Hagman George
National Psychological Association for Psychoanalysis and The Training and Research Institute for Self Psychology, New York, New York, USA.
Ann N Y Acad Sci. 2009 Apr;1159:164-73. doi: 10.1111/j.1749-6632.2008.04344.x.
The following article presents a contemporary self-psychological perspective on aesthetic experience, art, and creativity. The author argues that aesthetics is as important to human life as sex, hunger, aggression, love, and hate. Although we may rarely be conscious of it, aesthetic experience gives form, meaning, and, most importantly, value to everything we are, all we experience, and everything we do. Theoretically without it, life would be a shapeless, meaningless, and colorless series of sensations, events, and reactions. Aesthetic experience achieves its most refined form in the fine arts. However, we can also see its most archaic manifestation in the curve of the mother's shoulder during nursing, her heartbeat and breath, the melody of her voice, the balance of her eyes and smile--all embedded in the warmth, nourishment, and security of the mother-infant interaction. This article reviews recent analytic writings on psychoanalytic aesthetics that emphasize the central role of early childhood relational experiences in the emergence and structuralization of the sense of aesthetic form. The author argues that as a result of developmentally based processes of idealization, the child's aesthetic sense takes on a profound and lifelong concern with form and quality. The author extends this model and proposes a new definition of creativity and the nature of art. He argues that the creative artist is concerned not just with articulation of subjective states of feeling but also with the most refined and perfect expression possible of his or her internal vision. Although a major application of this model is to art and creativity, it is argued that aesthetic experience is a pervasive human trait that impacts on our entire experience of life, self, and relationships.
以下文章从当代自体心理学的视角探讨了审美体验、艺术和创造力。作者认为，美学对于人类生活而言，与性、饥饿、攻击性、爱和恨同等重要。尽管我们可能很少意识到这一点，但审美体验赋予了我们的一切、我们所经历的一切以及我们所做的一切以形式、意义，最重要的是，赋予了价值。从理论上讲，没有审美体验，生活将是一系列无形状、无意义且无色彩的感觉、事件和反应。审美体验在美术中达到了最精致的形式。然而，我们也能在哺乳时母亲肩膀的曲线、她的心跳和呼吸、她声音的旋律、她眼神与微笑的平衡中看到其最古老的表现形式——所有这些都蕴含在母婴互动的温暖、滋养和安全感之中。本文回顾了近期关于精神分析美学的分析性著作，这些著作强调了幼儿期关系体验在审美形式感的出现和结构化过程中的核心作用。作者认为，由于基于发展过程的理想化，儿童的审美意识对形式和品质产生了深刻且终身的关注。作者扩展了这一模型，并提出了创造力和艺术本质的新定义。他认为，有创造力的艺术家不仅关注主观情感状态的表达，还关注其内心愿景尽可能精致和完美的表达。尽管该模型的主要应用领域是艺术和创造力，但有人认为审美体验是一种普遍存在的人类特质，它影响着我们对生活、自我和人际关系的整体体验。
