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Introduction, Thinkable and unthinkable in some Bion’s concepts

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At the 20th International Conference on Psychoanalysis, held in Paris in 1957, Wilfred Bion presented his work On Arrogance.  Francesco Corrao, who was present, defined him as the new genius of psychoanalytic theory.  Later, during a series of seminars Bion gave in Rome he pointed out that Bion always felt the fundamental priority of psychoanalysis to be the exploration and reawakening of its potential for transformation, to reawaken the universe of meaning. Efforts have been made in this direction, in search of ways of thinking that have not yet found valid representation…echoing the thought Read more

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Trial to create a grid in (-) K (Less Knowledge)

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Abstract

Through clinical experience an effort is made to develop a grid in – knowledge (-K) which was achieved by displacement of column 2 (ψ) to the left of the original. It is asserted that it actively arises as a barrier against the unknown or known and disagreeable. The grid’s heterogeneity is stressed, which becomes more accentuated with the negative dimension. There we face the lower part of the grid (starting from line C) as an inversion of the elements corresponding to the positive grid. However, (–β) elements were created, that are studied by autistic phenomena. Conception of the (–β) elements  ruptures or expands Bion’s referential. Transformations into knowledge become important because they will lead the way to transformations in O.  A theoretical review became Read more

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Bion’s work presented: A memoir of the future, some thoughts on its oblivion and dawn.

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Abstract

Trilogy “A Memory of the Future” includes a schematic but dense summary of the theoretical contributions of Bion made to the development of psychoanalysis as well as Meg said Williams, a contribution for all of humanity. In the trilogy, in an original way, in a scene alive and fresh in a long day are dealt with themes that encapsulate several centuries of trial and assumptions, to learn psychic reality, as Freud called it. This almost original is a blend of attempts to Socrates, Diderot, Shakespeare, Goethe, the romantic European and Freud to focus on psychic reality. In the three volumes are dialogues, analogies, metaphors, parables, and citations that contain a great deal of thought of our civilization. Are the foundations, which can be regarded as invariants of humanity. These invariances in an approximate way and imperfect, are called bestiality, sublimity, death, life, absence of mind, maternity femininity, masculinity, fatherhood, the two aspects of mental functioning, the paranoid-schizoid and depressive instincts, events instincts as Oedipus. And yet compassion, remoteness and lack of sensitivity to the suffering and pain of others, cynicism, love of truth and consideration for the natural life, for what it is. Read more

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Bion’s concept of time

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Abstract

The use of particular mental time by Bion allows to arrive to being in “0”, the psychic reality, which is the most possible “to – sensory”. Let us examine the proposed Bion of a “scientific psychoanalysis”, where the scientific is the “act of faith”, that is a disciplined denial of memory and desire, both composed of elements based on impressions of the senses, is reached via a stop in the present, which allows you to start the session with the mind as much as possible like a tabula rasa, that is not entirely feasible, Bion because there is always a huge history between Read more

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Bion and beyond: projective identification and material imperviousness

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Abstract

The Kleinian concept of projective identification is often invoked to explain non-verbal processes in the analytic situation and other close relationships and in this paper I examine some of the clinical material that led Bion to revise Klein’s original formulation. Approaching the concept from a Winnicottian perspective, I suggest that the process is less fundamental to infant life than is often claimed and can be understood, at least in part, as a reaction to maternal imperviousness. I question the Kleinian assumption that it constitutes the basic mode of infant communication and suggest that primitive communication can better be understood by reference to the emotional signs or signals which form an integral part of emotional arousal. I suggest that such signs are Read more

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Bion in the nursery. The Three steps of an intersubjective theory

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Abstract

The author analyses Bion’s works evolution in regard to the relation between intersubjectivity and symbolization. Three books mark this evolution: Experiences in groups, Learning from experience and Attention and Interpretation. Firstly intersubjectivity is the field of symbolisation, secondly the condition of it and thirdly the cause of it, they are both so closed that they are condemned to move together. The same vignette, each time interpreted, illustrates in a nursery these three progressive manners to consider Read more

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The grid of psychoanalytic elements and myth as a model of analytic experience

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Abstract

In order to allow the base of scientific psychoanalytic theory and the thoughts of the analyst to correspond, Bion proposes the Grid of psychoanaltical elements as a useful tool to represent the positions that the mind of the analyst may adopt during the analysis session, to predispose himself to listening and shared knowledge. The Grid provides an opportunity of factual recognition and tolerance to the transformation of thoughts, in order to resonate with the O elements that have emerged during the session. Myth, occupying a specific position in the C row of the Grid’s genetic axis, constitutes an example of it and configures itself as a model that can be used to enlighten unconscious aspects that would otherwise remain Read more

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Notes on painting of W.R. Bion

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Then,’ the gardener went on, ‘to the right the valley opens up and you can see across the meadows and trees and far into the distance (J.W. Goethe, Die Wahlverwandtschaften , trad. Eng. Elective Affinities)

There is more sky than earth in Bion’s landscapes in an open space and built by horizontal planes, but he gives imposing prevailing images and enables the spectator to have the freedom to follow him directly everywhere.

Looking is not restricted, has perspective points of escape, starts from the border of the painting, penetrating into a landscape, mindful of the experience of the landscape gardening, where the mastery of the different Charles Bridgeman (1680-1738), William Kent (1684-1748), un Lancelot Brown (1715-1783), is used to √create surroundings beyond the architectural geometry of Italian gardening, becoming larger without any solution of century, from the foreground of flowers and bushes, to the remoteness of fields and dark shadows of woods above the horizon, in order to give up the infinity of the sky and the passage of clouds and the passage of clouds.

From the veiled reminiscence of John Constable’s (1776-1837) atmospheres, the movement of clouds in the sky, real hero of Bion’s creation : it acts as a counterpoint to the quietness of fields and invites to reflect on the process of continuous transformation of forms.