Back to Table of Contents
II. Ea. Introduction of the Vertex of Complexity In order to expand his proposition of such complex object Bion located psychoanalysis amongst the fields of art and mathematics. His intention was dealing with observations of an ever-changing subject, which requires a new way of thinking. That means to use many vertices at the same time, like in a non-Euclidian space. The relationship between art, psychoanalysis, and mathematics is an example of Complexity. Briefly speaking, Bion creates a bridge between different disciplines in a space that does not belong to any of them. This bridge creates a flow of imaginative thoughts facing the scientific knots, the uncertainty of ideas, the contradictions of logics, aiming to generate a permanent tension while searching for knowledge (K link), which may be coherent with the incompleteness of psychoanalytic investigation. Bion´s example of the painting of Monet at the beginning of “Transformations”, and subsequently in his 1968 Buenos Aires seminar (Bion 1968), and its contemporary reproduction and elaborations (Aguayo, Pistiner de Cortinas and Regeczkey 2018), invites the reader to participate in the observational model used by impressionist painters: “...if we take a famous painting, let’s take, for example, a famous impressionist painting by Monet, we admire and take a picture of it and then we know K. That is, we know that the picture portrays some poppies in a field and a few houses in the distance, and we can appreciate the paths that lead us to them. …” (Aguayo, Pistiner de Cortinas and Regeczkey 2018, p. 44). The impressionist painters, vividly influenced by the scientific information that the eye blends the colors, painted the images placing brush strokes of colors in a way that the eye could mix them. If the observer stays in a ‘good enough distance’, he/she will ‘see with his/her emotions’ the image (experience the emotional impact of the image). However, if one gets too close to the painting one will be seeing just a blur; in case one gets too far, the emotional impact of the image will be absent or very weak. The same applies to the analyst in the process of “painting” the patient by virtue of an interpretation. The general idea found in art is the different kind of look that a painter (or a psychoanalyst) can have, while using invariants that may be (or not) recognized by the observers. “The painter by virtue of his artistic capacity is able to transform a landscape (realization) into a painting (the representation). He does so by virtue of invariants that makes this representation comprehensible” (Bion * 1965, p.5). The main issue is the painter’s capacity to create an interpretation of reality using invariants and variables. Where does this capacity come from? Bion named this origin by the sign “O” (Bion* 1965, p. 15). In this context, Chuster conceives of “O”‘s initial meaning as “ontos”, as in ontology (i.e., nature of existence, being). The concept of “O” is an expansion of the previous and basic concept of pre-conception (1962a) seeking a realization to give birth to a conception. The main proposition of such model is to change, at least for some moments, our way of thinking of the classical psychoanalytical concepts such as the concepts of unconscious, resistance, repetition, drives and so forth.
924
Made with FlippingBook - professional solution for displaying marketing and sales documents online