#psychoanalysis

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by Sigmund Freud

What’s it about?

A Viennese cocaine addict blames everything on repressed childhood sexual trauma.

This is non-fiction?

Yes. This is the book that invented psychoanalysis, thereby rescuing countless women (and a few men) from being locked away in insane asylums whose priority was not treatment, but containment. There is no doubt, however that Freud’s initial conceptionion is deeply flawed. 

I have heard about his theories on, er, inter-familial sexual tension.

He genuinely, however incorrectly, believed that the root of everyone’s neuroses was the unresolved Oedipus complex.  Although, if you’ve read Game of Thrones and you can’t process the idea of family members being sexually attracted to each other, you should present yourself to the relevant authorities at first light.

So he got it wrong?

As with many pioneering geniuses, the reason this book is so important isn’t because he came up with all the correct answers, but because he asked the right questions, questions that no one had thought of before, and which would change our understanding of what it means to be stressed, what it means to suffer from mental illness or a behavioural disorder, and even what it means to have a consciousness at all.

What should I say to make people think I’ve read it?

“Sometimes a cigar is just a cigar.”

What should I avoid saying when trying to convince people I’ve read it?

“Psychotherapy is for the weak-minded.”

Should I actually read it?

Maybe not. Although revolutionary at the time, most of its inquiries have become such an integral part of our fundamental assumptions about the human mind that this book can seem almost quaint.

After years of hard work the anxiety depicted here is no longer a permanent fixture. “The greatest w

After years of hard work the anxiety depicted here is no longer a permanent fixture. “The greatest weapon against stress is the ability to choose one thought over another.”⠀⠀
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. #inkdrawing #artoftheday #commission #quoteoftheday #mentalhealth #mentalhealthawareness #anxiety #therapy #psychoanalysis #psychoanalysis_art


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I love this meme so much I put it on a CD-rom

I love this meme so much I put it on a CD-rom


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Literal, por eso la gente todavía cree Reality is suffering, ignorance is a bliss.

macrolit:

“I am astonished, disappointed, pleased with myself. I am distressed, depressed, rapturous. I am all these things at once, and cannot add up the sum. I am incapable of determining ultimate worth or worthlessness; I have no judgment about myself and my life. There is nothing I am quite sure about. I have no definite convictions - not about anything, really. I know only that I was born and exist, and it seems to me that I have been carried along. I exist on the foundation of something I do not know.”

Carl Jung

“So it’s not me you believe in, put trust in; it’s love.” She looked at him. “Not just me; any man”

“Yes. It’s love. They say love dies between two people. That’s wrong. It doesn’t die. It just leaves you, goes away, if you are not good enough, worthy enough. It doesn’t die; you’re the one that dies. It’s like the ocean: if you’re no good, if you begin to make a bad smell in it, it just spews you up somewhere to die. You die anyway, but I had rather drown in the ocean than be urped onto a strip of dead beach and be dried away by the sun into a little foul smear with no name to it, just This Was for an epitaph. Get up. I told the man we would move in today.”

–Faulkner, The Wild Palms

Another evil is of the day, and would that it were sufficient unto it. We repair the daily deteriorations of the body by eating and drinking, until the day when You will destroy both the belly and the meats, for you will kill our emptiness with a marvellous fullness, and You will clothe this corruptible with eternal incorruption.

But for the present time the necessity is sweet to me, and I fight against that sweetness lest I be taken captive by it. […] This You taught me, that I should learn to take my food as a kind of medicine. But while I am passing from the pain of hunger to the satisfaction of sufficiency, in that very passage the snare of concupiscence lies in wait for me. For the passage is itself a pleasure, yet there is no other way to achieve sufficiency than that which necessity forces us to travel.

–Augustine, Confessions, Book 10

Demand - Need = Desire

Halten wir uns zur Kennzeichnung des Unterschiedes an den letzteren Typus, so dürfen wir sagen, der Analysierte erinnereüberhaupt nichts von dem Vergessenen und Verdrängten, sondern er agierees. Er reproduziert es nicht als Erinnerung, sondern als Tat, er wiederholtes, ohne natürlich zu wissen, daß er es wiederholt.

Zum Beispiel: Der Analysierte erzählt nicht, er erinnere sich, daß er trotzig und ungläubig gegen die Autorität der Eltern gewesen sei, sondern er benimmt sich in solcher Weise gegen den Arzt. Er erinnert nicht, daß er in seiner infantilen Sexualforschung rat- und hilflos steckengeblieben ist, sondern er bringt einen Haufen verworrener Träume und Einfälle vor, jammert, daß ihm nichts gelinge, und stellt es als sein Schicksal hin, niemals eine Unternehmung zu Ende zu führen. Er erinnert nicht, daß er sich gewisser Sexualbetätigungen intensiv geschämt und ihre Entdeckung gefürchtet hat, sondern er zeigt, daß er sich der Behandlung schämt, der er sich jetzt unterzogen hat, und sucht diese vor allen geheimzuhalten usw.


– Freud, Erinnern, Wiederholen, Durcharbeiten.


This is such a hilarious (and transparent) apologia for the projection of Freud’s own neuroses that it’s amazing it isn’t more discrediting. Fiat theoria, et pereat veritas!

It must be understood that each individual, through the combined operation of his innate disposition and the influences brought to bear on him during his early years, has acquired a specific method of his own in his conduct of his erotic life – that is, in the preconditions to falling in love which he lays down, in the instincts he satisfies and the aims he sets himself in the course of it. This produces what might be described as a stereotype plate [ein Klischee] (or several such), which is constantly repeated – constantly reprinted afresh – in the course of the person’s life, so far as external circumstances and the nature of the love-objects accessible to him permit.

–Freud, The Dynamics of Transference

The claim that repression cannot succeed – and consequently that we are not free to create our own past – seems to me to rest finally on faith in the justice of the universe. What we gain in repressing what we do not want to remember we have to pay for via the subterranean poisoning of other aspects of our life. But there seems to be all too much evidence that such faith is unfounded.

– Coetzee, The Good Story

The implied equation between being “talented professionals” and having “souls” is a telling expression of current literary attitudes. People’s souls are more likely to be found in the ways they betray each other, their modes of love and hate, than on their résumés. Authorial image management now seeps into the writing of fiction itself. The more readers (and critics) are content to conflate alter egos with authors, the more authors are tempted to idealize their fictional selves: confessional literature cedes the field to the autofiction of self-flattery. Characters in middlebrow melodramas are fine-tuned to avoid the ruffling of sensitivities. Elsewhere villains and victims are flattened so that the readers of contemporary gothic narratives can easily tell them apart. A pseudopolitical moralizing about these issues has crept into more and more of our criticism, and prizes are bestowed on maudlin therapeutic narratives of abuse and recovery. (See last year’s Booker winner Shuggie Bain.) Roth was rarely maudlin, and however much his characters indulged in therapy (analysis, as it was called back then), it never worked.

– Christian Lorentzen, whose output led him to be described as “two of the five best book critics we currently have”

Recently I’ve been reading King Warrior Magician Lover by Robert Moore and Douglas Gilette, a book about the four archetypes of the mature masculine, for writing and personal reasons. I felt the need to put it into practice by comparing the archetypes to characters I like and analysing them appropriately.

I want to start off with taking a look at the Warrior archetype of the masculine psyche since the Warrior (and its bipolar shadow counterparts) are by far the most troublesome. This, when applied in an imbalanced and immature way, is the abusive boyfriend, the ruthless boss, the rapist, the schoolyard bully, the genocidal maniac, the sadistic war criminal; all the roles that violent men (emphasis on the men) seem to adhere to.

At first glance, and for good reason, the Warrior is the most problematic archetype of the four. But, despite this negative representation, the Warrior can be used in a positive and effective way when present in a mature masculine psyche. So why not analyse the Warrior within the protagonist of one of my favourite FPS protagonists, the testosterone-fueled demon hater Doom Guy (aka Doom Slayer).

I will primarily be using his current incarnation as the Doom Slayer from Doom 2016 and Doom Eternal (and subsequent Ancient Gods DLC) as new game technology showcases his character a bit better than the old sprite work of old. I will still refer to those past games, however, as details there are still important (Doom, Doom II). I’ll also throw in some reference to the 1995 Doom Novels because they’re a bunch of fun.

Doom Guy is a powerhouse. The definition of a power fantasy. His representation as Warrior is pushed to the extreme to the point of becoming a force of nature. For that reason he is considerably simplistic in character. Like [true-to-form] Superman, who purely exists to use his abilities to help those in need, Doom Guy exists for one single purpose: to kill demons.

This seemingly one-dimensional agenda against all things hell-related is a totality of his character; we barely know anything else about him. We don’t know his name, his place of birth, whether he had a family. All we know is that as long as Hell exists, he will. His current form as the Doom Slayer exemplifies this where he is essentially a god that suddenly appears during times of demonic activity; a mythic figure personified by violence. Violence itself is often deemed a negative aspect of humanity, and yet Doom Guy is undoubtedly beloved by gamers everywhere, especially with men (myself included).

The Warrior is an archetype that is based in action. It doesn’t think because, as Moore and Gilette put it, “thinking too much can lead to doubt, and doubt to hesitation, and hesitation to inaction”. Because of this focus on action, the Warrior shines when it comes to motivation, commitment, and  progression; the worker who climbs the corporate ladder, the student who gets the straight A’s, the artist who masters their craft.

But the Warrior is impersonal. It’s focus on ‘getting it done’ leaves little room for anything outside of a goal, let it be personal relationships and needs or the feelings of others. We see this in high-achievers who seem to have little room for anything else outside of work. In it’s negative aspect, a Warrior will bring harm and isolate not only its friends and family, but it will also eventually break itself down, inflicting personal harm. The “burn out” that many high-achievers experience is a result of this unmitigated Warrior aspect.

For this reason, the Warrior shines best under the guidance from the other archetypes of the mature masculine. A Warrior King dynamic within a man can create strong leaders who care for the prosperity of their workplace and imbue courage into their peers. A Warrior Magician dynamic creates the scholars and scientists who are able to turn their ideas into reality. The Warrior Lover dynamic returns compassion and relatedness to the Warrior’s drive to success and duty, creating the advocates for justice and harmony.

An example of a character who properly embodies all four archetypes would be Aragorn from The Lord of the Rings. This is a man who fights orcs with sheer ferocity, naturally becoming a leader and giving wise council to his peers, yet he sings and writes poetry and is not afraid to openly cry when a member of the fellowship falls (not to mention his complete mutual respect for the women in his life).

Anyway, let’s get back to Doom Guy. To say he is a man of inaction is deplorable. Every thing he does has forward momentum, ripping through every demon he sees until he reaches his goal. He is violent, merciless, and most definitely very very angry. And yet his violence isn’t driven by blind rage, it seems, a quality that would make Doom Guy a messy and uncoordinated little ogre like Marvel’s Hulk. What’s made clear through character cues and actions during 2016 and Eternal’s cutscenes is that he very much has control over this rage and uses it only when it is required and necessary.

Doom Guy is a destroyer, something that Moore and Gilette attribute to the Warrior. But in a positive aspect a Warrior destroys only what needs to be destroyed – evil, corruption, tyranny, oppression, injustice – in order to build a better world. It goes without saying that Doom Guy, despite everything that could lead him to becoming a villain, is a good man.

In the 1995 Doom Novels it tells of how Doom Guy assaulted a senior officer when ordered to fire upon citizens (the canon of these novels is debatable but they add to the Doom Mythos anyway). This man clearly has morals. He is not shredding up people with shotguns and chainsaws, he is killing demons and only demons. He is a Warrior that fights for others, not for himself, a defining feature that separates the true Warrior from the Shadow Warrior (the Sadist/Masochist).

This is turning into more of a Doom Guy character study more than anything but hey let’s just go with it. Doom Guy is undoubtedly ruled by the Warrior archetype, but what deepens his character is his relationship to the King, Magician, and Lover archetypes.

The Magician seems to be the closest to his ruling Warrior. As described earlier, Doom Guy isn’t a mindless brute. He is intelligent, tactical, and most importantly rational (in his own Doom Guy way). The Magician is often the “bullshit detector” in the psyche. It observes and assesses what is truth and what is lie, what is good intention and what is bad intention. The Magician also attains mastery of his tools, attaining knowledge that only he knows.

Doom Guy has a “bullshit detector” and this is most evident in 2016 and Eternal. The very opening sequence of 2016 has a cheeky moment where, after he awakens from his sarcophagus and dons his praetor suit, he reaches for a screen and assesses a status report on the security system, immediately learning of the demonic presence. Dr. Samuel Hayden, the head of the facility, then communicates to him in diplomatic fashion, suggesting teamwork that benefits them both.

Doom Guy is having none of that, and pushes the screen aside. There are demons here, and that is all that matters. Later in the level when he reaches an elevator, Hayden reaches out yet again. He says he is willing to take accountability yet demands that Doom Guy understands the reason for the outbreak; “our interest in their world was purely for the betterment of mankind”. Doom Guy looks down to the dead body next to him, punches the intercom, and sets foot on the martian landscape to clean up the mess.

Doom Guy, no matter how rationalised an action, understands that if it is inherently evil, he will do what must be done. His Magician’s bullshit detector and his Warrior’s call to action are the perfect combination. This can be seen time and time again throughout the 2016/Eternal games where he seemingly blindly follows manipulation up until he gets to where he wants to be, breaks away from his instructor, and demolishes their plan. This can be seen with Samuel Hayden, both in 2016 and Ancient Gods DLC, where he seems to be going with his plan until he makes Hayden’s day even harder.

[Another interesting thing to note is his actions that at first seem stupid but ultimately benefit his end goal. Awakening the Icon of Sin and the Dark Lord, for example, seems ridiculous, yet he awakens them so he can put them down permanently rather than letting them slumber for X amount of millenia.

It should also go without saying that Doom Guy’s tools are his onslaught of weapons, and he is undoubtedly a master of every single one. Pretty self-explanatory.]

Interestingly, Doom Guy’s relationship to the Lover is quite intact. It is hard to imagine this 6ft beef of a man would have any relation to sensitivity and compassion and yet he does. For one, Doom Guy once had a pet rabbit, Daisy, before she was killed by the demons at the end of the original Doom game. A rabbit, being of feminine quality, isn’t a pet that would be likened to the Slayer.

Another aspect is his compassion, most prominent in 2016 where he discretely backs up and saves VEGA from self-destruction, and we see this softer side of his personality when he interacts with secret collectables littered throughout the levels for players to find, most notably with a figure of himself who he comically fist-bumps. His man-cave in Eternal also show small tidbits that display his Lover archetype – his self portrait with Daisy and a left over rabbit cage. Doom Guy, if present in another setting, could easily be a kind-hearted and pretty chill guy. A shame that demons have to keep getting in the way.

The King archetype is also present but not overtly. Doom Guy is not a leader and does not take charge of an army or government; he is still a lone wolf of the Warrior. However he does incite courage (whether intentionally or not) among the human race as they form alliances and rebellions against Hell. Like a true King, he takes charge of his domain (Earth) to rid it of its corruption and bring prosperity to it. With the authority of a ballistic cannon he slams his way through and purges the demonic infection. With his destruction he generates a better one.

He also isn’t self-serving. He does not want to become ruler of Earth or of humanity, he simply steps in to do a job and then leaves. At one point in Eternal, logs can be uncovered that insinuate a cult following of Doom Guy’s presence, worshipping him as a god. He could easily play into this idea, and yet it does not interest him. Like Aragorn, he fights not for recognition or rule. He fights because it must be done.

Now I want to talk about Doom Guy as an archetype in himself and how that impacts our world. As a Warrior-ruling character he is still defined by his warrior traits, despite his relations with King, Magician and Lover. Doom Guy can (and is) seen as an appropriate role model, or at the very least an archetype one can call within themselves to improve their inner self. He achieves what needs to be done. Using Doom Guy within oneself a person can push through and complete a task effectively and efficiently.

Whether it be chores, a promotion, a hardlife choice, or an obstacle, Doom Guy can instil a confidence in us so that we are constantly improving ourselves externally and internally. When life gets us down and we float through the tougher parts of adulthood, the Doom Guy-Warrior will tell us to push through it. To rip and tear the demons in our lives and bring harmony back into play.

This is undoubtedly positive, however Doom Guy can also be dangerous if used inappropriately. The “slaughter your demons” ideology, like the Warrior, has justified crimes and injustice throughout human history. What people define as “demons” in this context changes. Just as how religious texts and well intentioned philosophies are skewed and transformed to justify evil, so too can people misinterpret the Doom Guy archetype for their own selfish and bigoted ways. A look at the news to see the latest obscenity perpetrated by a man in the name of some backwards ideology is evidence of this. It is the Warrior turned Shadow Warrior with the polarity of Sadist/Masochist, where a weakened psyche projects and thrusts pain onto others.

In regards to us males, Doom Guy can be an aspect of ourselves to properly harness; to take control of our lives and become men of action, to speak up against Hell and cut out the toxic nature of demonic energy in the world (for women, they can harness Doom Guy alongside the goddess Athena, an archetype described by Jean Shinoda Bolen’s Goddesses in Everywoman).

But for boys – men who have not grown up yet – Doom Guy is an image of their envy. They see an all powerful masculine figure and think to themselves “I want to be like that” without putting in the psychological work.

Rather than becoming a man, they pretend to be a man, using violence to harm others for their own gain. They become the abusive boyfriend, the ruthless boss, the rapist, the schoolyard bully, the genocidal maniac, the sadistic war criminal. They wear Doom Guy’s skin to feel good about themselves – a set of muscular armour to hide the pathetic snivelling boy within. They put down others, demean women, and ride a sense of superiority and false-masculinity. They crush any sign of femininity within themselves, deeming it as a weakness, thus creating imbalance and chaos in their whole being. A boy pretending to be Doom Guy will never have a pet rabbit named Daisy.

In this sense, the image of Doom Guy becomes Silent Hill 2’s Pyramid Head – a shadow image of protagonist James Sunderland (who we will represent as the boy). James is weak, psychologically passive, and sexually frustrated, and so Pyramid Head represents everything that he is not but in its most negative aspect. Pyramid Head is indestructible but ruthless, able to have his way with little consequence, including sexually abusing the other monsters in the town. He is what boys wanting to be men become – a self-serving monster, Shadow Warrior-possessed.

Pyramid Head however is a necessary evil for James, as he shows him upfront his sins and the need for punishment – destroying the boy ego and allowing a better man to take its place. If boys can acknowledge the destructive behaviour of their Shadow Warrior – their own Pyramid Head – then perhaps they can learn to destroy this part of themselves and become the self-owned, responsible and life-affirming Doom Guy that rids evil rather than creating it.


Anyway that’s all, my brain is tired. Thanks for reading my rambling Doom fan fic.

 Var olan tek fobi kendini bilme fobisidir.Kim olduğumuz her daim ziyadesiyle gözümüzü korkutur. Ada

Var olan tek fobi kendini bilme fobisidir.Kim olduğumuz her daim ziyadesiyle gözümüzü korkutur.


Adam Phillips / Kaçırdıklarımız


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Robert Longo - Untitled (Professor Freud’s apartment door peephole) from the Freud cycle - 200

Robert Longo - Untitled (Professor Freud’s apartment door peephole) from the Freud cycle - 2000


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 SCA PROJECT SPACE SACRIFICIAL BODIES  | TOM ISAACSDisappearance, suffocation, collapse, and death.

SCA PROJECT SPACE 
SACRIFICIAL BODIES  | TOM ISAACS

Disappearance, suffocation, collapse, and death. These are the sufferings of the alienated and depressed body. Or are they, perhaps, the means by which suffering can be overcome? Deprivation and self-harm are time-honoured tools used in spiritual disciplines from around the world and throughout history. They are also recurring motifs in the field of body art.

In his PhD examination exhibition ‘Sacrificial Bodies’, Tom Isaacs demonstrates his deep and critical engagement with the problems of alienation and depression through his body art practice. Drawing from his research on ritual and psychoanalysis, Isaacs has developed four performances that interrogate the medium of body art and explore its potential efficacy as a response to these formidable deadlocks. 

Date: 13 April - 20 April, 2022
Open by appointment
Email: [email protected]
Location: SCA Project Space, Room 201B, Building A12, Science Road, Macleay Building, The University of Sydney.


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psychoanalysis
A Blanket?

A Blanket?


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