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Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. The book is divided into three parts on variability, speed, and slowness, and explores rhythmic rituals of renewal, revolution, and reflection. Each chapter provides unique examples from the applied arts, film, television, and literature to show how different practices of rhythm might aid in creative and deep contemplation and includes philosophical and cultural theories for bodily and rhythmic renewal. Without being limited to a clinical perspective, this book provides wide-ranging discussions of the relation between rhythm, trauma, cultural studies, psychosocial studies, continental philosophy, critical psychology, Lacan, and film, to explore modes of becoming more attuned to each moment, to others, and to our own era. Movement, Velocity, and Rhythm from a Psychoanalytic Perspective will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection of Lacanian psychoanalysis and continental philosophy.
Movement, Velocity, and Rhythm from a Psychoanalytic Perspective: Variable Speed(s) explores philosophical and psychoanalytic theories, as well as artworks, that show sensible bodily rituals for reviving our social and subjective lives. With a wide range of contributors from interdisciplinary backgrounds, it informs readers on how to find rituals for syncing ourselves with others and world rhythms. The book is divided into three parts on variability, speed, and slowness, and explores rhythmic rituals of renewal, revolution, and reflection. Each chapter provides unique examples from the applied arts, film, television, and literature to show how different practices of rhythm might aid in creative and deep contemplation and includes philosophical and cultural theories for bodily and rhythmic renewal. Without being limited to a clinical perspective, this book provides wide-ranging discussions of the relation between rhythm, trauma, cultural studies, psychosocial studies, continental philosophy, critical psychology, Lacan, and film, to explore modes of becoming more attuned to each moment, to others, and to our own era. Movement, Velocity, and Rhythm from a Psychoanalytic Perspective will be essential reading for Lacanian psychoanalysts in practice and in training, as well as anyone interested in rhythm at the intersection of Lacanian psychoanalysis and continental philosophy.
Psychoanalysis and the Small Screen examines the impact of cinema closures and the shift to small-screen consumption on our aesthetic and subjective desires during the COVID-19 pandemic from a Lacanian perspective. The chapters in this text hold a unique focus on the intersections of film, psychoanalysis, and the subjective implications of the shift from cinema to the small screen of domestic space. The subjects span historical and current Lacanian thinking, including the representation of psychoanalysis as artifice, Lacan appearing on television, the travails and tribulations of computer mediated analysis, the traumatrope, and the techno-inflected imagined social bond of what Jacques Lacan called the ‘alethosphere’. In this collection, the socio-cultural narratives and Real disruptions of the pandemic are framed as a function of the paradoxes of enjoyment characteristic of Lacanian psychoanalysis rather than merely the psychosocial repercussions of a planetary and contingent disaster. With contributions from practicing psychoanalysts, as well as academics working in related interdisciplinary areas, Psychoanalysis and the Small Screen will have appeal to readers of contemporary Lacanian work in general, to readers and researchers of contemporary psychoanalytic studies, and transdisciplinary and intersectional scholars engaged in psychoanalytic, cultural, and psycho-social research.
Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing and assessing William James's radical empiricism and Henri Bergson's philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan's acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument.
This book is the first comprehensive treatment in recent decades of silence and silencing in psychoanalysis from clinical and research perspectives, as well as in philosophy, theology, linguistics, and musicology. The book approaches silence and silencing on three levels. First, it provides context for psychoanalytic approaches to silence through chapters about silence in phenomenology, theology, linguistics, musicology, and contemporary Western society. Its central part is devoted to the position of silence in psychoanalysis: its types and possible meanings (a form of resistance, in countertransference, the foundation for listening and further growth), based on both the work of the pioneers of psychoanalysis and on clinical case presentations. Finally, the book includes reports of conversation analytic research of silence in psychotherapeutic sessions and everyday communication. Not only are original techniques reported here for the first time, but research and clinical approaches fit together in significant ways. This book will be of interest to all psychologists, psychoanalysts, and social scientists, as well as applied researchers, program designers and evaluators, educators, leaders, and students. It will also provide valuable insight to anyone interested in the social practices of silence and silencing, and the roles these play in everyday social interactions.
Revisioning War Trauma in Cinema: Uncoming Communities uses philosophy and critical theory to examine films that participate in debates concerning trauma and representation. This book reflects upon films that invent—rather than represent—the moment history breaks down. Jessica Datema and Manya Steinkoler propose a twenty-first-century way forward across problems of trauma, inheritance, and representation into exceptional communities of artistic invention.
This book is about teleanalysis, an exploration of teletherapy—psychotherapy by telephone, Voice over Internet Protocol (VoIP), or videoteleconference (VTC). It discusses advantages and disadvantages of psychotherapy and psychoanalysis conducted over the phone and internet.
Should a therapist ever shake hands with a client, or touch a client's hand or shoulder? There are taboos against erotic touch in psychotherapy, for excellent reasons, but what about nonerotic touch? These latter forms of physical contact are not explicitly taboo and they can be powerful forms of communication. Research and clinical experience indicate that they can contribute to positive therapeutic change when used appropriately. What, then, is appropriate use?
Gregory Bateson was a philosopher, anthropologist, photographer, naturalist, and poet, as well as the husband and collaborator of Margaret Mead. This classic anthology of his major work includes a new Foreword by his daughter, Mary Katherine Bateson. 5 line drawings.