3LSZVJA9Wed, Jan 9, 2008 In the paleolithic, clans of hunters, collectors, hardcore survivors, had painters.
Painters were skilled, they needed to have time to practice.
Animals were represented with great detail, they even showed movement, not like in the signs and symbols of the agriculturists of the neolithic.
They would always paint on the same spot of the cave, the drawings usually overlapped, it wasn't decorative.
There wasn't a difference between art and magic, of course.
The spear stung in the back of the beast was painted last.
They seem to have developed their techniques continuously for centuries, whatever it was they were doing with them, it must have been working.
Freud was an artist.
Some recent neuroscientific experiments support the idea that many of the most important unconscious functions described by Sigmund Freud are actually pure conscience,
that without conscience of the control stimuli, control cannot be exerted at all.
There's a thesis that, in front of Freud's mistake, defends the idea that he didn't discovered the unconscious; but probably invented it.
The Freudian unconscious is considered a fiction of Freud's conscience.
And a fundamental property, not of our unconscious but of our conscience, is our necessity of inventing mental fictions to be able to exist.
The Freudian unconscious exists as a fictional belief that allows our consciousness to find meaning to the events of our psychic life.
Even though they are fictitious, this conscious interpretative constructions still guide our actions, and end up acting on our reality.
Freudian psychoanalysis is the first serious attempt at understanding this mental fictions, and the first to recognize their vital importance to our existence.
These theorized affirmations about the nature of our psyche (and in particular of our unconscious) are also fictitious,
nevertheless, the specific mechanisms that they activate act directly from the interior of the subject and adequately to its psychic economy.
In the paleolithic, clans of hunters, collectors, hardcore survivors, had painters.
Painters were skilled, they needed to have time to practice.
Animals were represented with great detail, they even showed movement, not like in the signs and symbols of the agriculturists of the neolithic.
They would always paint on the same spot of the cave, the drawings usually overlapped, it wasn't decorative.
There wasn't a difference between art and magic, of course.
The spear stung in the back of the beast was painted last.
They seem to have developed their techniques continuously for centuries, whatever it was they were doing with them, it must have been working.
Freud was an artist.
Some recent neuroscientific experiments support the idea that many of the most important unconscious functions described by Sigmund Freud are actually pure conscience,
that without conscience of the control stimuli, control cannot be exerted at all.
There's a thesis that, in front of Freud's mistake, defends the idea that he didn't discovered the unconscious; but probably invented it.
The Freudian unconscious is considered a fiction of Freud's conscience.
And a fundamental property, not of our unconscious but of our conscience, is our necessity of inventing mental fictions to be able to exist.
The Freudian unconscious exists as a fictional belief that allows our consciousness to find meaning to the events of our psychic life.
Even though they are fictitious, this conscious interpretative constructions still guide our actions, and end up acting on our reality.
Freudian psychoanalysis is the first serious attempt at understanding this mental fictions, and the first to recognize their vital importance to our existence.
These theorized affirmations about the nature of our psyche (and in particular of our unconscious) are also fictitious,
nevertheless, the specific mechanisms that they activate act directly from the interior of the subject and adequately to its psychic economy.
That's how powerful art can be.