From “disciplined subjectivity” to “taming wild thoughts”: Bion's elaboration of the analysing instrument

Abstract

Freud encouraged the analyst to use his unconscious “as an instrument of the analysis,” but did not elaborate on how this should be done. This recommendation opened the door to a consideration of unconscious communication between the analyst and patient as an intersubjective exchange. Both Wilfred Bion and Erik Erikson emphasised the importance of the analyst's intuition, and the author compares and contrasts these two approaches. Erikson advocated a more cautious attitude regarding the analyst's subjectivity, while Bion promoted a broader application of the analyst's various private reactions to the analysand. A brief vignette from the analysis of a five-year-old boy is offered to illustrate the importance of the analyst's reveries, the mutual process of containment and transformation between analyst and patient, and the co-creation of an analytic narrative.     

From aggressiveness to creativity

Psychology has a long tradition of considering human creativity as a distinct human characteristic and a special kind of human activity. After explaining the key motives for such an attitude, the author discusses those forms of healthy aggressiveness that stand out as necessary and constitutive elements of the creative process. Taking the well-known statement of C. G. Jung's 'The person who does not build (create), will demolish and destroy' as a starting point, the author compares the basic premises for understanding the process of human creativity, at the same time drawing on Freud's psychology of the individual and Jung's principle of the collective unconscious as well as his notion of 'complexes'. In doing so, the author somewhat boldly paraphrases Jung's dictum: 'In order to be creative, rather than just constructive, one must occasionally also destroy'. With reference to Wallas, Taylor and Neumann (Wallas 1926; Taylor 1959;;Neumann 2001), the author goes on to explore those concepts which help us to investigate the phenomenon of human creativity, drawing distinctions between emergent, expressive, productive, inventive and innovative creativity. The second part of the article discusses the importance of intelligence, originality, nonconformity, subversiveness and free-mindedness for the creative process of human beings. The author concludes with a further explanation of Erich Neumann's argument that human creativity cannot be understood solely as a result of sociogenetic factors, and argues that it is only by taking into consideration Jung's perception of creativity that a global ontological understanding of these processes can be achieved.     

The center of gravity

In As far as possible: discovering our limits and finding ourselves (Barish and Vida, 1998), we struggled with the constraints of being two nice girls in the context of our individual professional identities as traditionally trained psychoanalysts. We were surprised to discover, through sharing with one another some painful, confusing, and even terrifying clinical experiences, how wedded we were to certain psychoanalytic conventions. It was not a pleasant discovery. What we had to face was the extent of our submissiveness to psychoanalytic theory, and of the cost to our authentic selves of that submissiveness. This daughter-paper is about our learning not to do what we were supposed to do. Its gestation has taken a form that we could not have anticipated, for, as we pursued the writing of this sequel, we seemed to get lost along the way. After working with this over a very long time, we can see now that the paper that was ultimately born, this paper, has functioned as a vehicle for us to experience ourselves in relation in an uncertain, mingling way, conscious and unconscious, trying not to be self-conscious and not defensive. This, we can also see, is how we approach the center of gravity, where our irreducible and irreconcilable tendencies are struggling to maintain a balance. And even more to the point, this paper is also a demonstration, a look at what developmental transformation is really like, the process to which we all give lip service, but hardly any of us ever pays attention to it in our real lives, and if we do, we never, never talk about it.