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Beyond the Visible (1)


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Beyond the Visible (1)

  1. 1. Beyond the Visible<br />
  2. 2. Sigmund Freud<br />Carl Jung<br />
  3. 3. Unconscious Mind (subconscious)<br />The unconscious mind can be seen as the source of night dreams and automatic thoughts (those that appear without apparent cause); the repository of memories that have been forgotten but that may nevertheless be accessible to consciousness at some later time; and the locus of implicit knowledge, i.e. all the things that we have learned so well that we do them without thinking.<br />
  4. 4. Unconscious Mind (subconscious)<br />The unconscious mind might be defined as that part of the mind which gives rise to a collection of mental phenomena that manifest in a person's mind but which the person is not aware of at the time of their occurrence. These phenomena include unconscious feelings, unconscious or automatic skills, unnoticed perceptions, unconscious thoughts, unconscious habits and automatic reactions, complexes, hidden phobias and concealed desires.<br />
  5. 5. Libido<br />According to Swiss psychiatrist<br />Carl Gustav Jung, the libido is<br />identified as psychic energy.<br /> Duality(opposition) that<br />creates the energy (or<br />libido) of the psyche, which<br />Jung asserts expresses itself<br />only through symbols: "It is<br />the energy that manifests<br />itself in the life process and is<br /> perceived subjectively as<br />striving and desire."<br />
  6. 6. Eros<br /> In Freudian psychology, Eros, also referred to in terms of libido, libidinal energy or love, is the life instinct innate in all humans. It is the desire to create life and favors productivity and construction. <br />
  7. 7. Eros<br />In the classical world, the phenomenon of love was generally understood as a kind of madness or, as the Greeks put it, theia mania ("madness from the gods"). This love passion was described through an elaborate metaphoric and mythological psychological schema involving "love's arrows" or "love darts", the source of which was often given as the mythological Eros or Cupid. <br />
  8. 8. Thanatos<br /> According to Sigmund Freud, humans have a life instinct—which he named "Eros"—and a death drive, which is commonly called (though not by Freud himself) "Thanatos". This postulated death drive allegedly compels humans to engage in risky and self-destructive acts that could lead to their own death. Behaviors such as thrill seeking, aggression, and risk taking are viewed as actions which stem from this Thanatos instinct. <br />
  9. 9. Individuation<br />Psychological process of integrating the conscious with the unconscious while still maintaining conscious autonomy.<br />
  10. 10. Individuation<br />.<br /> A process of transformation whereby the personal and collective unconscious is brought into consciousness (by means of dreams, active imagination or free association) to be assimilated into the whole personality. It is a completely natural process necessary for the integration of the psyche to take place. Individuation has a holistic healing effect on the person, both mentally and physically<br />
  11. 11. Late Medieval vs. Contemporary Psychoanalytic<br />Subconscious Mind = Promptings of God or Devil<br />
  12. 12. Late Medieval vs. Contemporary Psychoanalytic<br />Libido = Original Sin<br />
  13. 13. Visionary Art<br /> “The visionary realm embraces the entire spectrum of imaginal spaces – from heaven to hell, from the infinitude of forms to formless voids. The psychologist James Hillman calls it the imaginal realm. Poet William Blake called it the divine imagination. The aborigines call it the dreamtime; and Sufis call it alam al-mithal. To Plato, this was the realm of the ideal archetypes. The Tibetans call it the sambhogakaya – the dimension of inner richness. Theosophists refer to the astral, mental, and nirvanic planes of consciousness. Carl Jung knew this realm as the collective symbolic unconscious. Whatever we choose to call it, the visionary realm is the space we visit during dreams and altered or heightened states of consciousness.” –Alex Grey<br />
  14. 14. Hieronymous Bosch, THE TEMPTATION OF ST. ANTHONY, 1500.<br />
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  16. 16. Hieronymous Bosch, THE GARDEN OF EARTHLY DELIGHTS, 1503-4<br />
  17. 17. RossoFiorentino, Deposition.<br />
  18. 18. Tintoretto, FINDING OF THE BODY OF ST. MARK, 1548<br />
  19. 19. Tintoretto, THE REMOVAL OF THE BODY OF ST. MARK, 1548<br />
  20. 20. El Greco, AGONY IN THE GARDEN, 1595.<br />
  21. 21. El Greco,MT. SINAI, 1570-72.<br />
  22. 22. AlesandroMagnasco, PRAYING MONKS, 17-?.<br />
  23. 23. Romanticism<br />Literary, artistic, and philosophical movement that began in Europe in the 18th century and lasted roughly until the mid-19th century. In its intense focus on the individual consciousness, it was both a continuation of and a reaction against the Enlightenment. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental. <br />
  24. 24. Romanticism<br />Among its attitudes were a deepened appreciation of the beauties of nature; a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality; a preoccupation with the genius, the hero, and the exceptional figure; a new view of the artist as a supremely individual creator; an emphasis on imagination as a gateway to transcendent experience and spiritual truth; a consuming interest in folk culture, national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic. <br />
  25. 25. Anne-Louis Girodet, OSSIAN RECEIVING THE GHOSTS OF FALLEN FRENCH HEROES, 1805.<br />
  26. 26. Eugene Delacroix, THE DEATH OF SARDANAPALUS, 1827.<br />
  27. 27. Henry Fuseli, THE SHEPHERDS DREAM, 1793. <br />
  28. 28. Henry Fuseli, THE NIGHTMARE, 1802.<br />
  29. 29. The “Shadow”<br />In Jungian psychology, the shadow or "shadow aspect" is a part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. "Everyone carries a shadow," Jung wrote, "and the less it is embodied in the individual's conscious life, the blacker and denser it is.“ It maybe (in part) one's link to more primitive animal instincts, which are superseded during early childhood by the conscious mind.<br />
  30. 30. The “Shadow”<br />Jung also believed that "in spite of its function as a reservoir for human darkness—or perhaps because of this—the shadow is the seat of creativity."; so that for some, it may be, 'the dark side of his being, his sinister shadow...represents the true spirit of life as against the arid scholar.<br />
  31. 31. Pierre Paul Prud’hon<br />
  32. 32. Richard Dadd, TITANIA SLEEPING, 1841.<br />
  33. 33. Richard Dadd<br />
  34. 34. Richard Dadd, THE FAIRY FELLERS MASTER STROKE, 1855-1864.<br />
  35. 35.
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  37. 37.
  38. 38.
  39. 39. William Blake, PITY.<br />
  40. 40.
  41. 41. John Martin, MANFRED AND THE ALPINE WITCH, 1837. <br />
  42. 42. Caspar David Friedrich, TWO MEN BY THE SEA. <br />
  43. 43. Symbolism<br />A loosely organized movement that flourished in the late 1800’s and was closely related to the Symbolist movement in literature. In reaction against both Realism and Impressionism, Symbolist painters stressed art's subjective, symbolic, and decorative functions and turned to the mystical and occult in an attempt to evoke subjective states of mind by visual means. <br />
  44. 44. Gustave Moreau, THE SUITORS, 1852. <br />
  45. 45. Gustave Moreau, THE DAUGHTERS OF TESPIO, 1882/83. <br />
  46. 46. Gustave Moreau, OEDUPUS THE WAYFARER, 1888.<br />
  47. 47. Arnold Bocklin, ISLAND OF THE DEAD, 1886. <br />
  48. 48. Arnold Bocklin, ISLAND OF THE DEAD, 1883. <br />
  49. 49. Edvard Munch, MADONNA, 1894-95.<br />
  50. 50. Edvard Munch, MADONNA, 1894-95.<br />
  51. 51. Edvard Munch, PUBERTY, 1895.<br />
  52. 52. Odilin Redon<br />
  53. 53. Odilin Redon<br />
  54. 54. Odilin Redon<br />
  55. 55.
  56. 56.
  57. 57. Surrealism<br /> Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; Surrealism developed in reaction against the "rationalism" that had led to World War I. The movement was founded in 1924 by André Breton as a means of joining dream and fantasy to everyday reality to form "an absolute reality, a surreality." Drawing on the theories of Sigmund Freud, he concluded that the unconscious was the wellspring of the imagination. <br />
  58. 58. Surrealism<br /> Surrealism's major achievements were in painting. Some artists practiced organic, emblematic, or absolute Surrealism, expressing the unconscious through suggestive yet indefinite biomorphic images (e.g., Jean Arp, Max Ernst, André Masson, Joan Miró). Others created realistically painted images, removed from their context and reassembled within a paradoxical or shocking framework (Salvador Dalí, René Magritte). <br />
  59. 59. Max Ernst<br />
  60. 60. Max Ernst, THE EYE OF SILENCE, 1943-44.<br />
  61. 61. Max Ernst, DRAWING, 1942.<br />
  62. 62. Yves Tanguy, INDEFINITE DIVISIBILITY, 1942.<br />
  63. 63. Yves Tanguy, THE NEW NOMADS, 1935.<br />
  64. 64. Yves Tanguy, MULTIPLICATION OF THE ARCS, 1954.<br />
  65. 65. Dorthea Tanning<br />
  66. 66. Salvador Dali, THE GREAT MASTURBATOR, 1929.<br />
  67. 67. Salvador Dali, AUTUMN CANNIBALISM, 1936.<br />
  68. 68. Salvador Dali, SOFT CONSTRUCTION WITH BOILED BEANS, 1936.<br />
  69. 69. Salvador Dali, <br />GEOPOLITICUS CHILD WATCHING THE BIRTH OF THE NEW MAN, 1843.<br />
  70. 70. Salvador Dali, METAMORPHOSIS OF NARCISSUS, 1937.<br />
  71. 71. Salvador Dali, THE ASCENSION OF CHRIST 1958.<br />
  72. 72. Frida Kahlo, EL ABRAZO DE AMOR DEL UNIVERSO, 1949.<br />
  73. 73. Ernst Fuchs<br />
  74. 74.
  75. 75.
  76. 76. Science Fiction<br />Science fiction, a popular modern branch of prose fiction that explores the probable consequences of some improbable or impossible transformation of the basic conditions of human (or intelligent non‐human) existence. This transformation need not be brought about by a technological invention, but may involve some mutation of known biological or physical reality, e.g. time travel, extraterrestrial invasion, ecological catastrophe. Science fiction is a form of literary fantasy or romance that often draws upon earlier kinds of utopian and apocalyptic writing.<br />
  77. 77.
  78. 78.
  79. 79. Robert McCall<br />
  80. 80. Robert McCall<br />
  81. 81. Robert McCall<br />
  82. 82. Wayne Barlowe<br />
  83. 83.
  84. 84. Psychedelic Art<br />The term psychedelic is derived from the Greek words ψυχή (psyche, "soul") and δηλοῦν (deloun, "to manifest"), translating to "mind-manifesting". A psychedelic experience is characterized by the perception of aspects of one's mind previously unknown, or by the creative exuberance of the mind liberated from its ostensibly ordinary fetters.<br />
  85. 85. MatiKlarwein<br />
  86. 86. Robert Venosa<br />
  87. 87. Alex Grey<br />
  88. 88. Contemporary Visionary Art<br />InkaEssenhigh<br />
  89. 89. Gerald Davis<br />