shadow self...... .Talent
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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
> image from book Miyelo
by Viggo Mortenson - photographs of a Lakota Ghost Dance
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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.
/ writer David
[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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duende? In Spanish, that storehouse of extreme feeling, it's one of
many words that convey the spirit of deep soul. ...
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.
onstage? Duende rises to edgy, inexplicable urges; it applauds
impossible unions, sexual and otherwise.
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.
says it best: "The duende takes it upon himself to make us suffer by
means of a drama of living forms."
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."
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.
Mayer - assistant professor of dramatic writing at the USC School of
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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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. ...
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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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.
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. ///
[Robert E. Howard] and [Joyce Carol Oates].. is an entire pantheon of
writers who have been touched by Lovecraft and his dreams...
King - in his review article [Los Angeles Times April 17, 2005] of the
book H.P. Lovecraft Against the World, Against Life, by Michel
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;
to spend our fire and restless force
In tracking out our true, original course;
Into the mystery of this heart which beats
So wild, so deep in us -- to know
Whence our lives come and where they go.
Arnold (1822-1888) -
poet and critic, Oxford Univ.
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| "Just because I
bad things doesn't mean I don't have bad thoughts."
Kristin Kreuk .. [imdb.com bio]
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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."
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.
from Reel.com interview by Rod Armstrong about The Deep End
quotes and photo from site : The
Tilda Swinton Lovers' Page
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Crewdson - like Justin Kurland,
Schorr, Larry Sultan and Tina Barry - has made the photographer's
suggest an interior life that is only partially accessible.
works seem to be above all psychological portraits, and thus may be
explained in psychoanalytic terms rather than social or art-world
the self, pictures have a surface that both reveals and keeps things
These pictures keep their meaning internal; what is perceptible is only
part of the story - think by way of contrast of the photograph in
art which aspires to relate information.
discontinuities are essential features of consciousness, as much as the
desire for some wholeness of perception.
gaps in consciousness are repeatedly returned to, like itches that
be scratched. Jacques Lacan terms this "the real". ....
imagines disaster, violence and violation. But he does not depict it
Instead he makes oblique and elegant suggestion, preserves the
of his sensibility by the delicacy of his art...
is another of Crewdson's borderline states, between desire and action,
good and evil, where his is the desire, and ours the evil.
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
Prozac Nation - the "Twilight" photographs of Gregory Crewdson -
Adrian Gargett, Get Underground 09.03.03
material on Gregory Crewdson on photography:
[detail] - from book: Twilight
by Gregory Crewdson
psychologist Kazimierz Dabrowski understood that unpleasant
for the awakening of creativity.
the Crowd - by Robert J. Sternberg
related page: Dabrowski on advanced
is comprised of a series of large-scale, panoramic photographs of a
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
Creek, South Dakota.
intent was to capture the event as a delirious remembrance, an
dream. Accompanying these and other related images is extensive
and historical documentation of the period during which the Ghost Dance
originated, leading up to and beyond the tragic massacre at Wounded
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
and summary of book from
publisher site: Perceval
interesting how we can sometimes unconsciously connect to the symbolic
imagery that might be specific to a given culture or cultures.
I first arrived in New Zealand [to film Lord of the Rings], for
I was surprised and pleased to recognise a lot of the designs in
Maori art as being similar to forms in some of my own paintings and
all probably has to do with the fact that, regardless of whether we
knowingly made any comparative mythology studies or not, we as human
have much more in common with each other and with those who came before
us than not.
- about creating photographs for his book Miyelo - from interview article:
Viggo Mortensen on photography, art and politics, HouseOfTelcontar.com,
Oct 09, 2003
by Viggo Mortenson - writings, paintings, collages, assemblages, found
of Memory / Recent
Forgeries / SignLanguage
is no tiny burble or silvery chime, but loud and unladylike. But Jane
is no lady, which she would likely see as the compliment it is.
visionary in an age of persistent aesthetic retreat, she doesn't come
as a woman -- or artist -- who worries about being labeled unruly.
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
as [Holly] Hunter's character is in "The Piano" -- the reverse seems
marker of Campion's women is that each experiences radical mind- and
change. ("I have," she says, "a close eye for transformation.")
her is how women become decisive and take the leap, how they plunge
unknown waters, shed inhibitions (and clothes) and -- as Frannie
by Meg Ryan, above] does in "In the Cut" -- breach the citadel of their
individual selves by acting on desire.
think sexuality is a really strong force in everybody," Campion says,
you sort of have to come to terms with it. It's the animal inside you.
You can't resist it."
may not always make for comfortable viewing, but as Campion also says,
"I believe in disturbance. If you don't embrace disturbance, it will
down your life."
She's happily unruly, by Manohla Dargis, LA Times, Oct 26 2003
the Cut - by Susanna Moore
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was a very
young girl I felt frustrated in not being able to communicate what I
think a lot
of children experience this, when you see them demonstrative and
displaying, showing off, and doing the things they do because they
communicate with words.
we learn to find a focus in the arts, which I believe is given to us
God to demonstrate our love and our feelings that we can't communicate,
that we bring them into a place of purity.
these focus points and we're able to unlock our inner feeling, then
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
to demonstrate or experience.
interview by Rudy Koppl in July 2000 Music From The Movies
and photo from Lisa Gerrard official
Rider (movie score) / The
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
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
A. Diamond, PhD, from "Redeeming Our Devils
Demons" - a chapter in book Meeting
-- be it the creativity of the artist, the psychotherapist, or the
patient -- can be understood to some degree as the subjective struggle
to give form, structure and constructive expression to inner
outer chaos and conflict.
can also be one of the most dynamic methods of meeting and redeeming
devils and demons.
Madness,and the Daimonic:
Psychological Genesis of Violence, Evil, and Creativity
Stephen A. Diamond, PhD.
article:*interview with Stephen
A. Diamond, PhD: The Psychology of
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shadow self : page 2***the
shadow self : page 3***the
shadow self : page 4....
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