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large (Blum 2011, Chessick 2001, Wilson 2003, Baudry 1984, Papiasvili 2020), Gilbert Rose (1964, 1987, 1990, 1991, 2004) exemplifies a particular elaboration and extension of Hartmann’s (1939/1958, 1946) formulations of undifferentiated phase, primary and secondary autonomy, and neutralization as a continuing process in the ego as an open system and an organ of (creative) adaptation. Focusing on the form rather than the content, and building on the assumption that different ego functions work at varying degrees of closeness to the primary process , and that there are transitions of shading between primary and secondary processes, Rosen emphasizes the continuum between primary and secondary processes, interacting on all levels, not sharply distinguishable, and imparting qualities of both passion and spontaneity on one hand, and control on the other. While “the secondary process separates, discriminates, focuses and says ‘no’ in order to protect the organism against overstimulation, the primary process does wide- ranging, undirected scanning, synchronizes disparate elements in order to increase the receptivity towards stimuli and saying ‘yes.’” (Rosen 1990, p. 73). This is less a matter of conflict between antithetical drives than it is a matter of the ego in its moment-by- moment functioning and harmonizing the dual nature of perception. One important implication of this theoretical shift is that sublimation could advance from the constricted view of being yet another ego defense, albeit with redeeming social value , to being a significant means of promoting ego strength and expanding the appreciation of reality. Rosen’s view concurs with Israeli analyst Pincas Noy , who also stresses that sublimation facilitates the interplay between primary imaginative processes and secondary process knowledge of reality ; here, the primary process tendency for immediate discharge is delayed , while the primary process modes of organization are exposed to objectification and feedback from the secondary process (Noy, 1969, Rosen 1990). Sublimation thus makes it possible for the ambiguity of the primary process to be contained within the problem-solving framework of the secondary process. Elsewhere, Rosen (1963, p. 783) draws on Andrew Peto ’s (1958) earlier formulations of deep regressive fusion of thermal, tactile, vestibular, and the kinesthetic sensations as the earliest pre-symbolic representations of the undifferentiated body image. Rosen sees them as evolving into autonomous spheres of the ego, and hypothesizes that archaic thought is based not only on a projection of the body image but that it is an oscillating body image in and through which the archaic ego operates to grasp the world. At first reflecting the ups and downs of the mother-child relationship, these proto-patterns of body-image sensations develop into thought symbols rich in affective coloring. With further structuralization of the ego and increasing neutralization this development ends in the formulation of concepts devoid of emotional overlay. Extending this thinking into the creative work of an artist, he states: “The hand of the artist may continue the old mouth-hand and body-ego integration by carrying sexual and aggressive energy to the canvas as in infancy it carried it from the mouth to the skin. The canvas may sometimes represent the skin” (Rose 1963, p. 787-788).
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