Carl Jung, Psychology and Alchemy

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Carl Jung, Psychology and Alchemy
Kathleen Cohen, Metamorphosis of a Death Symbol: The Transi Tomb in the Late Middle Ages and the Renaissance
Julia Kristeva, Powers of Horror: An Essay on Abjection
The phobic has no other object than the abject. But that word, “fear” –a fluid haze an elusive clamminess– no sooner has it cropped up than it shades off like a mirage and permeates all words of the language with nonexistence, with a hallucinatory, ghostly glimmer. Thus, fear having been bracketed, discourse will seem tenable only if it ceaselessly confront that otherness, a burden both repellent and repelled, a deep well of memory that is unapproachable and intimate: the abject.
Julia Kristeva, Powers of Horror: An Essay on Abjection
Maren Klemp - When the Wave Came
Bed canopy of Queen Hetepheres I, mother of Cheops
Bulletin of the Museum of Fine Arts Vol. 30, No. 180
La jetée (1962) Dir. by Chris Marker
In the course of the eighteenth century, alchemy perished in its own obscurity. Its method of explanation “obscurum per obscurius, ignotum per ignotius” (the obscure by the more obscure, the unknown by the more unknown) was incompatible with the spirit of enlightenment and particularly with the dawning science of chemistry towards the end of the century. But these two new intellectual forces only gave the coup de grace to alchemy. Its inner decay had begun at least a century earlier, at the time of Jakob Böhme, when many alchemists deserted their alembics and melting-pots and devoted themselves entirely to (Hermetic) philosophy. It was then that the chemist and the Hermetic philosopher parted company. Chemistry became natural science, whereas Hermetic philosophy lost the empirical ground from under its feet and aspired to bombastic allegories and inane speculations which were kept alive only by memories of a better time. This was a time when the mind of the alchemist was still grappling with the problems of matter, when the exploring consciousness was confronted by the dark void of the unknown, in which figures and laws were dimly perceived and attributed to matter although they really belonged to the psyche. Everything unknown and empty is filled with psychological projection; it is as if the investigator’s own psychic background were mirrored in the darkness. What he sees in matter, or thinks he can see, is chiefly the data of his own unconscious which he is projecting into it. In other words, he encounters in matter, as apparently belonging to it, certain qualities and potential meanings of whose psychic nature he is entirely unconscious.
Carl Jung, Psychology and Alchemy
sad but true
René Magritte (1898–1967)
illustration 11 to “Les chants de Maldoror” by Comte de Lautréamont
lithograph, 1948 — source
Athanasius Kircher - Mythical Serpent with Signs of the Zodiac, “Ars Magna Lucis et Umbrae” (The Great Art of Light and Darkness”, 1646.
Helena Curtis, The Viruses, 1965
NOW, VOYAGER — 1942, dir. Irving Rapper
Black River Falls, Wisconsin, USA, 2011. from 'Some Say Ice', published by Mack © Alessandra Sanguinetti/Magnum Photos.
Winifred Allen in the lost mystery film The Haunted House (1917)