also, for example, in dreams. The present study tests the hypothesis that the mental activity during REM-sleep has more characteristics of the primary process, while during non-REM-sleep more secondary process operations take (...)
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  16. The Shadow of the Sickness Unto Death.Frank Scalambrino - 2016 - In Kevin S. Decker, David R. Koepsell & Robert Arp (eds.), Breaking Bad and Philosophy. New York, NY, USA: pp. 47-62.
    This chapter philosophically examines the transformation of “Walter White” into “Heisenberg,” as depicted in the television series Breaking Bad, in terms of Søren Kierkegaard’s “stages of life” and Carl Jung’s “process of individuation.” Though Walt’s transformation is an oft-discussed topic regarding Breaking Bad, there has yet to appear in the philosophical literature an examination of this transformation in terms of Kierkegaard and Jung. Such an examination is important since it also addresses a number of the questions regarding the shift in (...)
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  17. Kant's apathology of compassion.Wolfram Bergande - 2014 - In Louis Schreel (ed.), Schreel, Louis (Ed.): Pathology & Aesthetics. Essays on the Pathological in Kant and Contemporary Aesthetics. Duesseldorf, Germany: Duesseldorf University Press. pp. 11-47.
    In his critical and his later work, Kant recommends apathy to the moral agent faced with pathological phenomena. Notoriously, Kant even rejects compassion (Mitleiden) as pathological. A deconstruction of Kant's 'apathology', i.e. of his systematic treatment of compassion, reveals disgust as quasi-transcendental affect at the roots of the moral agent's apathy.
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  18. Psychoanalytic aesthetics: an introduction to the British school.Nicky Glover - 2009 - London: Published for the Harris Meltzer Trust by Karnac.
    'This is a book to which the attention of students of art theory and criticism, and all those interested in the important application of psychoanalysis to other ...
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  19. Reviews : Leo Bersani, The Freudian Body: Psychoanalysis and Art, New York: Columbia University Press, 1986, £15.45, 126 pp. [REVIEW]Toril Moi - 1988 - History of the Human Sciences 1 (2):276-279.
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