Lombardo Gregory T
Psychiatry, Mt Sinai School of Medicine, NY, USA.
J Am Acad Psychoanal Dyn Psychiatry. 2007 Fall;35(3):351-71. doi: 10.1521/jaap.2007.35.3.351.
An inquiry is made into the peculiar way artists come to know things. It is agreed that artists have an unusual access to unconscious material, but how they gain such access and what else informs their vision is further explored. Two conditions are found necessary to the artist's access: a limited awareness of his or her meaning and an altered state of consciousness brought on by a special form of play. The essential features of play are examined, including its social dimensions. The artist's vision is shown to arise from a free play between his own mind, the material he works in, and his audience. The artist's mind is informed by ideas and techniques available to her (her position in the history of ideas) and by her own unconscious concerns. The artist's vision is transformed by the play between his mind (conscious and unconscious), his subject, and his audience.
本文探讨了艺术家认识事物的独特方式。人们一致认为，艺术家能够以不同寻常的方式接触到无意识素材，但他们是如何获得这种接触以及还有哪些因素影响他们的视野，仍有待进一步探究。研究发现，艺术家接触无意识素材需要两个条件：对自身意义的有限认知，以及由一种特殊形式的游戏所引发的意识状态改变。本文审视了游戏的基本特征，包括其社会维度。艺术家的视野源于其自身思维、创作素材和观众之间的自由互动。艺术家的思维受到其可获取的观念和技巧（其在思想史上的地位）以及自身无意识关切的影响。艺术家的视野在其思维（有意识和无意识）、主题和观众之间的互动中得以转变。
