By Lia Pistiner de Cortinas
'In this magisterial paintings, the writer nearly encyclopaedically studies all of Bion's works and does so from the viewpoint (vertex) of the classy size. She scans nearly the entire crucial parts of Bion's contributions after which info them at size, giving strange clarifications as she does so..'This paintings constitutes a very good piece of Bion scholarship and interpretation. One comes clear of it with a deep appreciation for the authors dreaming of Bion's paintings and for the sunshine she has shined on lots of Bion's extra recondite themes.'- James Grotstein MD, Professor of Psychiatry, UCLA tuition of drugs, from his Preface
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Extra info for The Aesthetic Dimension of the Mind: Variations on a Theme of Bion
Qxd 8 8/7/09 09:10 Page 8 THE AESTHETIC DIMENSION OF THE MIND basis for an abundance of symbol-formation and of phantasy . ”, (Klein, 1930, p. 221). She also emphasizes the detention of identifications as a factor of paralysis of mental development, since she thinks identification is a precursor of symbolism: “. . it is through symbolic equation that things, activities and interests become topics of phantasies . . next to the libidinous interest, it is anxiety . . the one that starts the mechanism of the identification” (p.
In Explorations in Autism (1975), Meltzer refers to the inability of these patients in the achievement of any degree of projective identification. It would not only be a two-dimensional space, but also an open, flat space, without a sphincter, without closing possibilities. He described these infants as very sensual and emotionally sensitive, with an extreme opening to the emotions and mental states of themselves and of the object. They lack adequate internal equipment, and they also meet with an external object that has a reverie function with serious flaws.
402] Also interesting is what Money-Kyrle thinks about three stages in cognitive development: three stages in the development of representational thought, that is, the use of “concepts” to represent separate and absent objects. In the first, what later will become a representation of an absent and separate object is experienced in a concrete way as introjective or projective identification with the object . . Presumably it operates by the same primitive mechanism by which an emotional or kinaesthetic state spreads through a group of any social animal.