Objectos transicionais e música. Removing the Suzuki tapes. When practicing becomes a narrative.

 Os objectos transicionais e a aprendizagem musical. 

Da importância da separação (insegurança) no processo da criatividade e do impulso para explorar territórios desconhecidos (D. W. Winnicott), tendo sempre, no horizonte, a certeza de que é sempre possível atingir uma perfeição. Ao percorrer esse, árduo, caminho desenvolve-se a expressão. 

"Musically we need simply observe that believing in correctness in technique breeds expression. In music, this passage occurs when standards modulate from physical events like playing with a good tone to more aesthetic measures of, for instance, a well-shaped phrase. Of course, spontaneous discoveries and happy accident inform what a musical piece should sound like. Still the composer and the performer must have a criterion to make sense of happy accidents, to select some as happier than others. In developing technique, we resolve transitional objects into definitions, and we make decisions based on such definitions. " 

Richard Sennett in, The Craftsman [pg. 159]

in perspective

Francis Bacon, auto-retrato

"Psicoterapia não é fazer interpretações argutas e apropriadas; em geral, trata-se de devolver ao paciente, a longo prazo, aquilo que o paciente traz. É um derivado complexo do rosto que reflete o que há para ser visto. Essa é a forma pela qual me apraz pensar em meu trabalho, tendo em mente que, se o fizer suficientemente bem, o paciente descobrirá seu próprio eu (self) e será capaz de existir sentir-se real. Sentir-se real é mais do que existir como si mesmo, relacionar-se aos objectos como si mesmo e ter um eu (self) para o qual retirar-se, para relaxamento."
D. W. Winnicott, in O Brincar e a Realidade

The texture of the process / Linguagem visual

Juan Miró  /  Alexander Calder

"In the work of both Calder and Miró, a delightful formal playfulness puts the spontaneous act of making in the foreground, but [...] the texture of the process also opens a subject matter that is both profound and disconcerting. Simultaneously repulsive and beautiful by reconnecting both the artist and the viewer with the preverbal world of early childhood. When experience is encoded in the processes of body sensation and memory.
Sigmund Freud pointed out that the first ego is the body ego, derived from early bodily sensations. [...] D. W. Winnicott, wrote that "the spontaneous gesture is the true self in action. Only the true self can be creative and only the true self can feel real. The true self comes from the aliveness of the body tissues and the working of body functions including the heart's action and breathing. It is closely linked to the idea of primary process, at the beginning essentially not reactive to external stimuli, but primary. The true self appears as soon as there is any mental organization of the individual at all, and it means little more than the summation of sensory motor aliveness. [...] Works of art give immediately recognizable form to experiences for which we do not have words. They create a discourse on these experiences through multiple simultaneously overlays of time and materiality, transparencies, other formal devices in a metonymic construction that is an underlined principle of what Freud called the dreamwork. It's commonly visible in children's art and it is also a percevering remnant of early thought processes present in the way in which adults organize and interpret their experience. [...] One of the outstandin features of visual thinking is that it fosters the reordering of experience in a way that reveals connections hidden or dismissed by verbal logic. Visual and verbal thinking coexist in interacting works of art as they do in dreams. We pass fluidly back and forth in our thoughts from the metonymic, to the metaphoric, to the logical. [...] Visual thinking has the ability to bypass the conscious control of language in articulating experience and to tap directly into the language of primary process. That uncensored caldron of repressed memory body experience and metonymic logic. It's also a well of conflict, and in bringing this imagery to consciousness in visual form and in manipulating the juxtaposition of the images which are used to represent it, works of art have both the dialectic and the internal strive which Heidegger alludes in his famous essay in the origin of the work of art."
Jonathan Fineberg



sobre Jonathan Fineberg

The mirror stage

Francis Bacon, "Study for Portrait II 
(After the life mask of William Blake)", 1955

'(...) olhar para um quadro de Bacon é olhar para um espelho e ver nossas próprias aflições e nossos medos de solidão, fracasso, humilhação, velhice, morte e a ameaça de inominadas catástrofes.

   Sua preferência confessa pelo uso de vidro sobre os quadros relaciona-se também a seu sentimento de dependência para com o acaso. A preferência se deve ao fato de que o vidro aparta em certa medida os quadros do meio ambiente (tal como suas margaridas e balaustradas põem seus temas à parte de seu meio ambiente pictórico) e oferece maior proteção; o que, porém, importa mais, nesse caso, é sua crença de que o jogo fortuito dos reflexos realçará os quadros. Seus quadros azul-escuros, em particular, ouvi-o observar, ganham por tornar possível ao espectador ver seu próprio rosto no vidro.'

D. W. Winnicott citando John Rothenstein, in O Brincar & a Realidade

da aquiescência / sim papá, sim mamã / O Rei Vai Nu

"Throughout most of his professional life, Winnicott was particularly preocupied with whether an individual's experience was authentic or inauthentic. Many of the patients whom he treated had, for one reason or another, learned as children to be over-compliant; that is, to live in ways which were expected of them, or which pleased others, or which were designed not to offend others. These are the patients who build up what Winnicott called a 'false self'; that is, a self which is based upon compliance with the wishes of others, rather than being based upon the individual's own true feelings and instinctive needs. Such an individual ultimately comes to feel that life is pointless and futile, because he is merely adapting to the world rather than experiencing it as a place in which his subjective needs can find fulfilment."
Anthony Storr, in Solitude - A Return to the Self

Sobre "compliance"