Psychoanalytic Intuition in Dream and Waking Life – Caesura, imagination and language of achievement
Paper Presented to the International Bion Conference, Barcelona, Spain, February, 2020.
Arnaldo Chuster
Full Member, Training, and Teaching Analyst at Sociedade Psicanalítica do Rio de Janeiro.
Training and Teaching Analyst at the Newport Psychoanalytical Institute (NPI), California.
Introduction
The creation’s account of the poem “Dreamed Sonnet” by Manoel Bandeira [1] inspired me to write this paper aimed at freely investigate links between the psychoanalytical act (interpretative work) and the poetic act. Such investigation is the basis of my paper on intuition, differences of vertices, caesura and Language of Achievement.
The poet said that he dreamt the whole poem, but when he woke up, he could not remember all the words, so he had to resort to his waking life intuition to complete the lapses in his memory. He did remember the following words:
My everything, my beloved and my friend,
Behold all of it in a sonnet
My profession of faith and affection
…………………………………….obliges
I love little love…………………..
I do not like carnal love……………………
However, under all circumstances I will be honest as daylight.
Bandeira said he had only vague impressions about the forgotten words. Nevertheless, he retained an emotional experience that provided him the general meaning of the poem. The framework of the emotional experience itself was the guide, in the waking mental state, which allowed him completing the lapses.
After Bandeira inserted the words (in bold): we have the following text:
My everything, my beloved and my friend,
Behold all of it in a sonnet.
My profession of faith and affection
That the confession at your feet forces me.
What in my soul I kept from the very old experience
I was in pain and in restless craving
I love little love as an ideal object
Lonely is sensual love, I do not like the carnal love
The best in love is illuminance.
But alas! Does not come from us. Where would it come from?
From where? From heaven? From the far distance?
But I promise you the burning, the joy, the assumption… And under all circumstances, I will be honest to you as daylight.
If we consider only the reconstituted waking state portion, we would have a third poem:
That the confession at your feet, forces me
What in my soul I kept from the very old experience
I was pain and in restless craving an ideal object
Lonely is sensual love, I do not like carnal love
The best in love is illuminance.
But alas! Does not come from us. Where would it come from?
From where? From heaven? From the far distance?
But I promise you the burning [2], the joy, the assumption [3]
Due to the short time of this presentation, I will skip of reading the poems, focusing just on the general picture; with the purpose of considering an important configuration, which constantly repeats in psychoanalysis_ the container/contained relationship, mainly the one that Bion called commensal.
He described it by a kind of mathematics in which 1+1=3.
To decide what part of the poem is the container or the contained is a function one should perform according to the moment. Is it the dreaming state of mind the container or is it the contained? Alternatively, is it the waking life state of mind the container of the dreaming state of mind or the contained?
Bandeira – like any other poet – through his poem choose to add something intrinsic to the readers’ emotional experience. The poet is not inducing choices, nor manipulating people’s feelings as if he were a publicist campaigning for politics (Bion, 1965, p. 53). Likewise, the psychoanalyst is not either intending to lead the life of his patients, but to enable them to lead it according to the deep knowledge of their ideas and the inherent emotional experience.
At first, the poet seems to move only through the aesthetic way and the analyst, besides the aesthetics way (interpretative), needs to build an ethical way because there is always psychic pain involved. This distinction opens an inquire whether there is much more continuity between the activities of the poet and the psychoanalyst than the impressive caesura of the different contexts seem to indicate.
I suppose it could be now a good step highlighting the use of dream memories (Bion, 1967) as opposed to the desired-memories that Bion (1965, 1967, 1970) recommends that we should get rid of in analytic work, as well with desires and the need for comprehension.
I think of Dream memory as one that arises with the use of intuition, while the other kind of memory distances itself from intuition and becomes an empty concept that hinders observation. In other words, the desired-memory becomes blind rather than illuminating the experience that gave rise to it.
The development of this paper inevitably led me to a number of questions, to the point of entangling me in correlating intuition, imagination, thought, ethics, poetry and psychoanalysis. Moreover, as those questions are present in the whole of Bion’s work such as the Theory of Thinking, the psychoanalytic object, the psychoanalytic function of personality, the Elements of Psychoanalysis, the Grid, the Transformations, Caesura and Language of Achievement. Therefore, the density of the work went increasing.
I described my feelings at this point by an emblematic Brazilian poem by Carlos Drummond de Andrade: A stone in the middle of the road
In the middle of the road, there was a stone
There was a stone in the middle of the road
There was a stone
In the middle of the road, there was a stone.
In the middle of the road, there was a stone.
I will never forget that event
In the life of my fatigued retinae.
I will never forget that in the middle of the road there was a stone.
This is not a mobile phone, neither a stone. It is a part of the psychoanalytical object
E. Carneiro Leão, a famous Brazilian philosopher, once said that the rhythm of the poem is not a mere poetical repetition, but it is the poet’s method to describe the emotional experience with the constant presence of a mystery in all things. Therefore, the stone symbolizes the unknowable reality that we are constantly facing. This mystery is what force us to think and to create. It moves us to seeking details and achievements in the absence of any access to such unknowable reality.
I locate such idea in Bion’s psychoanalytical object (1962b), mainly at the relations between pre-conception and the factor (µ) _ as in mystery_, which I have been naming as complexity (Chuster, 1999, 2002, 2011, 2014, 2018).
Complexity vertex means to investigate if both psychoanalytical act and poetic act could cope with infinite tensions and contradictions, inspiration and criticism, life and death, all symmetries that configure a universe in emotional turbulence and always in possible expansion.
Such investigation surprised me trying to realize the various definitions of intuition to the point I found myself trying to develop a Universal History of Intuition. A task structured in an obviously broad account – which runs through the history of humanity – in its infinite moments of discoveries in all areas of knowledge. As soon as I began to do it, I found it was at least wise and appropriate to leave for another time.
Therefore, I had to reduce my field of action focusing on what could be the main advantage of this project: to help building a history of psychoanalytical intuition. That made me choose a definition for intuition.
My choice was etymological. Intuition came from the Latin intueri, from which we have in-tuitus, which means to cogitate inwardly, to observe from within. This also means the careful capability to observe the details. Therefore, it is not, as many people think, a supernatural ability or some extraordinary gift. It is, in fact, the ability to integrate various perceptions through thinking, which make it a function of pre-conception, which coincides to Bion’s definition in Transformations (1965).
The sign of a function meaning that pre-conception is in search for a realization to create a conception. I added more information to the visual image in order to keep thinking.
The sign (±) could mean that some people can have that ability more than others can, or that the very skilled can lose it at some point; everybody may have oscillations and there may be effective flashes in the least skilled.
As intuition is always searching to exist inside conceptions and concepts, we can observe the product in the psychoanalytical object (that is, in the ± Y spectrum).
In such spectrum, we can observe the links between meanings, while they appear between the narcissistic pole (-Y) and the social-istic pole (+Y). That spectrum has important implications for the analyst, as he follows the Kantian aphorism: intuition without a concept is blind, and concept without intuition is empty.
I think the previous ideas establishes a polemic Socratic concept of psychoanalysis that I summarize in a sentence: the analyst cannot provide analysis for the analysand, the analyst can only modestly help to bring psychoanalysis – as a function – out and in his field try to help to develop it. Psychoanalysis is a human capability.
The psychoanalyst as a midwife of thoughts, feelings, and ideas is in the position of a guardian of the aesthetic of Thinking and, therefore, his task needs an ethical barrier of contact inwardly.
With the help and inspiration from one of the many deep quotation from Jim Grotstein, I will propose intuition as the psychoanalyst “northern star” and add “ethics” as the psychoanalyst “guardian angel” [4].
Moreover, I will add Imagination in the full sense, not only in the visual sense, as connecting both points. Those propositions are going to be my next topic.
I imagined an ethical barrier of contact (“guardian angel”), which I suggest that there is a creative function based on sincerity / honesty; this function – which contains as Freud suggested, the whole pedagogical character of psychoanalysis – generates the sincere word that made our character; character begets courage that allow compassion; compassion breeds respect to life; respect to life brings respect for the truth. This last term reflects on the first one producing the creation of a complex looping.
Attacks to one element of the barrier reflect in the others that follow (like in a butterfly effect [5]). One consequence of these attacks is the replacement of ethical values with memory and desire. For instance, when memory and desire substitute the “northern star or intuition” it creates an unethical screen based on dishonesty and hypocrisy. These elements generate a lack of words, which create a lack of character, followed by cowardice and cruelty, disrespect for the truth by means of producing false information and lies, and finally a disrespect for life.
Butterfly effect in Chaos Theory
I advocate that the analyst must be competent in the questions related to his intuitive function (in which the ethical barrier is all the time confronted to the unethical screen). Personal analysis is the main element that brings out that function in order to develop it. Besides, I think with Bion that the analyst must keep training his intuition throughout life, and must dedicate to activities that help intuition to develop always, or that at least avoid those activities that deteriorate it. I would never venture to list such activities, for each analyst knows himself. I am sorry I do not have much to say about that.
However, I agree to recommend to myself some things like always rereading certain myths – starting from the oedipal myth. In these eternal readings, I can imagine new possibilities for them, nourishing with that my intuition and creating new concepts to contain it.
A quality leisure is also necessary [6]. Nevertheless, I do not venture to define that either. As I pointed out, each one knows about himself.
At this point, I asked myself: Did we keep the legacy of Freud´s intuition? Which gave the main title of my paper. Now I ask this question to you.
In the process of intuition reaching an imagination that will choose a language – the operator needs to observe and collect and integrate many sensory information as well as information from associated conceptions and concepts. This is a way of speaking about reverie and the alpha function and about radical imagination and imagination properly said.
For this task, I imagined two axes. One historical longitudinal axe that goes from Freud to today, and a vertical and individual axe that goes from the beginning to the end of a psychoanalytical session.
The selected fact in the horizontal axis is Bion’s work.
For such dialogue, I suggest that we could substitute two columns in the Grid that up to then were destined to a Scientific Deductive System (G) and Algebraic Calculation (H), by (G) the history of imaginative conjectures and (H) the history of rational conjectures.
My supposition is to study retrospectively the usages of our intuition by means of our imagination in the psychoanalytic work. Certainly not in what imagination has as a quality of dreaming – which is category C in the grid – but in the feature outwardly developed in psychoanalytic concepts.
This way of conceiving the Grid may be to verify a posteriori whether or not I kept my ethical-aesthetical principles of the field (Chuster, 1999, 2002, 2014, 2018) and the psychoanalytic language.
Those principles I can use as a base to check my instruments of observation in the psychoanalytical field. I described seven principles, complexity, uncertainty, incompleteness, undecidability of origin, infinity, singularity, negative capability.
The debate on the options of employing models or principles I left for another time. I include as observation instruments, alpha function, Language of Achievement, Act of Faith, and Negative Capability.
At this point, I had once more to decide leaving aside a vast inconclusive amount of ideas and historical information about intuition. This situation is a good example that we humans are caught in existence and we must make choices.
Therefore, I maintained the investigation of the analogy between the psychoanalytical act and the poetic act by virtue of intuition in create Language.
"It is very important to be aware that you may never be satisfied with your analytic career if you feel that you are restricted to what is narrowly called a ‘scientific’ approach. You will have to be able to have a chance of feeling that the interpretation you give is a beautiful one, or that you get a beautiful response from the patient. This aesthetic element of beauty makes a very difficult situation tolerable. It is so important to dare to think or feel whatever you do think or feel, never mind how un-scientific it is.”
W R Bion
The Paris Seminar
In order to do it, I resort to a Proust’s [7] thesis. He said that the poet speaks two languages: he performs as if he created a foreign language inside his own language. Bandeira – as a good example of this saying – speaks two languages in his poem, that of his dream and that of waking life. Between them, there is a caesura. As they communicate, we have the creation of a third language.
Do we psychoanalysts have this same experience?
The poet can do this – as a part of his creative experience – as he plunges body and soul into the opacity and mists of philological inquiry (Agamben, 2018 [8]), with his files of desires, with his illegible manuscripts and his complex annotations.
Do we psychoanalyst have the same resources?
In one side, I have the poet that can speak two languages using dream-memories to improve his intuition. In the other side, I have the caesura of the interpretative work of the analyst where there is an employment of dream-memories (Bion, 1967).
That stands now my paper as one paper about differences of vertexes.
I shall repeat that the vertex of the dreamer is not that of the dreamer in his waking life; such theme is in the realm of several authors since Freud (1900). However, is the intuition different to the vertexes?
In the poet’s case, if he can maintain the same intuitive capacity in passing from one state to another_ in spite of the transformations caused by the passage_ it can be a quality certificate of his work.
Can a psychoanalyst do the same? How does he maintain his intuition?
In the face of what I have just questioned, the terms intuition in dreaming and intuition in waking life can be inappropriate, for in some point there can be no difference between them.
Maybe the difference is the empty concept that contains the blind intuition –reactivating one more time Kant’s tenet in this text: every intuition without a concept is blind and every concept without any intuition is empty [9].
Imagination in the full sense is able to transform intuition in a concept, and vice-versa, the concept needs imagination to find an intuition not to leave it in an empty state, conversely, imagination can change itself into a rhapsodic discourse (Bion, 1997), with gaudy interpretations, which produce disastrous faults in assessment.
Do notice that many authors speak of “dreaming” with the material of the session before reaching an interpretation. I do not disagree, but I like better to use the term imagination for it is linguistically closer to the term reverie used by Bion, and for it regards more properly, to my mind, the issue of the caesura between two mental states. Much as the other mental functions – develops in the spectrum reverie ↔ alpha function [10] before surfacing as an observation.
I will say it in a more complex form: My thought moves from radical imagination to imagination properly said and vice-versa. In my interpretations, I try to find symmetrical relations between them. The capacity to establish symmetrical relations is intuition.
I consider radical imagination (Chuster, 2011, 2014, 2018) [11] as the most primitive mechanism of combination of sensorial and rhythmic stimuli that occur in the pre-natal mind (That is, a mechanism more primitive than projective identification).
Imagination properly said is what follows the caesura of birth linked to visual images and to symbolic language.
I took the concept of radical imagination from the philosopher and psychoanalyst C. Castoriadis.
Radical imagination (radical from roots) is not made of visual images, but from olfactory, tactile, auditory, and proprioceptive images, which creates the tridimensional framework that constitute preconception in its most elementary form, the originary pre-conception (pre-natal), namely, the thing-in-itself that expresses the uniqueness of the individuals.
The pre-natal pre-conceptions are like psychological frameworks for the landscapes they get from life [12]. I can make an analogy to mental fingerprints.
Imagination properly said is a consequence of the deployment of such framework after the action of reverie/alpha function spectrum in the relationship with the mother and the others in life.
This is why I divide realization in two phases: a prenatal phase (predominantly rhythmical and sensorial) and a postnatal phase (predominantly symbolic).
In other words, I am always returning to the issue that the vertex of the imaginative analyst is distinct from that of the analyst that uses psychoanalytical theories as the basis for his interpretative language.
Alternatively, the vertex of radical imagination is not the same as that of imagination properly said, or the vertex of reverie is not exactly the same of alpha function. However, they always have something in common.
The analyst follows transposition of intuition from one mental state (imaginative conjectures) to another mental state (rational conjectures). If this transience comes about successfully, I think we can call it Language of Achievement [13] (Bion, 1970); which is an action and at the same time a prelude to action.
However, if we do not succeed in this intent, the language becomes a Language of Substitution (Bion, 1970) – the one that replaces action and is not a prelude to it. This Language does not succeed in its psychoanalytical objectives.
But whatever debate is, I consider important to highlight the idea of caesura between the mental states, re-stressing Freud’s phrase (1926) – so many times mentioned by Bion (1975, 1976, 1977): There is much more continuity between life in uterus and early infancy than the striking caesura of birth could allow us to think.
Therefore, we should be cautious about beliefs and appearances, and that we bear in mind the links between the two types of imagination [14], aimed at the relation that will appear in psychoanalytical interpretations and constructions.
In psychoanalysis, the examples are in all works. We can start by taking Freud already in his 1895 Project. The text is Freud’s imaginary construct to make thinkable the psychic. There are diagrams; there is circulation of charges, barriers, proximity or distance of neurons, etc. Freud manufactures with images a model. Freud made an outline of his future work and yet by that point he was far from imagining its scope.
The determination of Freud’s imaginative capacity is expressed when he writes The Interpretation of Dreams (1900), on Chapter VII, in Virgil’s sentence in Aeneid: “Flectere si nequeo superos, Acheronta movebo” – if I cannot bend the supreme powers, I will move the infernal regions.
The famous phrase in “Analysis terminable and interminable” (1937) provides another example, when Freud exclaims, here, perhaps, we would have to ask the “witch metapsychology” for help, and says, No further step can be taken here. Definitely, this is a point where without using imagination no further steps are available.
Imagination is the witch that rides the broomstick of intuition and can achieve her goals with conceptions and concepts.
Conclusion
Bion’s work represents an unusual intuitive effort to develop observational tools that work in the field of psychic complexity. In Theory of thinking (1962a) Bion attempts to establish the mathematical basis for constructing instruments, using the field of functions applicable to a “science” of psychoanalytic observation, or a “science” of relationships by the psychoanalytic vertex (Bion, 1970).
However, psychoanalysis does not find in this “mathematics” a stable deductive scientific system like those in other sciences, which makes the mathematics employed only a kind of “mathematical poetry”, that is, a fiction that employs mathematical terms in a psychoanalytic language that seeks to communicate the findings. That is, whatever the instruments, they do not have a solid construction and their effectiveness can always be questioned.
On the other hand, there are scientific hypotheses just plausible in Complexity Theory. Valéry’s poem [15] can help us understanding Bion’s proposition:
“He who writes an entire poem in a night of fever, is not a febrile delirious, but a calculating sage, almost an algebraic thinker, in the service of a refined dreamer”.
Imagine now that between analyst and patient there is a film, infinitely plastic, capable of appearing anywhere, at the same time creating a boundary and a connection between two distinct media. Once recognized, it establishes a difference and a link between distinct realms. Those distinct realms could be dreaming and awake state of mind. It could be intuition and concept. It could be any symmetrical elements.
The existence of that film is purely imagination, and to exist it needs a symbolic element that identifies it. The symbolic element is the imaginative capacity of the analyst, which is a product of his intuitive capacity.
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[1] Bandeira, M. Meus Poemas Preferidos. Rio de Janeiro: Ediouro, 1966. [2] In figurative sense means passion, impetus, warmth. [3] In the sense of transport or transcendence. [4] I recognize here my simplistic point with inadequate language. [5] A butterfly effect or chain reaction is the cumulative effect produced when one event sets off a chain of similar events. It follows a non-linear mathematics. [6] ARISTÓTELES. A Política. Tradução Roberto Leal Ferreira. 3ª ed. São Paulo: Martins Fontes, 2006. [7] Carter, William C. (2000) Marcel Proust: A Life. New Haven: Yale University Press. [8] Agamben, G. – O Fogo e o Relato. Boitempo: São Paulo, 2018. [9] Perez, D. O. Kant e o problema da significação. Editora Champagnat: Curitiba, 2008. [10] I think that the difference between the polarities resides in the fact that reverie is predominantly sensorial, and the alpha function is predominantly symbolic. That way, the presence of both elements is not discarded from none. They are qualitative more than quantitative. The spectral model shows that there is a point of undecidable between them. [11] I resume my idea of preconceptions as frameworks (radical imagination) that provide the raw material for the formation of conceptions and concepts by the imagination proper: space, time and the depth of existence. Therefore, it is a functional and non-linear system. A complex three-dimension feature of the human being that intuition/imagination purports to convey. In the intuition-dream/intuition-waking time caesura occurs the perception of the three elements of three-dimensionality, as Freud did when he realized the organization of this three-dimensionality the rules that establish psychic life and integrated them under the reading of the oedipal myth. In the dramatic reading with Sophocles’ characters, there is an emotional experience, therefore three-dimensional experience. [12] Money-Kyrle, R. Man’s Picture of his world and three papers. London: Karnac Books, edited by Meg Harris Williams, 2015. [13] I prefer to translate this expression as a psychoanalytically successful language. [14] To talk about elaborated stages of imagination, or rather the one that occurs after birth – and that most people understands as being imagination properly said – for being related to visual images, I emphasize the extraordinary imagination of Mozart[14], who could “see” the music in his mind. After seeing it, he could write it down and could play it in his piano from the beginning, without any corrections. Beethoven[14], deaf, imagined the music and wrote it down through the subtle sensation of the vibration of the musical notes. He counted on the tactile, proprioceptive images and, from these his imagination generated the music. If we take something wider, like the social imagery, it will not be difficult to notice that the structuring elements of the social plot such as laws, codes, and the rules of behavior are not creation of images. None are visible realities, audible, palpable, etc. In them, there is nothing apparently sensorial. However, all of them have a bodily or sensorial origin. [15] Barbosa, J. A.: A comédia intelectual de Paul Valéry. São Paulo: Ed. Iluminuras, 2018.
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