By George Hagman
“George Hagman appears anew at psychoanalytic principles approximately artwork and wonder during the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational structures. In discussion with theorists similar to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so forth, Hagman brings the psychoanalytic realizing of aesthetic adventure into the twenty first century. He amends and extends outdated thoughts and gives a wealth of stimulating new rules in regards to the inventive procedure, the best, good looks, ugliness, and –perhaps his most unusual contribution–the chic. specially welcome is his grounding of aesthetic event in intersubjectivity and future health 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 thought of paintings. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative common concept of human aesthetic experience.” Ellen Dissanayake, writer of artwork and Intimacy: How the humanities begun and Homo Aestheticus: the place paintings Comes From and Why.
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Extra info for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)
The aesthetic dimension of early experience (what the cultural anthropologist Dissanayake  referred to as protoaesthetic experience) is imbued with the quality of the parent/infant interaction. In their recent summation of years of empirical reporting, Beebe and Lachmann (2002) elaborated on a model of self- and object representations that emphasized their relational nature: The Development of Aesthetic Experience 35 Representations are more or less persistent, organized classifications of information about an expected interactive sequence.
The drive psychology model of aesthetic experience as sublimation also highlighted one of the primary functions of art—and certainly, there is an affective, even passionate, aspect of most forms of artistic expression. But Freud’s viewpoint failed to explore the crucial role of quality and form in aesthetic experience. In other words, Freud argued that the sublimating person channels instinctual drive energies through valued cultural channels, but he did not investigate the formal nature or quality of value that characterized those channels, the cultural forms themselves.
This is the source of dance, ritual, and other communal arts. The intense pleasure of play results from the idealized experience of responsiveness and attunement. The two people conjure up an elaborate structure of sound, affect, gesture, and meaning that is vitalizing and that can be repeated over and over, often increasingly elaborated and enriched through dialogue. The aesthetic dimension of early experience (what the cultural anthropologist Dissanayake  referred to as protoaesthetic experience) is imbued with the quality of the parent/infant interaction.
Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5) by George Hagman