Book: The Invisible Century: Einstein, Freud, and the Search for Hidden Universes by Richard Panek


Book: The Invisible Century: Einstein, Freud, and the Search for Hidden Universes by Richard Panek

I leafed through this book today. I like the theme, but I think the analogy of a story with two protagonists is taken a bit far. Still, looks like it could be fun. Might get it yet!

Some reviews follow.

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Transference and Tele: Section I, Transference

This is the second post while doing a close reading of Moreno’s lecture on Tele, “given by the author during his European journey, May- June, 1954.”

Note: I continue to edit these posts, they are a work in progress for now, not really be good blogging practice. If anyone comments or there are track backs, I will not change what I wrote so conversations make sense.

First Post
Transference and Tele (tag).

Quotes from the lecture, some research on Google and my detailed comments follow.

Continue reading “Transference and Tele: Section I, Transference”

Fractal Freud

Found this image while looking for Compressionism. Which is a whole ism about what Stanislav Groff called Systems of Condensed experience. I see it as something Freud named as transference – carry-over. Fractals, a pattern in one time and place resonates with a pattern in another. OK, a very brief post – a big idea.

Mona Lisa

Mona Lisa . [dead] . Now http://web.archive.org/web/20010222162001/http://studiolo.org:80/Mona/MONASV12.htm

“Most probably it was Sigmund Freud’s influential essay on Leonardo’s homosexuality and Freud’s consequential analysis of the Mona Lisa which was the direct or proximate impetus for Duchamp’s image. But, whereas Duchamp seems to imply that the picture fuses artist and sitter, male and female, Freud suggests that the Mona Lisa (specifically her smile) is a manifestation of Leonardo’s submerged memory of the birth mother from whom he was estranged at age four and who Freud theorizes expressed an unnatural affection toward her young son. In fact, Freud refutes the notion that there is a physiognomic similarity between the artist and the sitter, but goes on to suggest that the device of the smile was obviously so meaningful to the artist, using it frequently in his works of the time, it must have repressed significance. The person behind the Mona Lisa, Freud suggests, may have had such a smile, a smile that evoked long ago suppressed memories of his mother. Indeed, as Freud is quick to point out, this seems to have been a persistent theme: Vasari even noted that at the earliest age Leonardo was known for having created images of smiling women:

Let us leave the physiognomic riddle of Mona Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Mona Lisa was a portrait, we cannot assume that he has added to her face a trait of his own, so difficult to express, which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy.

“(Sigmund Freud, Leonardo da Vinci: A study in psychosexuality. tr. A.A. Brill. New York, Vintage Books, [1955] Originally published by Freud in 1910, p. 79.)”