Carl Jung, Psychology and Alchemy
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Carl Jung, Psychology and Alchemy
Why "phenomenology"? The term signifies a study of "phenomena," that is to say, of that which appears to consciousness, that which is "given." It seeks to explore this given "the thing itself" which one perceives, of which one thinks and speaks without constructing hypotheses concerning either the relationship which binds this phenomena to the being of which it is phenomena, or the relationship which unites it with the I for which it is phenomena. One must not go beyond the piece of wax in doing a philosophy of extended substance, nor in doing a philosophy of the a priori spatial forms of sensibility; one must remain with the piece of wax itself, describe only what is given, without presuppositions. Thus a critical moment takes form at the heart of the phenomenological meditation, a "denial of science" (Merleau-Ponty) which consists in a refusal to proceed to explanation. For to explain the red of this lampshade is precisely to abandon it as this red spread out on this lampshade, under whose circle I am thinking of red; it is to set it up as a vibration of a given frequency and intensity, to set in its place "something," the object for the physicist which is not, above all, "the thing itself" for me. There is always a preflective, an unreflective, a prepredicative upon which reflection and science are based, and which these latter always conjur away when explaining themselves.
Phenomenology, Jean-François Lyotard
Claude Chabrol - Ophelia (1963)
Testament of Orpheus (1960) dir. Jean Cocteau
Trethevy Quoit, Cornwall, England
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, âfearâ âa fluid haze an elusive clamminessâ 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 âobscurum per obscurius, ignotum per ignotiusâ (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 investigatorâs 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
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RenĂ© Magritte (1898â1967)
illustration 11 to âLes chants de Maldororâ by Comte de LautrĂ©amont
lithograph, 1948 â source