Milla Jovovich THE FACE (1997) Ph. Ellen Von Unwerth

Ralph Fleck (German, 1951), Stapel 27/VII [Stack 27/VII], 2013. Oil on canvas, 120 x 100 cm.

Long time no post. Summer has kept me busy with work, and it will probably be more of the same for a few more weeks. So. I reedited one of my favorite old photos; coincidentally it is also one of the most difficult to get fakking straight. Stupid, evil angles and lines. The letters spelling out "AROUSE" are completely a coincidence. A very lucky one at that. Hellova lot more fun than the generic "CAROUSEL".

‘glitched chicks’ (series) Mock up #04 by Paul Walsh 2016

+ H3Roe$ + w13rDeO$ + Image to be re-presented as interpreted using a disrupted signal on an RGB monitor. Work which exposes the truth and myths associated prolonged use of digital technology, highlighting the actual bio-physical effect, commenting on mental health, using familiar distorted appropriated contemporary cultural identifiers. HE@RT of G-la$$ miss taken identity X digital meltdown ………………………………. In Freudian theory, human being protoconscious drive has a tendency to be drawn by either pleasure or pain, my argument, represented by the glitch, Dahl’s contemporary gremlin in the machine, is in hacking consciousness through reliance on technology, humanity has unwittingly created the possibility of a conscious influencing biomechanical (electromagnetic stimulus response) tangent. Consciousness rests upon and is organized by its archetypal forms and foundations. Dig far enough into an intense inner experience and you eventually come to the mythological, ageless themes that indicate an activated archetype. Just as an instinct is activated by a certain situation it bears an image of, so is an archetype. Also, its psychoid base puts it beyond both matter and psyche, though it has qualities of both. Although archetypes are energic power sources, they need libido from the ego for their images to rise into consciousness. [1] Freud viewed libido as passing through a series of developmental stages within the individual. Failure to adequately adapt to the demands of these different stages could result in libidinal energy becoming ‘dammed up’ or fixated in these stages, producing certain pathological character traits in adulthood. Thus the psychopathologized individual for Freud was an immature individual, and the goal of psychoanalysis was to bring these fixations to conscious awareness so that the libido energy would be freed up and available for conscious use in some sort of constructivesublimation. According to Swiss psychiatrist Carl Gustav Jung, the libido is identified as psychic energy. Duality (opposition) that creates the energy (or libido) of the psyche, which Jung asserts expresses itself only through symbols: “It is the energy that manifests itself in the life process and is perceived subjectively as striving and desire.” (Ellenberger, 697) On one level, it is a game: a pure pretense with no ulterior motive whatsoever. It is one child saying to another child, ‘Let’s be dragons,’ and then they’re dragons for an hour or two. It is escapism of the most admirable kind–the game played for the game’s sake. “On another level, it is still a game, but a game played for very high stakes. Seen thus, as art, not as spontaneous play, its affinity is not with daydream, but with dream. It is a different approach to reality, an alternative technique for apprehending and coping with experience. It is not anti-rational, but para-rational; not realistic but surrealistic, superrealistic, a heightening of reality. In Freud’s terminology, it employs primary, not secondary process thinking. It employs archetypes, which, as Jung warned us, are dangerous things. Dragons are more dangerous, and a good deal commoner, than bears. Fantasy is nearer to poetry, to mysticism, and to insanity than naturalistic fiction is.” Ursula Le Guin, “From Elfland to Poughkeepsie”

in this cite: Buchler, constantly referencing the past, Freud Dora Hysteria Wandering Womb and the place for the beliefs of Plato, and subsequent mythologies in the C21st The Structure of the Personality Freud’s orientation was biological, a natural result of his medical training and of the period in which he began his work. His conception of the individual was as a reservoir of dynamic energy, continuously seeking a means of discharge and in turn continuously needing replenishment. This veritable storehouse of energy he called theLibido, the genetically inherent energy empowering the life instinct. The instinctual drive towards survival and replacement of energy requires translation into more specific terms such as ‘food, love, security’ etc. Instincts drive and direct behavior, the goal of which is the satisfaction of needs derived from the instincts. Needs create tension, and behavior is directed towards reduction of this tension. This concept of needs is called the Pleasure Principle, the attempt to keep excitation or tension as low as possible. In practice this is the desire for immediate gratification. Freud ascribed the appropriate directional functioning to what he termed the Id, which included other genetically inherent features, such as the impulse to love and to seek gratification. The Id strives to bring about the satisfaction of instinctual needs on the basis of the pleasure principle. The Id represents the inner world that has no knowledge of objective reality. Its psychic processes are primary processes - undirected attempts at immediate satisfaction. It is not governed by logic; it contains contradictory yet co-existent impulses. It is the individual’s primary subjective reality at the unconscious level.

Hermann David Salomon Corrodi(1844-1905),

Passage of the Monks to Mount Athos Monastery, 1905

Keiichi Ichikawa

Sybil Andrews (British/Canadian, 1898-1992), Theatre, 1929. Linocut in three colours, 27.6 x 21 cm. Number 7/50

Anna May Wong as Princess Ling Moy in a publicity portrait for the Paramount Pictures/Lloyd Corrigan pre-code mystery drama Daughter of the Dragon, photo by Eugene Robert Richee, 1931. Miss Wong's shimmering costumes in the film were designed by Travis Banton.

Edward Robert Hughes, Night with her Train of Stars