It is always about the object of analysis. The object of the Analysis is the process of the analysis. All faculties of the mind/body matrix are accessed. The subjective arena in both the patient and the analyst make up the content, the narrative if you will. There is no other content other than what is brought into the room for a semi-sacred conversation that ensues.
The defense is always the resistance to knowing more. Closing the psychic door to additional facts and feelings is a form of isolation that the patient brings into the room and has used this defense in a multitude of other ways. The only way we shall take interest in the resistance defense is in how it manifests itself between the patient/analyst dyad.
Why has the patient suddenly stopped coming forward? What internal diversion caused the conversation to shift and what has it shifted to? There is a kind of detective work to analysis, a search for clues that widen the pursuit of self-truth and self-knowledge.
Since all conflict is within and since most patients come in trying to avoid conflict, the task is huge, not insurmountable but big. The nature of trust is an aspect of the relationship that can take the longest to produce fruit. Condemnation is feared.
It Would Not Matter Tomorrow
At least that is how he chose to bear and grin the anger, and the sadness that was exposed on his face. Everything took time to heal and somethings never healed at all. Snapped bones and disease he knew about, but the fragmented emotions they receded to a location that his ancestors called the soul. And to Caleb that was still mysterious.
All we know now about these emotions is that they hide in the body until they can not hide. In time they become a disease that language recognizes, and from the beginning, they are a story, a narrative that forms what we call life–the force of being alive.
Maybe the genome for feelings will be discovered. Freud had hoped that chemistry would dismantle our need for neurosis, but neither Westinghouse, nor General Electric has provided much to go on.
One hundred and thirty years ago these dreams-things were the promise of charlatans. I am not sure much has changed. The more I can live with death the more I can live out my consciousness to its fullest.
Darkness is not sweet. You can not pretty-up a red-winged hawk flying away with a five pound Yorkie in its claws. But, shit happens. And when you are through watching that gruesome image fly away, a dear friend calls to say she is beginning treatment for lung cancer. And, did you know the boy that is maimed for life when his motorcycle slid off the road. He hit a patch of salt and sanding from winter. “No”, “he was not wearing a helmet.”
Where does healing come in? What exactly can be healed? Is it ever the mind and not the body, or ever the body and not the mind?
Essentially there are two elements that might concern us: one is light and the other is darkness. They are analogous to being awake and being asleep, to being conscious and being unconscious.
Someplace between these two polarities, we practice something called “falling ill” and “becoming well”. We exist on a plane between these extremities. The healing arts and sciences attempt to move energy along this loading line. When you fall ill you struggle to pick yourself up–this is the process of healing.
If I can help you with this process I am attempting to practice a healing scheme. I am going to use my emotions, whatever they are to understand you. And in the process of attempting to understand you, we might make a connection, a transference of energy between us. This fusion of energy might be just the additional guide that you need to discover your way back from the darkness and toward the light.
Nothing might change. But the transference of energy is felt and recognizable as a process. Guidance does not come from another’s knowing. Guidance is simply additional energy to light the way.
Good friends know this as Love
st augustine has been a mixed blessing this year, but then again what has not been a mixed blessing as i ramble through my memories. i might be leaving this place soon and i find myself not ready. the winter has been chilly, the moon is waning and lyla died.
loss and letting-go is bearing down on me. i feel it as exaggerated gravity. a kind of electrically exaggerated gravity. something that is both weighty and profound. let me illustrate it with a few images:
as well as the pressure and the heightened sensitivity, there is a growing awareness that this 3rd phase of life will make the bumpy past seem smooth in comparison. i could be wrong and i would gladly be wrong but it does seem to me that tragedy prevails at the end. even if it was a comic ride for most of life, the end might be a relief–at best.
in any event, it has been a ghostly season.
it feels like mardi gras with no ash-wednesday. don’t take this wrong–i like dark. to paraphrase leonard, “you want it darker, turn off the light.”
to paraphrase leonard, “you want it darker, turn off the light.”
February 2nd, 2018
writing with light and psychoanalytic conversation have this in common: both are enhanced by the polarities of existence. both are engaged in what is present and what is missing. each case is informed by the extremities in a system of energy.
darkness is as revealing as light, shadows are as important as highlights. balance and beauty and truth converge into a singularity leading to the illusion of oneness.
my artwork has evolved from impressionism to expressionism. this new method of working in the world of abstraction has expanded my vision. it is the unconscious made conscious by free-association. here meaning and reason have less to do with outcome; and. process is once again central. it has always been for me.
i find beauty in the subjective, that is to say, i find beauty in the creation of sensation through a steady alertness to evolution. everything, including the universe, is always and only moving forward through the spectrum of light and energy. all photography is capturing a single moment in time and space.
the process is meditative.
This is a basic edit–the lucky shot itself is the best part of this photo. The double sunset is a result of Ice formation in the clouds to the right. The Sun setting to the left illuminated the ice crystals creating the illusion of a double sunset.
The role of illusion in perspective and sight is what makes a particular work of art special because of what Nature provides. I like this type of image because it feels like a cooperation between the universe and my micro-vision.
More than anything, I enjoy the surprise of nature. Even to the point of impermanence, I am delighted to live with the knowledge that all suns set in the end. Some set beautifully, as this one did.
Photo editing and the use of the digital darkroom is becoming more accepted as an aspect of photography. This abstraction was created in pen & ink and pastel. It was then imported to Topaz Labs and Studio and reworked with impression tools. It was originally a portrait with scattered objects. By using simplify to diminish some of the pixels, the above results were obtained.