couch compiled

latent dream content

for us a new psychic material intervenes between the dream content and the results of our investigations: and this is the latent dream content or the dream thoughts which are obtained by our method.

One of my female patients dreams that a man with a light beard and a peculiar glittering eye is pointing to a sign board attached to a tree which reads: uclamparia—wet.

In mourning it is the world which has become poor and empty; in melancholia it is the ego itself

This is the oral-cannibalistic stage /// a foreign external object.

The subject regresses from an attachment to a narcissistic extension of his ego with the introjections of the object into the ego.

August 2013 // When the libidinal drive outweighs reality the subject will return to the love object in a hallucinatory representation

“Here something is missing”

2014 //There are other characteristics of melancholia that manifest in the somatic realm A) a difficult with nourishment, digesting etc. B) A difficulty with sleeping.

Mourning is regularly the reaction to the loss of a loved person, or to the loss of some abstraction which had taken the place of one, such as one’s country, liberty, an ideal, and so on

August 2013 // a precipitate of abandoned object-cathexes

'[e]ach single one of the memories and expectations in which the libido is bound to the object is brought up and hypercathected, and detachment of the libido is accomplished in respect of it' (

In mourning it is the world which has become poor and empty; in melancholia it is the ego itself'

In melancholia, accordingly, countless separate struggles are carried on over the object, in which hate and love contend with each other; the one seeks to detach the libido from the object, the other to maintain this position of the libido against the assault'

'So by taking flight into the ego love escapes extinction'

Just as mourning impels the ego to give up the object by declaring the object to be dead and offering the ego the inducement of continuing to live, so does each single struggle of ambivalance loosen the fixation of the libido to the object by disparaging it, denigrating it and even as it were killing it' (257). 

knots

https://www.simonsfoundation.org/quanta/20131209-knots-unravel-mysteries-of-fluid-flow/

Here we find ourselves in a thought factory, in which, as in the “Weaver’s Masterpiece”:

	“One tread moves thousands of threads,
	The little shuttles fly back and forth,
	The threads flow on unseen,
	One stroke ties thousands of knots.”

olympia ah ah // Whirl about, my wooden doll!

The concert had finished, the ball began. 'To dance with her - with her!' That was the aim of all Nathaniel's desire, of all his efforts; but how to gain courage to ask her, the queen of the ball? Nevertheless - he himself did not know how it happened - no sooner had the dancing begun than he was standing close to Olympia, who had not yet been asked to dance. Scarcely able to stammer out a few words, he had seized her hand. Olympia's hand was as cold as ice; he felt a horrible deathly chill thrilling through him. He looked into her eyes, which beamed back full of love and desire, and at the same time it seemed as though her pulse began to beat and her life's blood to flow into her cold hand. And in the soul of Nathaniel the joy of love rose still higher; he clasped the beautiful Olympia, and with her flew through the dance. He thought that his dancing was usually correct as to time, but the peculiarly steady rhythm with which Olympia moved, and which often put him completely out, soon showed him that his time was most defective. However, he would dance with no other lady, and would have murdered anyone who approached Olympia for the purpose of asking her. But this only happened twice, and to his astonishment Olympia remained seated until the next dance, when he lost no time in making her rise again.
Had he been able to see any other object besides the fair Olympia, all sorts of unfortunate quarrels would have been inevitable. For the quiet, scarcely suppressed laughter which arose among the young people in every corner was manifestly directed towards Olympia, whom they followed with very curious glances - one could not tell why. Heated by the dance and by the wine, of which he had freely partaken, Nathaniel had laid aside all his ordinary reserve. He sat by Olympia with her hand in his and, in a high state of inspiration, told her his passion, in words which neither he nor Olympia understood.
Yet perhaps she did; for she looked steadfastly into his face and sighed several times, 'Ah, ah!' Upon this, Nathaniel said, 'Oh splendid, heavenly lady! Ray from the promised land of love - deep soul in whom all my being is reflected !' with much more stuff of the like kind. But Olympia merely went on sighing, 'Ah - ah!'

ETA Hofmann / The Sandman

The high steeple of the townhall was already casting its gigantic shadow over the market-place.
'Oh,' said Clara, 'let us climb it once more and look out at the distant mountains!'
No sooner said than done. Nathaniel and Clara both ascended the steps, the mother returned home with the servant, and Lothaire, who was not inclined to clamber up so many stairs, chose to remain below. The two lovers stood arm-in-arm on the highest gallery of the tower, and looked down upon the misty forests, behind which the blue mountains rose like a gigantic city.
'Look there at that curious little grey bush,' said Clara. 'It actually looks as if it were striding towards us.'
Nathaniel mechanically put his hand into his breast pocket - he found Coppola's telescope, and pointed it to one side. Clara was in the way of the glass. His pulse and veins leapt convulsively. Pale as death, he stared at Clara, soon streams of fire flashed and glared from his rolling eyes, he roared frightfully, like a hunted beast.Then he sprang high into the air and. punctuating his words with horrible laughter, he shrieked out in a piercing tone, 'Spin round, wooden doll! - spin round!' Then seizing Clara with immense force, he tried to hurl her down, but with the desperate strength of one battling against death she clutched the railings.
Lothaire heard the' raging of the madman - he heard Clara's shriek of agony - fearful forebodings darted through his mind, he ran up, the door to the second flight was fastened, Clara's shrieks became louder and still louder. Frantic with rage and anxiety, he threw himself against the door, which finally burst open. Clara's voice was becoming weaker and weaker. 'Help - help save me!' With these words the voice seemed to die on the air.
'She is gone - murdered by that madman!' cried Lothaire.
The door of the gallery was also closed, but despair gave him a giant's strength, and he burst it from the hinges. Heavens! Grasped by the mad Nathaniel, Clara was hanging in the air over the gallery - with one hand only she still held one of the iron railings. Quick as lightning, Lothaire caught his sister and drew her in, at the same moment striking the madman in the face with his clenched fist to such effect that he reeled and let go his prey.
Lothaire ran down with his fainting sister in his arms. She was saved. Nathaniel went raging about the gallery, leaping high in the air and crying, 'Circle of fire'spin round! spin round!'
 

images found while teaching

What use does the Symbolic have?

When Jean Hyppolite asks: "What use does the Symbolic have?" Lacan answers: "The Symbolic, the Imaginary and the Real are useful in giving its meaning to a particularly pure symbolic experience, that of analysis." Since the symbolic dimension is the only dimension that cures, "The symbolic order is simultaneously non-being and insisting to be, that is what Freud has in mind when he talks about the death instinct as being what is most fundamental: a symbolic order in travail, in the process of coming, insisting in being realised."

A four-term structure maps the Real, the Imaginary and the Symbolic as replacing the second Freudian topography: ego/id/superego. Two diagonals intersect, while the imaginary rapport links a (the ego) to a' (the other), the line going from S (the subject, the Freudian id) to A (the Other) is interrupted by the first one. The Other is difficult to define: it is the place of language where subjectivity is constituted; it is the place of primal speech linked to the Father; it is the place of the absolute Other, the mother in the demand. The Other makes the subject without him knowing it. 

1954-1955 Le séminaire, Livre II: Le moi dans la théorie de Freud et dans la technique de la psychanalyse

casts / photographs / fearful fidelity / dreadful agony

Delusion & Dream in Jensen's Gradiva 1907
an attempt had been made to cast the body of a woman discovered in the House of the Faun in 1830. The woman's foot seems to have been greatly admired... ma la forma del suo piede e del suo calzare attiro la nostra attenzione / Fiorelli /Dwyer/ Sculpture &Archaeology/ 57

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L'Inconnue de la Seine c.1880s

Eugene Dwyer

Matthew Brady / Battle of Gettysburg 1863

Giuseppe Fiorelli / Casts from Pompei / 1863

Photography & The Immured Pompeians / The Evolution of Photography/ John Werge / 1890

mystic writing tablet

a marble tablet

In This House on July 24th, 1895
the Secret of Dreams was Revealed
to Dr. Sigm. Freud


the persistence of memory

she who walks

Free Association, Area 53, Vienna

Fibonacci blanket

Free Association, Area 53, Vienna

Sigmund Freude