Papers (draft copies only) by Derek Dey
Art Therapy, 2020
The paper covers of the journey made from art instruction in composition, still life and life dra... more The paper covers of the journey made from art instruction in composition, still life and life drawing, to dealing with psychological issues which arose in some individuals in the classes. A counselling approach was applied in addition to art instruction, along with deepening empathy for those who clearly presented various issues such as a bi-polar disorder, profound states of anxiety and a form of Dyslexia which was evidenced by spatial disorders. A dyslexic fragmentation of an overall unity of the image was substantialy changed through psychodynamic and creative processes conducted over a year. Likewise the person's lifestyle improved considerably in tandem with improvements to her art.
Self: an approach to a theoretical construct of a transpersonal psychology of self to other This ... more Self: an approach to a theoretical construct of a transpersonal psychology of self to other This paper, the first of three, offers a journey made by the psychological self as it travels from philosophical speculations found through the period of German Idealism to early proposals in classical and humanist psychology, then on to Attachment theories and developments of a neurobiology of emotional development, embraced within the framework of the family triad. The study overall, approaches a contemporary perspective on psychological theory and growth stages.
The current paper covers a period of development running through Storm and Stress, German Idealism, and Weimar Aesthetic traditions. This preparatory period for the emergence of contemporary psychology runs from around 1800 and the concept of the unconscious, a focus of these times, became well known to the German speaking world then to a lesser degree to Anglophone regions. French and English rational thinking precluded studies of the subconscious and Naturphilosophie, the ontological ground explored here. As proponents of the subconscious and psychology per se, a scientific model also appears through this period.
The subconscious, as a necessary agency, comes to support a creative interactive psyche, commonly found within psychological theory. With this in mind Kant, Fichte, Schelling, Carus, Hartmann, Fechner, Wundt, and Goethe, are explored as those presenting support for the appearance of Freud and Jung.
Abstract: Preliminary papers in this series have unpacked the history and evolution of Logos, and... more Abstract: Preliminary papers in this series have unpacked the history and evolution of Logos, and the Archetype, as a ground upon which aesthetic proposals might rest. Logos in this paper moves through the theological and Trinitarian expression to Logos as a contemporary theological and philosophical version which supports both general creativity and the concept of the self. In the current paper I have re-imagined this Logos partly, in terms of Process and Integral thinking. Logos emerges here from an undifferentiated ground becoming breath as the act of creation, and the self as archetype. This theory of resemblance, of self to cosmos, constitutes the architecture of the true self in psychological proposals. However CG Jung noted Logos fails to address the feminine fully. Jung therefore wrote up Logos as ‘Logos-Eros’ in his Red Book, extracting masculine and feminine typologies from a personal vision he had of Elijah and Salome. These masculine and feminine figures, moved to archetypes, can either fall into dysfunction or participate in harmony thus balancing the proclivities of a creative cosmos, and establishing principles informed by organicity, beauty, and virtues. Logos-Eros helps to resolve a longstanding dispute over the marginalization of the feminine.
Logos, described in the paper, though not bound by time-space, evolves in pre-creation stages. Likewise the structural psychology of the self, initially the Freudian metapsychology, exhibits similar stages, architectures, and fluid interactive agencies. This three stage architecture of the self, the unconscious-preconscious-conscious model, synthesized with Jungian depth psychology, is also defined as the theory of resemblance, with the proviso that pathologies are eliminated from this model. The subliminal realm is compared to a PreLogos function described in the theological dynamics of the Logos. Neuroscientific studies confirm this function of subliminal processing in the psychological model. Consciousness proposed as a birth of God and a birth of consciousness is compared to Erich Neumann’s ouroboric myth, where a paradigm for emergent and evolutionary consciousness is found. Psychologist Gilbert Rose, confirms subliminal fluidity as an element of creative and PreLogos dynamics. Morphological features attributed to Logos, self, and general autopoietic systems are compared to Whitehead’s society of occasions where each act of creation is viewed as a social act of relational concern. Such models of organicity, reveal archetypal, kalogenic properties. Extracted from the primordial nature of Eros, kalogenesis supports a universe fully self-justified by the production of beauty, from which, virtues are extracted; an aesthetic proposal.
CG Jung and Ken Wilber both propose consciousness recedes all the way down into the substrates of carbon and beyond to the subatomic and quantum realm. This journey down, opens with Ernst Kris’ dictum of his, “Regression at the service of the ego.” This type of regression is written up as a descent into a hidden order into the unconscious realms, rather than mere collapse into irrationality. Appropriately this journey into the unconscious reveals a quantum order, archetypal rhythms, and patterns and geometries. Paleopsychology similarly introduces patterns and social aggregates, found at these lower, subatomic levels. The term protoconsciousness related to these perspectives, and from a quantum thinking, becomes a necessary functional bridge linking mind to archetype.
John Eccles’ protoconscious-quantum model opens from neuronal studies. REM protoconscious work, and the Orch OR hypothesis from Stuart Hameroff and Roger Penrose further support the idea of emergent orchestrated consciousness lying between neuron, and Logos-field consciousness. Mind related this way to quantum effects, support universal, and aesthetic properties found extant throughout the field. By resolving this ‘hard problem,’ life and creativity are posited as an enfolded property of a deeper implicate order. Cellular protoconsciousness, the conclusion of the paper, is finally examined from the deeper perspective of global cellular participation, looking beyond the cytoskelton architecture of the neuron into core DNA, transcriptions and expressions. From current DNA and Biophoton research, protoconsciousness is therefore identified as a field to systems theory, rising from field consciousness to DNA transcriptions and hence to the binary function of tubulin scaffoldings in the neuron. Consciousness is therefore viewed as a participation between properties of the field, processing in the mind, and interpretations made by the individuated self. The paper concludes by confirming aesthetic properties of the cosmos, of Logos and Eros, interact with a quantum mind in symmetries, coherencies, vibrancy, and emotional affects, thus creating a base for further aesthetic exploration. The methodology used in the paper is described as ‘areas of interaction’ which is moreover definable as, a philosophy of conflict resolution.
Derek Dey, Oct. 2013.
Part 1-Ephesus to Weimar Germany: the paper examines the history and development of philosophic L... more Part 1-Ephesus to Weimar Germany: the paper examines the history and development of philosophic Logos and the psychological Archetype. Jung's work on the Archetype is defined as a multi-disciplinarian approach but evolves, in part from Weimar thinking, and Goethean morphology. Added to this is an interpretation of Christ-Logos as his structure of the self.
Part 1-Ephesus to Weimar Germany: the paper examines the history and development of philosophic L... more Part 1-Ephesus to Weimar Germany: the paper examines the history and development of philosophic Logos and the psychological Archetype. Jung's work on the Archetype is defined as a multi-disciplinarian approach but evolves, in part from Weimar thinking, and Goethean morphology. Added to this is an interpretation of Christ-Logos as his structure of the self.
Papers by Derek Dey
Democracy; A Journey from the Goddess and Persian Hegemony, 2024
This paper discusses a significant historical transition tied roughly to the 10,000-year marker. ... more This paper discusses a significant historical transition tied roughly to the 10,000-year marker. Within that framework, we have Göbekli Tepe to consider which reveals well-developed stonework and architecture in Southern Turkey. It is dated c. 9500 BCE. What follows in the Mid-East are developments tied to farming, settlement, cities, trade, economies, the rise and fall of empires, and well-developed cities among which we look at Babylon which became a significant architectural and social jewel in today’s Southern Iraq and settled on the Euphrates River. Babylon changed hands intermittently and was taken by Alexander the Great who symbolized a significant change in the region. Alexander after one expedition to India returned to Babylon only to die there in mysterious circumstances.
From this period Persia and Babylon fell into decline and Greek history began to arise where Greeks then took on a significant historical role. After Athens is recorded as being inhabited from the early Neolithic era and later from a period of dictatorship, the rule of Thirty Tyrants, she began to face reforms by people such as Solon and Cleisthenes which led to democratic rule in the Athenian region. From this event, we look at the unfolding of democracy in places such as Iceland, and Florence, philosophy through John Locke then onto America.
Americans took to a Republic form of democracy but the establishment of this was profoundly flawed in any case. Many of the Founding Fathers were slave owners where slavery has never been considered as part of any democratic process. We also see from further analysis that certain moral and ethical problems run through this fledgling Republican Democracy until we reach Richard Nixon, Bill Clinton, and specifically Donald Trump. The paper ends with various analyses of Trump and his behaviors raising the question regarding participants and their psychological profiles within the field of democracy.
A Theory and Philosophy of Art, 2023
The following work is an early synopsis of the history and philosophy of art. The text links to a... more The following work is an early synopsis of the history and philosophy of art. The text links to a Powerpoint presentation presented by numbers to the slide show are linked here - If the link is not live simply copy and paste it to your browser:
https://www.slideshare.net/Aesthetics_Art_Philosophy/a-theory-of-artppxtpptx
Slide numbers align textual content to be presented on each slide in the slide show which is an integral part of this work that follows. The whole work is presented thus as both slide and text, so I hope this additional support helps clarify the work.
The extent of the work runs through the history and philosophy of art and, in addition, includes global cultural spheres. As such, this field is obviously too detailed to be fully included, so I have selected what I hope are relevant and definitive works hoping I may be forgiven for certain omissions.
Nevertheless, different cultural areas as far as this work can supply, are included with some mention of an archaic record upon which this world is built. Likewise, of note, Christian ethics do not cover various cultural spheres nor are they always considered relevant as many believe they were largely replaced by the advent of psychology by 1903-1913.
What is presented is, therefore, an introduction to global arts, aesthetics, and the overriding philosophical ground which informs such fields of creativity. Some slides differ just as the types of work and the philosophical imperatives do, containing material that might not be accepted by all; but what I have selected holds to a general creative envelope. In all this, I hope, there is consideration and thought tied to some presentations rather than yielding to forms of judgementalism. Nevertheless, informed critiques are always welcome in such an open discussion.
Toward a psychoneorobiology of Emotional Development, 2022
The psychology of the self briefly covers the ground from early historical proclivities to contem... more The psychology of the self briefly covers the ground from early historical proclivities to contemporary neuroscientific advances. The paper runs from mythic and historical accounts through European history up to Freud and Jung who open the discipline to modernity. From there, there is some discussion of psychologists who offer clinical studies on parents, children, and the growth stages. I posit Margaret Mahler as being exemplary in this field but do not preclude others such as early work by Carl Gustav Carus, the Jungian self, Maslow, Ainsworth, and Bowlby. In conclusion, the paper moves to include work by Allan Schore and Peter Fonagy who link neurological developments to growth periods and to healthy interactions with both mother and father.
An Angel Standing in the Sun, 2021
This paper is developed from a presentation given at the National Gallery in London. The director... more This paper is developed from a presentation given at the National Gallery in London. The director of the time suggested it be worked up into a Monograph but the paper falls short of that. Perhaps the category of Pathography might apply. That is to say, the life, the epoch in which Turner lived, the artistic disciplines and circumstantial events of Turner’s life, family, friends, and the turbulent times he lived in, all contribute to insights, themes, and dynamics attached to Turner’s works. Turner lived through revolution, continental wars, social changes, and the Industrial Revolution, so his times were transitional.
Briefly, John Constable who lived contemporaneously with Turner, and the critic John Ruskin is also included. Constable is often said to bring an end, completion, to the Renaissance tradition and Turner opens the field of fine art to the new. Ruskin was supportive of Turner, yet by the end of Turner’s career, he became extremely disillusioned with the artist's work. The paper considers Ruskin’s opinions.
Turner’s biographical information, influenced his art, compositions, and mythical subjects, as does Goethe on colour theory. Encoded narratives woven through the artist’s works reveal the Myth of Aeneas is particularly significant when it translates to the Journey of the Hero; here Turner was fascinated by the tale of Aeneas. The initial excitement of the Industrial Age also extended a profound influence on Turner leading to works like, ‘The Fighting Temeraire’ and, ‘Rain Steam and Speed’, which are both definitive works.
Turner shifts from geometrically defined compositions to a dynamic Rococo style with attendant spiral dynamics and the Fibonacci series applied to his developing works. Turner’s spirals also reverse into vortexes when his dysfunctional nature comes to the fore. This positive-destructive, psychological dynamic also informs his sun which changes in different works. In his later years, we have to question whether his works advance to a colour-field proposition, or is due to cataracts and failing eyesight. Whatever the story Turner’s life and times offer a fascinating glimpse into this period and into the record fine-art presents to us.
Color - Newton to Goethe and Beyond - a Brief Introduction, 2020
Abstract: From a previous discussion of Newton, Goethe and Kandinsky, Isaac Newton was less well ... more Abstract: From a previous discussion of Newton, Goethe and Kandinsky, Isaac Newton was less well presented, as he poses limits in the world of the arts. It was to be noted this brief statement on the three historical figures also opened in an art post not a science post. Art does contain science such as Euclid’s mathematical proportions, perspective, anatomy, biology and so on but Fine-Art is not a Science in of itself. So Newton’s scientific theory of color presents the spectrum of color just as Goethe does initially but Newton does not consider the whole dynamic functions of creativity which can be applied to fine-art.
Jackson Pollock; Descent into the Unconscious, 2020
The paper looks at the life and times of Jackson Pollock and examines his methods and aspirations... more The paper looks at the life and times of Jackson Pollock and examines his methods and aspirations which came to full creative life in a short period whilst he was living in relatively calm times with Lee Krasner in Springs, East Hampton, New York. Here, both Jackson Pollock and Abstract Expressionism took on a vibrancy which places him firmly within the records of the history of art. There are indications of this found in earlier works which point to Jackson Pollocks mature works. Most are generaly considered to lie in the Springs period from 1950 to ’55, with some slightly earlier works to consider as belonging to this period stylistically.
Nevertheless, the paper looks at the artist’s troubled roots which lay before this time and considers what factors finally influenced or supported his mature phase and where works mentioned exemplify this record and his achievements. Considering his nature, birth trauma and early abandonment by both parents, his life unfolded in difficult psychological phases which the paper proposes was largely tied to an undeveloped Anima; the creative unconscious in the male. The calm period in Springs therefore came to an early end. His death came, thereafter, when many of Pollocks unconscious drives and problematic behaviours returned to haunt him and contributed to his early demise in August of 1956.
Notre-Dame and the Golden Ratio: aesthetic, transpersonal, and mathematical principles which continue into modernity, 2019
The fire which struck Notre-Dame in April of 2019 drew attention to one of the worlds remarkable ... more The fire which struck Notre-Dame in April of 2019 drew attention to one of the worlds remarkable pieces of sacred architecture. The French government have already legislated that a rebuild must conform to the structure as it was, not to some new architectural proposition. As such, this raises the question of what we as a cultural people wish to preserve and honor in a portfolio of works and current creativitive projects, which hold to similar values and virtues. These values are not always well discussed but often intuited and simply experienced in the cathedrals and in works of modernity.
In reality, there are well established principles of an aesthetic nature, which have run through history and came to inform the cathedral buildings of the Gothic period. We can include here, transpersonal values, the math of ‘Divine Proportion’ from Euclid, Biblical numerology, the metaphysics of light given expression in stained glass windows. By intention, the creation of sacred space is formed where such works might embrace anyone who entered cathedral precincts and where they could reflect upon such aesthetics woven in to these buildings, to their personal upliftment. The paper tries to examine such principles and proposes such aesthetic elements, run through our cultural world to this day into our arts and architecture.
In this paper I have attempted to cover some preparatory ground on the concept of self, and its g... more In this paper I have attempted to cover some preparatory ground on the concept of self, and its ground in the family triad. From the interactive nature of the triad I have looked at a brief history of psychological postulates but of late following from Mary Ainsworth, John Bowlby, Margaret Mahler, Alan Schore, Peter Fonagy et al., the pschoneurobiology of self is therefore considered as a formative force lying behind the narrative of ‘self.’ In addition I have retained some Jungian thought, and entertained contemporary explorations of metaphysics including Integral psychology and ‘transpersonal’ psychology as elements ‘waiting in the wings,’ for synthesis.
Abstract: This paper on Picasso started life as an article in a monthly magazine published in Lon... more Abstract: This paper on Picasso started life as an article in a monthly magazine published in London. It sat like that for a time, then went through some development but never saw the light of day. It was not until recently that I felt, ‘Picasso’ could now be brought to light. In this paper I examine Picasso’s life and works from the perspective of the artist’s life, works and the times he lived in, largely from a psychological perspective. The paper moreover, posits the deconstruction philosophies and revolutionary movements of his particular historical epochs are inseparable factors tied to Picasso’s life and works. What is not covered is a general survey of the artists work, rather how disorders of the personality form and emerge into certain works.
Subsequently, Picasso is revealed as, creator and destroyer. Much of the destructive tendencies found, are tied to misogyny, narcissism, and sadomasochism. From works such as Les Demoiselles d'Avignon to the Minotaur series, Picasso reveals a labyrinthine and pathological unconscious. From here I suggest the intra-psychic conflict lying between Picasso's’ conscious and unconscious drives (Ego and id) was transferred to his art and hence to the domain of human civilization. Picasso’s life and creativity are subverted by internal, unresolved, and unconscious dynamics, some tied to his fragmented image of the parents, some to trauma, some to personal rebellion.
Within an age of deconstruction and revolt, Picasso’s early disenchantment with his God, rebellion against his father, rejection of authority, and his subsequent allegiance to the Communist philosophy, can here be easily understood. As a result the criticism of traditional values and aesthetics of the time, leaves us with Psychological fragmentation, and an unconscious Freudian dimension of pessimism, which fills his pictorial record and his life.The paper finally presents advances in psychological theory and the aesthetic experience, as a counterproposal to deconstructionist art and similar theories of these times.
Part 2: An Integral Jump: Archetypal ideas must be grounded in meaningful ways to make sense, and... more Part 2: An Integral Jump: Archetypal ideas must be grounded in meaningful ways to make sense, and as such they involve, math, geometry, patterns and dynamics, which are taken to practical applications in this second paper. Jung states, “Thus, archetypes lie behind the acausal orderedness of the physical world as well as act as structuring principles for causal processes.” Patterns of behavior, entopic imageries, crystalline forms, grammar structures, and the function of the symbol are then considered. The Jungian archetype redefined by Ken Wilber as holon is also examined and critiqued as are systems theories, the Meme and A. N. Whitehead’s, ‘occasions of experience’. The paper finally looks at the Logos-Eros hypothesis as a transcendent, universal dynamic, inhering to patterns of creativity and aesthetic forms made functional by a primacy of emotions mesh-worked into all systems.
Part 1: Ephesus to Weimar Germany: The first paper explores the history and development of ideas;... more Part 1: Ephesus to Weimar Germany: The first paper explores the history and development of ideas; Logos, the Platonic Idea, Eros and the transpersonal Archetype. The Archetype unfolds through Heraclitus, Plato and the Panpsychic tradition, emerging into Weimar thinking, and on to CG Jung. The Psychoid Archetype (CW 8) developed by Jung and Pauli, is of particular interest establishing a ground for contemporary archetypal and quantum thinking, including functions of mind and neurological brain structures (CW 10). Core creative ideas, Logos-Eros, found in Jung’s, Red Book, are also explored with a similar view to establishing a general creative principle bridging psyche and matter to cosmos.
Marcel Duchamp, Pablo Picasso, Salvador Dali and Henri Matisse amongst others, pioneered a very d... more Marcel Duchamp, Pablo Picasso, Salvador Dali and Henri Matisse amongst others, pioneered a very different way of seeing and expressing the creative instinct in art, which came to take the name of modernity in the early 20th Century. Arthur Danto, philosopher and art critic, describes this emergent period as Kalophobic, where Kalos, the Greek for beauty, is all but lost through this period to fragmentation of various sorts within the arts, yet this is not simply a postmodern period defined by deconstruction alone, it opens paradoxically to complexities and potentials woven through. Still much remains difficult to assess clearly as art per se.
Marcel Duchamp is often defined by creative advances and pathologies in this period of flux. Arguably, Duchamp mirrors the concerns of this particular age more than any. He is often categorized as a Dadaist which, in itself, trails on the edge of the Fin de siècle movement. The Fin de siècle movement categorized by three modes, Aestheticism, Decadence and Symbolism, is represented by artists and writers such as, Egon Schiele, Arthur Rimbaud, McNeill Whistler, Schopenhauer, The Pre-Raphaelites, and Oscar Wilde, who's trial for indecency in 1895 marked the end of the Decadent movement in England. Yet the Fin de siècle lingered and shared much with modernity including the notion that art existed for art’s sake. This rationale of the ‘art object,’ a rejection of all that was retinal, cast aside canvas painting and a new freedom to create was introduced. It did not necessarily involve morality either. Decadence suggested culture at the time was in decay and a critical, pessimistic and often sexualized perspective was applied to creative adventures. This too, tempers modernity.
With a rejection of universals and idealisms, artists became concerned with Dadaist philosophy and Freudian creativity, yet the Large Glass by its nature, defies Dadaist or any other single convention; it is one of the most enigmatic works in the history of art. The essay explores creativity, layered encoded psychological material, the artists personal narrative, cultural and historical influences, and thereby to a synthesis of elements of the age in which Duchamp lived. The Large Glass, reveals itself as a map of the artist’s unconscious and a record of the times he lived in, as no other work can lay claim to.
Drafts by Derek Dey
The Individuated Self: individuation is the process in which the individual self develops out of ... more The Individuated Self: individuation is the process in which the individual self develops out of an undifferentiated unconscious and transpersonal realm, seen as a developmental psychic process during which innate elements of personality, the components of the immature psyche, and the experiences of the person's life become integrated over time into a well-functioning whole. What cannot be ignored is the infant's early experiential world within the family triad and in the mother-infant dyad where nature surrenders to nurture for a time.
What follows is a history of an idea which leads us to a scientifically bolstered view of the self, not in isolation but as an attachment model.
Books by Derek Dey
Freud and his Discontents; an aetiology of psychoanalysis, 2021
The book, ‘Freud and his Discontents; an aetiology of psychoanalysis’ (ISBN 978-87-4303-717-0) is... more The book, ‘Freud and his Discontents; an aetiology of psychoanalysis’ (ISBN 978-87-4303-717-0) is published, available in Denmark and Germany, and will be promoted in Britain, America, and Canada.
A synopsis of the book is contained in the pdf along with text samples from the book.
The book runs from the records of the Freud family in Pribor, the Jewish Enlightenment from a center not too far of in Tysmenitz which, influenced Freud’s parents and his early years. His first three years were actually spent with a Catholic nanny which left him relatively positive to the Catholic faith but his family's beliefs in Judaism were strongly rejected.
This, plus his reports of some sexualization in Freud records, leaves him with early sexual attachments to his mother and anger against his father - his response to his family was therefore rooted in Oedipal dynamics. Sexual theories of the time, including Havelock Ellis, von Krafft-Ebbing, and Albert Moll also play a part in his theory of libido. He also seems to hold to such templates where two mothers are present and with birth confusion, he records two possible fathers. Freud’s Oedipal theory established at age three, occur simultaneously when Freud significantly lost his nanny and returned to his mother. These factors become evident in his works up to and including his last work, Moses and Monotheism.
A significant amount of Freud’s works are discussed including, the psychosexual stages, Leonardo da Vinci, Totem and taboo, and the Vienna Psychoanalytic Society. In this last section, there are brief entries describing the main ideas of those who met with Freud in Vienna on Wednesdays. These are the ‘discontents’ where despite stormy meetings, some remained as Freudians, and some, like CG Jung and Alfred Adler, go their own way. We then have a ‘diaspora’ of psychologists which, gives rise to the modern world of psychology and its disciplines as we find it.
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Papers (draft copies only) by Derek Dey
The current paper covers a period of development running through Storm and Stress, German Idealism, and Weimar Aesthetic traditions. This preparatory period for the emergence of contemporary psychology runs from around 1800 and the concept of the unconscious, a focus of these times, became well known to the German speaking world then to a lesser degree to Anglophone regions. French and English rational thinking precluded studies of the subconscious and Naturphilosophie, the ontological ground explored here. As proponents of the subconscious and psychology per se, a scientific model also appears through this period.
The subconscious, as a necessary agency, comes to support a creative interactive psyche, commonly found within psychological theory. With this in mind Kant, Fichte, Schelling, Carus, Hartmann, Fechner, Wundt, and Goethe, are explored as those presenting support for the appearance of Freud and Jung.
Logos, described in the paper, though not bound by time-space, evolves in pre-creation stages. Likewise the structural psychology of the self, initially the Freudian metapsychology, exhibits similar stages, architectures, and fluid interactive agencies. This three stage architecture of the self, the unconscious-preconscious-conscious model, synthesized with Jungian depth psychology, is also defined as the theory of resemblance, with the proviso that pathologies are eliminated from this model. The subliminal realm is compared to a PreLogos function described in the theological dynamics of the Logos. Neuroscientific studies confirm this function of subliminal processing in the psychological model. Consciousness proposed as a birth of God and a birth of consciousness is compared to Erich Neumann’s ouroboric myth, where a paradigm for emergent and evolutionary consciousness is found. Psychologist Gilbert Rose, confirms subliminal fluidity as an element of creative and PreLogos dynamics. Morphological features attributed to Logos, self, and general autopoietic systems are compared to Whitehead’s society of occasions where each act of creation is viewed as a social act of relational concern. Such models of organicity, reveal archetypal, kalogenic properties. Extracted from the primordial nature of Eros, kalogenesis supports a universe fully self-justified by the production of beauty, from which, virtues are extracted; an aesthetic proposal.
CG Jung and Ken Wilber both propose consciousness recedes all the way down into the substrates of carbon and beyond to the subatomic and quantum realm. This journey down, opens with Ernst Kris’ dictum of his, “Regression at the service of the ego.” This type of regression is written up as a descent into a hidden order into the unconscious realms, rather than mere collapse into irrationality. Appropriately this journey into the unconscious reveals a quantum order, archetypal rhythms, and patterns and geometries. Paleopsychology similarly introduces patterns and social aggregates, found at these lower, subatomic levels. The term protoconsciousness related to these perspectives, and from a quantum thinking, becomes a necessary functional bridge linking mind to archetype.
John Eccles’ protoconscious-quantum model opens from neuronal studies. REM protoconscious work, and the Orch OR hypothesis from Stuart Hameroff and Roger Penrose further support the idea of emergent orchestrated consciousness lying between neuron, and Logos-field consciousness. Mind related this way to quantum effects, support universal, and aesthetic properties found extant throughout the field. By resolving this ‘hard problem,’ life and creativity are posited as an enfolded property of a deeper implicate order. Cellular protoconsciousness, the conclusion of the paper, is finally examined from the deeper perspective of global cellular participation, looking beyond the cytoskelton architecture of the neuron into core DNA, transcriptions and expressions. From current DNA and Biophoton research, protoconsciousness is therefore identified as a field to systems theory, rising from field consciousness to DNA transcriptions and hence to the binary function of tubulin scaffoldings in the neuron. Consciousness is therefore viewed as a participation between properties of the field, processing in the mind, and interpretations made by the individuated self. The paper concludes by confirming aesthetic properties of the cosmos, of Logos and Eros, interact with a quantum mind in symmetries, coherencies, vibrancy, and emotional affects, thus creating a base for further aesthetic exploration. The methodology used in the paper is described as ‘areas of interaction’ which is moreover definable as, a philosophy of conflict resolution.
Derek Dey, Oct. 2013.
Papers by Derek Dey
From this period Persia and Babylon fell into decline and Greek history began to arise where Greeks then took on a significant historical role. After Athens is recorded as being inhabited from the early Neolithic era and later from a period of dictatorship, the rule of Thirty Tyrants, she began to face reforms by people such as Solon and Cleisthenes which led to democratic rule in the Athenian region. From this event, we look at the unfolding of democracy in places such as Iceland, and Florence, philosophy through John Locke then onto America. Americans took to a Republic form of democracy but the establishment of this was profoundly flawed in any case. Many of the Founding Fathers were slave owners where slavery has never been considered as part of any democratic process. We also see from further analysis that certain moral and ethical problems run through this fledgling Republican Democracy until we reach Richard Nixon, Bill Clinton, and specifically Donald Trump. The paper ends with various analyses of Trump and his behaviors raising the question regarding participants and their psychological profiles within the field of democracy.
https://www.slideshare.net/Aesthetics_Art_Philosophy/a-theory-of-artppxtpptx
Slide numbers align textual content to be presented on each slide in the slide show which is an integral part of this work that follows. The whole work is presented thus as both slide and text, so I hope this additional support helps clarify the work.
The extent of the work runs through the history and philosophy of art and, in addition, includes global cultural spheres. As such, this field is obviously too detailed to be fully included, so I have selected what I hope are relevant and definitive works hoping I may be forgiven for certain omissions.
Nevertheless, different cultural areas as far as this work can supply, are included with some mention of an archaic record upon which this world is built. Likewise, of note, Christian ethics do not cover various cultural spheres nor are they always considered relevant as many believe they were largely replaced by the advent of psychology by 1903-1913.
What is presented is, therefore, an introduction to global arts, aesthetics, and the overriding philosophical ground which informs such fields of creativity. Some slides differ just as the types of work and the philosophical imperatives do, containing material that might not be accepted by all; but what I have selected holds to a general creative envelope. In all this, I hope, there is consideration and thought tied to some presentations rather than yielding to forms of judgementalism. Nevertheless, informed critiques are always welcome in such an open discussion.
Briefly, John Constable who lived contemporaneously with Turner, and the critic John Ruskin is also included. Constable is often said to bring an end, completion, to the Renaissance tradition and Turner opens the field of fine art to the new. Ruskin was supportive of Turner, yet by the end of Turner’s career, he became extremely disillusioned with the artist's work. The paper considers Ruskin’s opinions.
Turner’s biographical information, influenced his art, compositions, and mythical subjects, as does Goethe on colour theory. Encoded narratives woven through the artist’s works reveal the Myth of Aeneas is particularly significant when it translates to the Journey of the Hero; here Turner was fascinated by the tale of Aeneas. The initial excitement of the Industrial Age also extended a profound influence on Turner leading to works like, ‘The Fighting Temeraire’ and, ‘Rain Steam and Speed’, which are both definitive works.
Turner shifts from geometrically defined compositions to a dynamic Rococo style with attendant spiral dynamics and the Fibonacci series applied to his developing works. Turner’s spirals also reverse into vortexes when his dysfunctional nature comes to the fore. This positive-destructive, psychological dynamic also informs his sun which changes in different works. In his later years, we have to question whether his works advance to a colour-field proposition, or is due to cataracts and failing eyesight. Whatever the story Turner’s life and times offer a fascinating glimpse into this period and into the record fine-art presents to us.
Nevertheless, the paper looks at the artist’s troubled roots which lay before this time and considers what factors finally influenced or supported his mature phase and where works mentioned exemplify this record and his achievements. Considering his nature, birth trauma and early abandonment by both parents, his life unfolded in difficult psychological phases which the paper proposes was largely tied to an undeveloped Anima; the creative unconscious in the male. The calm period in Springs therefore came to an early end. His death came, thereafter, when many of Pollocks unconscious drives and problematic behaviours returned to haunt him and contributed to his early demise in August of 1956.
In reality, there are well established principles of an aesthetic nature, which have run through history and came to inform the cathedral buildings of the Gothic period. We can include here, transpersonal values, the math of ‘Divine Proportion’ from Euclid, Biblical numerology, the metaphysics of light given expression in stained glass windows. By intention, the creation of sacred space is formed where such works might embrace anyone who entered cathedral precincts and where they could reflect upon such aesthetics woven in to these buildings, to their personal upliftment. The paper tries to examine such principles and proposes such aesthetic elements, run through our cultural world to this day into our arts and architecture.
Subsequently, Picasso is revealed as, creator and destroyer. Much of the destructive tendencies found, are tied to misogyny, narcissism, and sadomasochism. From works such as Les Demoiselles d'Avignon to the Minotaur series, Picasso reveals a labyrinthine and pathological unconscious. From here I suggest the intra-psychic conflict lying between Picasso's’ conscious and unconscious drives (Ego and id) was transferred to his art and hence to the domain of human civilization. Picasso’s life and creativity are subverted by internal, unresolved, and unconscious dynamics, some tied to his fragmented image of the parents, some to trauma, some to personal rebellion.
Within an age of deconstruction and revolt, Picasso’s early disenchantment with his God, rebellion against his father, rejection of authority, and his subsequent allegiance to the Communist philosophy, can here be easily understood. As a result the criticism of traditional values and aesthetics of the time, leaves us with Psychological fragmentation, and an unconscious Freudian dimension of pessimism, which fills his pictorial record and his life.The paper finally presents advances in psychological theory and the aesthetic experience, as a counterproposal to deconstructionist art and similar theories of these times.
Marcel Duchamp is often defined by creative advances and pathologies in this period of flux. Arguably, Duchamp mirrors the concerns of this particular age more than any. He is often categorized as a Dadaist which, in itself, trails on the edge of the Fin de siècle movement. The Fin de siècle movement categorized by three modes, Aestheticism, Decadence and Symbolism, is represented by artists and writers such as, Egon Schiele, Arthur Rimbaud, McNeill Whistler, Schopenhauer, The Pre-Raphaelites, and Oscar Wilde, who's trial for indecency in 1895 marked the end of the Decadent movement in England. Yet the Fin de siècle lingered and shared much with modernity including the notion that art existed for art’s sake. This rationale of the ‘art object,’ a rejection of all that was retinal, cast aside canvas painting and a new freedom to create was introduced. It did not necessarily involve morality either. Decadence suggested culture at the time was in decay and a critical, pessimistic and often sexualized perspective was applied to creative adventures. This too, tempers modernity.
With a rejection of universals and idealisms, artists became concerned with Dadaist philosophy and Freudian creativity, yet the Large Glass by its nature, defies Dadaist or any other single convention; it is one of the most enigmatic works in the history of art. The essay explores creativity, layered encoded psychological material, the artists personal narrative, cultural and historical influences, and thereby to a synthesis of elements of the age in which Duchamp lived. The Large Glass, reveals itself as a map of the artist’s unconscious and a record of the times he lived in, as no other work can lay claim to.
Drafts by Derek Dey
What follows is a history of an idea which leads us to a scientifically bolstered view of the self, not in isolation but as an attachment model.
Books by Derek Dey
A synopsis of the book is contained in the pdf along with text samples from the book.
The book runs from the records of the Freud family in Pribor, the Jewish Enlightenment from a center not too far of in Tysmenitz which, influenced Freud’s parents and his early years. His first three years were actually spent with a Catholic nanny which left him relatively positive to the Catholic faith but his family's beliefs in Judaism were strongly rejected.
This, plus his reports of some sexualization in Freud records, leaves him with early sexual attachments to his mother and anger against his father - his response to his family was therefore rooted in Oedipal dynamics. Sexual theories of the time, including Havelock Ellis, von Krafft-Ebbing, and Albert Moll also play a part in his theory of libido. He also seems to hold to such templates where two mothers are present and with birth confusion, he records two possible fathers. Freud’s Oedipal theory established at age three, occur simultaneously when Freud significantly lost his nanny and returned to his mother. These factors become evident in his works up to and including his last work, Moses and Monotheism.
A significant amount of Freud’s works are discussed including, the psychosexual stages, Leonardo da Vinci, Totem and taboo, and the Vienna Psychoanalytic Society. In this last section, there are brief entries describing the main ideas of those who met with Freud in Vienna on Wednesdays. These are the ‘discontents’ where despite stormy meetings, some remained as Freudians, and some, like CG Jung and Alfred Adler, go their own way. We then have a ‘diaspora’ of psychologists which, gives rise to the modern world of psychology and its disciplines as we find it.
The current paper covers a period of development running through Storm and Stress, German Idealism, and Weimar Aesthetic traditions. This preparatory period for the emergence of contemporary psychology runs from around 1800 and the concept of the unconscious, a focus of these times, became well known to the German speaking world then to a lesser degree to Anglophone regions. French and English rational thinking precluded studies of the subconscious and Naturphilosophie, the ontological ground explored here. As proponents of the subconscious and psychology per se, a scientific model also appears through this period.
The subconscious, as a necessary agency, comes to support a creative interactive psyche, commonly found within psychological theory. With this in mind Kant, Fichte, Schelling, Carus, Hartmann, Fechner, Wundt, and Goethe, are explored as those presenting support for the appearance of Freud and Jung.
Logos, described in the paper, though not bound by time-space, evolves in pre-creation stages. Likewise the structural psychology of the self, initially the Freudian metapsychology, exhibits similar stages, architectures, and fluid interactive agencies. This three stage architecture of the self, the unconscious-preconscious-conscious model, synthesized with Jungian depth psychology, is also defined as the theory of resemblance, with the proviso that pathologies are eliminated from this model. The subliminal realm is compared to a PreLogos function described in the theological dynamics of the Logos. Neuroscientific studies confirm this function of subliminal processing in the psychological model. Consciousness proposed as a birth of God and a birth of consciousness is compared to Erich Neumann’s ouroboric myth, where a paradigm for emergent and evolutionary consciousness is found. Psychologist Gilbert Rose, confirms subliminal fluidity as an element of creative and PreLogos dynamics. Morphological features attributed to Logos, self, and general autopoietic systems are compared to Whitehead’s society of occasions where each act of creation is viewed as a social act of relational concern. Such models of organicity, reveal archetypal, kalogenic properties. Extracted from the primordial nature of Eros, kalogenesis supports a universe fully self-justified by the production of beauty, from which, virtues are extracted; an aesthetic proposal.
CG Jung and Ken Wilber both propose consciousness recedes all the way down into the substrates of carbon and beyond to the subatomic and quantum realm. This journey down, opens with Ernst Kris’ dictum of his, “Regression at the service of the ego.” This type of regression is written up as a descent into a hidden order into the unconscious realms, rather than mere collapse into irrationality. Appropriately this journey into the unconscious reveals a quantum order, archetypal rhythms, and patterns and geometries. Paleopsychology similarly introduces patterns and social aggregates, found at these lower, subatomic levels. The term protoconsciousness related to these perspectives, and from a quantum thinking, becomes a necessary functional bridge linking mind to archetype.
John Eccles’ protoconscious-quantum model opens from neuronal studies. REM protoconscious work, and the Orch OR hypothesis from Stuart Hameroff and Roger Penrose further support the idea of emergent orchestrated consciousness lying between neuron, and Logos-field consciousness. Mind related this way to quantum effects, support universal, and aesthetic properties found extant throughout the field. By resolving this ‘hard problem,’ life and creativity are posited as an enfolded property of a deeper implicate order. Cellular protoconsciousness, the conclusion of the paper, is finally examined from the deeper perspective of global cellular participation, looking beyond the cytoskelton architecture of the neuron into core DNA, transcriptions and expressions. From current DNA and Biophoton research, protoconsciousness is therefore identified as a field to systems theory, rising from field consciousness to DNA transcriptions and hence to the binary function of tubulin scaffoldings in the neuron. Consciousness is therefore viewed as a participation between properties of the field, processing in the mind, and interpretations made by the individuated self. The paper concludes by confirming aesthetic properties of the cosmos, of Logos and Eros, interact with a quantum mind in symmetries, coherencies, vibrancy, and emotional affects, thus creating a base for further aesthetic exploration. The methodology used in the paper is described as ‘areas of interaction’ which is moreover definable as, a philosophy of conflict resolution.
Derek Dey, Oct. 2013.
From this period Persia and Babylon fell into decline and Greek history began to arise where Greeks then took on a significant historical role. After Athens is recorded as being inhabited from the early Neolithic era and later from a period of dictatorship, the rule of Thirty Tyrants, she began to face reforms by people such as Solon and Cleisthenes which led to democratic rule in the Athenian region. From this event, we look at the unfolding of democracy in places such as Iceland, and Florence, philosophy through John Locke then onto America. Americans took to a Republic form of democracy but the establishment of this was profoundly flawed in any case. Many of the Founding Fathers were slave owners where slavery has never been considered as part of any democratic process. We also see from further analysis that certain moral and ethical problems run through this fledgling Republican Democracy until we reach Richard Nixon, Bill Clinton, and specifically Donald Trump. The paper ends with various analyses of Trump and his behaviors raising the question regarding participants and their psychological profiles within the field of democracy.
https://www.slideshare.net/Aesthetics_Art_Philosophy/a-theory-of-artppxtpptx
Slide numbers align textual content to be presented on each slide in the slide show which is an integral part of this work that follows. The whole work is presented thus as both slide and text, so I hope this additional support helps clarify the work.
The extent of the work runs through the history and philosophy of art and, in addition, includes global cultural spheres. As such, this field is obviously too detailed to be fully included, so I have selected what I hope are relevant and definitive works hoping I may be forgiven for certain omissions.
Nevertheless, different cultural areas as far as this work can supply, are included with some mention of an archaic record upon which this world is built. Likewise, of note, Christian ethics do not cover various cultural spheres nor are they always considered relevant as many believe they were largely replaced by the advent of psychology by 1903-1913.
What is presented is, therefore, an introduction to global arts, aesthetics, and the overriding philosophical ground which informs such fields of creativity. Some slides differ just as the types of work and the philosophical imperatives do, containing material that might not be accepted by all; but what I have selected holds to a general creative envelope. In all this, I hope, there is consideration and thought tied to some presentations rather than yielding to forms of judgementalism. Nevertheless, informed critiques are always welcome in such an open discussion.
Briefly, John Constable who lived contemporaneously with Turner, and the critic John Ruskin is also included. Constable is often said to bring an end, completion, to the Renaissance tradition and Turner opens the field of fine art to the new. Ruskin was supportive of Turner, yet by the end of Turner’s career, he became extremely disillusioned with the artist's work. The paper considers Ruskin’s opinions.
Turner’s biographical information, influenced his art, compositions, and mythical subjects, as does Goethe on colour theory. Encoded narratives woven through the artist’s works reveal the Myth of Aeneas is particularly significant when it translates to the Journey of the Hero; here Turner was fascinated by the tale of Aeneas. The initial excitement of the Industrial Age also extended a profound influence on Turner leading to works like, ‘The Fighting Temeraire’ and, ‘Rain Steam and Speed’, which are both definitive works.
Turner shifts from geometrically defined compositions to a dynamic Rococo style with attendant spiral dynamics and the Fibonacci series applied to his developing works. Turner’s spirals also reverse into vortexes when his dysfunctional nature comes to the fore. This positive-destructive, psychological dynamic also informs his sun which changes in different works. In his later years, we have to question whether his works advance to a colour-field proposition, or is due to cataracts and failing eyesight. Whatever the story Turner’s life and times offer a fascinating glimpse into this period and into the record fine-art presents to us.
Nevertheless, the paper looks at the artist’s troubled roots which lay before this time and considers what factors finally influenced or supported his mature phase and where works mentioned exemplify this record and his achievements. Considering his nature, birth trauma and early abandonment by both parents, his life unfolded in difficult psychological phases which the paper proposes was largely tied to an undeveloped Anima; the creative unconscious in the male. The calm period in Springs therefore came to an early end. His death came, thereafter, when many of Pollocks unconscious drives and problematic behaviours returned to haunt him and contributed to his early demise in August of 1956.
In reality, there are well established principles of an aesthetic nature, which have run through history and came to inform the cathedral buildings of the Gothic period. We can include here, transpersonal values, the math of ‘Divine Proportion’ from Euclid, Biblical numerology, the metaphysics of light given expression in stained glass windows. By intention, the creation of sacred space is formed where such works might embrace anyone who entered cathedral precincts and where they could reflect upon such aesthetics woven in to these buildings, to their personal upliftment. The paper tries to examine such principles and proposes such aesthetic elements, run through our cultural world to this day into our arts and architecture.
Subsequently, Picasso is revealed as, creator and destroyer. Much of the destructive tendencies found, are tied to misogyny, narcissism, and sadomasochism. From works such as Les Demoiselles d'Avignon to the Minotaur series, Picasso reveals a labyrinthine and pathological unconscious. From here I suggest the intra-psychic conflict lying between Picasso's’ conscious and unconscious drives (Ego and id) was transferred to his art and hence to the domain of human civilization. Picasso’s life and creativity are subverted by internal, unresolved, and unconscious dynamics, some tied to his fragmented image of the parents, some to trauma, some to personal rebellion.
Within an age of deconstruction and revolt, Picasso’s early disenchantment with his God, rebellion against his father, rejection of authority, and his subsequent allegiance to the Communist philosophy, can here be easily understood. As a result the criticism of traditional values and aesthetics of the time, leaves us with Psychological fragmentation, and an unconscious Freudian dimension of pessimism, which fills his pictorial record and his life.The paper finally presents advances in psychological theory and the aesthetic experience, as a counterproposal to deconstructionist art and similar theories of these times.
Marcel Duchamp is often defined by creative advances and pathologies in this period of flux. Arguably, Duchamp mirrors the concerns of this particular age more than any. He is often categorized as a Dadaist which, in itself, trails on the edge of the Fin de siècle movement. The Fin de siècle movement categorized by three modes, Aestheticism, Decadence and Symbolism, is represented by artists and writers such as, Egon Schiele, Arthur Rimbaud, McNeill Whistler, Schopenhauer, The Pre-Raphaelites, and Oscar Wilde, who's trial for indecency in 1895 marked the end of the Decadent movement in England. Yet the Fin de siècle lingered and shared much with modernity including the notion that art existed for art’s sake. This rationale of the ‘art object,’ a rejection of all that was retinal, cast aside canvas painting and a new freedom to create was introduced. It did not necessarily involve morality either. Decadence suggested culture at the time was in decay and a critical, pessimistic and often sexualized perspective was applied to creative adventures. This too, tempers modernity.
With a rejection of universals and idealisms, artists became concerned with Dadaist philosophy and Freudian creativity, yet the Large Glass by its nature, defies Dadaist or any other single convention; it is one of the most enigmatic works in the history of art. The essay explores creativity, layered encoded psychological material, the artists personal narrative, cultural and historical influences, and thereby to a synthesis of elements of the age in which Duchamp lived. The Large Glass, reveals itself as a map of the artist’s unconscious and a record of the times he lived in, as no other work can lay claim to.
What follows is a history of an idea which leads us to a scientifically bolstered view of the self, not in isolation but as an attachment model.
A synopsis of the book is contained in the pdf along with text samples from the book.
The book runs from the records of the Freud family in Pribor, the Jewish Enlightenment from a center not too far of in Tysmenitz which, influenced Freud’s parents and his early years. His first three years were actually spent with a Catholic nanny which left him relatively positive to the Catholic faith but his family's beliefs in Judaism were strongly rejected.
This, plus his reports of some sexualization in Freud records, leaves him with early sexual attachments to his mother and anger against his father - his response to his family was therefore rooted in Oedipal dynamics. Sexual theories of the time, including Havelock Ellis, von Krafft-Ebbing, and Albert Moll also play a part in his theory of libido. He also seems to hold to such templates where two mothers are present and with birth confusion, he records two possible fathers. Freud’s Oedipal theory established at age three, occur simultaneously when Freud significantly lost his nanny and returned to his mother. These factors become evident in his works up to and including his last work, Moses and Monotheism.
A significant amount of Freud’s works are discussed including, the psychosexual stages, Leonardo da Vinci, Totem and taboo, and the Vienna Psychoanalytic Society. In this last section, there are brief entries describing the main ideas of those who met with Freud in Vienna on Wednesdays. These are the ‘discontents’ where despite stormy meetings, some remained as Freudians, and some, like CG Jung and Alfred Adler, go their own way. We then have a ‘diaspora’ of psychologists which, gives rise to the modern world of psychology and its disciplines as we find it.