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Allowing waking consciousness to furnish our only psychological point of view holds our educational efforts to a fixed way of seeing, of feeling, of knowing and of understanding in such a way that it unexpectedly restricts the very innovation, imagination and creativity that we wish to cultivate...
> from article: Depth Psychology and Giftedness: Bringing Soul to the Field of Talent Development and Giftedness - by F. Christopher Reynolds & Jane Piirto

> image from book Miyelo by Viggo Mortenson - photographs of a Lakota Ghost Dance 

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Civilization is repression. You don't get civilization without repression of the unconscious, of the id. And the basic appeal of art is to the unconscious. Therefore, art is somewhat subversive of civilization. And yet at the same time it seems necessary for civilization. You don't get civilization without art.

director / writer David Cronenberg .. [imdb.com bio] / photo: George Pimentel/WireImage

> related books: David Cronenberg : Interviews - by Serge Grunberg
Cronenberg on Cronenberg - by David Cronenberg

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What is duende? In Spanish, that storehouse of extreme feeling, it's one of many words that convey the spirit of deep soul. ...

In song, the duende would appear not in a beautiful voice but when that voice tears, scorches, robs itself of the security of technique and opens into the unknown.

And onstage? Duende rises to edgy, inexplicable urges; it applauds impossible unions, sexual and otherwise.

It resides in irrational fears, oversized desires and long-buried secrets. ... We feel it more than think it. When the duende is activated in a person, we all vibrate.

Lorca says it best: "The duende takes it upon himself to make us suffer by means of a drama of living forms."

But it's not all suffering. "The magical property of a poem is to remain possessed by duende that can baptize in dark water all who look at it."

Just because the water is dark doesn't mean it can't be blessed. And a poem can also be a song, a play or a moment of exquisite performance. Writing is a hurt business, akin to ballet, boxing, chess and other trials by fire. If you come out of it unscathed, you most likely haven't done very much.

Oliver Mayer - assistant professor of dramatic writing at the USC School of Theatre.

> from article The redeeming demon - Great work demands a self torn open, each time revealing a hidden truth, illumination woven from darkness. By Oliver Mayer, Los Angeles Times August 14, 2005

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Pain is such an important thing in life. I think that as an artist you have to experience suffering. It's not enough to have lived it once; you have to relive it. Darkness is not a pejorative thing. ...

I find myself gravitating towards drama. It interests me. In the books I read, the paintings I like, it's always the darker stuff.

Naomi Watts .. [imdb.com bio]

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All literature, but especially literature of the weird and the fantastic, is a cave where readers and writers hide from life. ...

It is in just such caves -- such places of refuge -- that we lick our wounds and prepare for the next battle in the real world.

Our need for such places never subsides, as any fan of escapist literature will tell you, but they are especially valuable for the potentially serious reader -- and writer -- going through those vulnerable years when the child's imagination is evolving into the more sophisticated and organized adult imagination.

When, in short, the creative imagination is molting. ///

Between [Robert E. Howard] and [Joyce Carol Oates].. is an entire pantheon of writers who have been touched by Lovecraft and his dreams...

Stephen King - in his review article [Los Angeles Times April 17, 2005] of the book H.P. Lovecraft Against the World, Against Life, by Michel Houellebecq

> image from book Tales of H.P. Lovecraft -
edited by Joyce Carol Oates,

Stephen King books // H.P. Lovecraft books

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But often, in the world's most crowded streets,
But often, in the din of strife,
There rises an unspeakable desire
After the knowledge of our buried life;

A thirst to spend our fire and restless force
In tracking out our true, original course;

A longing to inquire
Into the mystery of this heart which beats
So wild, so deep in us -- to know
Whence our lives come and where they go.

Matthew Arnold (1822-1888) -
poet and critic, Oxford Univ.

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"Just because I don't do bad things doesn't mean I don't have bad thoughts."

Kristin Kreuk .. [imdb.com bio]

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I seem to be making films about the same thing, over and over again. The message is, "Make friends with your virtual selves; you don't have to lop 'em off and bury them." 

You bury things at your peril, they do tend to come bobbing up and your selves and the contradictions in your self are your best friends. 

Tilda Swinton

from Reel.com interview by Rod Armstrong about The Deep End (2001)
quotes and photo from site : The Tilda Swinton Lovers' Page

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Gregory Crewdson - like Justin Kurland, Collier Schorr, Larry Sultan and Tina Barry - has made the photographer's subject-matter suggest an interior life that is only partially accessible. 

Crewdson's works seem to be above all psychological portraits, and thus may be best explained in psychoanalytic terms rather than social or art-world ones. 

Like the self, pictures have a surface that both reveals and keeps things hidden. These pictures keep their meaning internal; what is perceptible is only part of the story - think by way of contrast of the photograph in conceptual art which aspires to relate information. 

But discontinuities are essential features of consciousness, as much as the desire for some wholeness of perception. 

The gaps in consciousness are repeatedly returned to, like itches that can't be scratched. Jacques Lacan terms this "the real". ....

Crewdson imagines disaster, violence and violation. But he does not depict it directly. Instead he makes oblique and elegant suggestion, preserves the refinement of his sensibility by the delicacy of his art...

And this is another of Crewdson's borderline states, between desire and action, good and evil, where his is the desire, and ours the evil. 

Firmly marking the edge in his work, he allows us to cross it, to complete his thought and, in a sense, the photograph, and the transgression it almost names.

from article Prozac Nation - the "Twilight" photographs of Gregory Crewdson - 
by Adrian Gargett, Get Underground 09.03.03

more material on Gregory Crewdson on photography: page 2

Ophelia [detail] - from book: Twilight by Gregory Crewdson

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Polish psychologist Kazimierz Dabrowski understood that unpleasant stimuli 
are indispensable for the awakening of creativity.

from book Defying the Crowd - by Robert J. Sternberg

related page:  Dabrowski on advanced development

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Miyelo is comprised of a series of large-scale, panoramic photographs of a Lakota Ghost Dance.... 

The images record a re-creation of the dance that was originally performed by members of Chief Big Foot's band on December 29, 1890 near Wounded Knee Creek, South Dakota. 

The intent was to capture the event as a delirious remembrance, an ephemeral dream. Accompanying these and other related images is extensive literary and historical documentation of the period during which the Ghost Dance originated, leading up to and beyond the tragic massacre at Wounded Knee. ...

Part of the proceeds from the sale of Miyelo books will be donated by  to the SuAnne Big Crow Boys & Girls Club of Pine Ridge, South Dakota.

image and summary of book from 
publisher site: Perceval Press

It is interesting how we can sometimes unconsciously connect to the symbolic imagery that might be specific to a given culture or cultures. 

When I first arrived in New Zealand [to film Lord of the Rings], for example, I was surprised and pleased to recognise a lot of the designs in traditional Maori art as being similar to forms in some of my own paintings and photographs. 

This all probably has to do with the fact that, regardless of whether we have knowingly made any comparative mythology studies or not, we as human beings have much more in common with each other and with those who came before us than not.

Viggo Mortensen - about creating photographs for his book Miyelo - from interview article: Viggo Mortensen on photography, art and politics, HouseOfTelcontar.com, Oct 09, 2003

books by Viggo Mortenson - writings, paintings, collages, assemblages, found objects, photographs:

Coincidence of Memory  /  Recent Forgeries  /  SignLanguage

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Her laugh.. is no tiny burble or silvery chime, but loud and unladylike. But Jane Campion is no lady, which she would likely see as the compliment it is. 

A cinematic visionary in an age of persistent aesthetic retreat, she doesn't come across as a woman -- or artist -- who worries about being labeled unruly. 

If anything, to judge by her movies and all her difficult women who never fit in, settle down or shut up -- unless they're actually willfully mute, as [Holly] Hunter's character is in "The Piano" -- the reverse seems true.

One marker of Campion's women is that each experiences radical mind- and soul-stirring change. ("I have," she says, "a close eye for transformation.") 

What preoccupies her is how women become decisive and take the leap, how they plunge into unknown waters, shed inhibitions (and clothes) and -- as Frannie [played by Meg Ryan, above] does in "In the Cut" -- breach the citadel of their individual selves by acting on desire. 

"I think sexuality is a really strong force in everybody," Campion says, "and you sort of have to come to terms with it. It's the animal inside you. You can't resist it." 

That may not always make for comfortable viewing, but as Campion also says, "I believe in disturbance. If you don't embrace disturbance, it will shut down your life."

from She's happily unruly, by Manohla Dargis, LA Times, Oct 26 2003

...novel: In the Cut - by Susanna Moore

Jane Campion: Interviews

related pages:**nurturing mental health........sexuality

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Since I was a very young girl I felt frustrated in not being able to communicate what I felt. 

I think a lot of children experience this, when you see them demonstrative and passionate, displaying, showing off, and doing the things they do because they can't communicate with words.

When we learn to find a focus in the arts, which I believe is given to us from God to demonstrate our love and our feelings that we can't communicate, that we bring them into a place of purity.

When we find these focus points and we're able to unlock our inner feeling, then we're able to remain healthy in the sense that we're able to air the private things that bring us into contact with things that we aren't normally allowed to demonstrate or experience.

musician Lisa Gerrard

from interview by Rudy Koppl in July 2000 Music From The Movies

quotes and photo from Lisa Gerrard official site

albums: Whale Rider (movie score)  /   The Mirror Pool

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By bravely voicing our inner "demons" -- symbolizing those tendencies in us that we most fear, flee from, and hence, are obsessed or haunted by -- we transmute them into helpful allies, in the form of newly liberated, life-giving psychic energy, for use in constructive activity. 

During this process, we come to discover the paradox that many artists perceive: That which we had previously run from and rejected turns out to be the redemptive source of vitality, creativity, and authentic spirituality.

Stephen A. Diamond, PhD, from "Redeeming Our Devils 
and Demons" - a chapter in book Meeting the Shadow 

Creativity -- be it the creativity of the artist, the psychotherapist, or the psychotherapy patient -- can be understood to some degree as the subjective struggle to give form, structure and constructive expression to inner and outer chaos and conflict. 

It can also be one of the most dynamic methods of meeting and redeeming one's devils and demons.

from book:

Anger, Madness,and the Daimonic
The Psychological Genesis of Violence, Evil, and Creativity
by Stephen A. Diamond, PhD.

*related article:*interview with Stephen A. Diamond, PhD: The Psychology of Creativity

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