#mechanized oedipus complex

[kryptonbabe]

"Changing size won't help you, father... Nothing will! On the day you created me, you sealed your own irreversible DOOM!!"

I keep saying the same to my dad since I was five... This is just the natural father-son relationship progression Hank, infancy, adulthood, primal killing impulse towards your progenitor

There's so much to unpack in these panels... "mechanized Oedipus complex" is just an awesome name for an industrial metal album

From Avengers #58 (1968) by Roy Thomas & John Buscema

[tmarshconnors]

"Most people do not really want freedom, because freedom involves responsibility, and most people are frightened of responsibility."

Sigmund Freud was an Austrian neurologist and the founder of psychoanalysis, a clinical method for evaluating and treating pathologies seen as originating from conflicts in the psyche, through dialogue between patient and psychoanalyst, and the distinctive theory of mind and human agency derived from it.

Born: 6 May 1856, Příbor, Czechia Died: 23 September 1939 (age 83 years), Hampstead, London

[textualviolence]

aaaaand we're back

😐😐😐

[power-chords]

Kafka's fiction often confronts its critics with a collapsed or collapsing center of authority, a dead or powerless father, who condemns those in his orbit to a circuitous ruin. No one or nothing is in control; no one has the power to authorize. And yet all the subjects still seem to be controlled and continue to work. This paradox of inertia and ceaseless activity, of masterlessness combined with continued servitude, is the central feature of one of Kafka's most interesting parables, "Eine kaiserliche Botschaft." Michel Foucault's description of certain texts as heterotopias is particularly relevant for Kafka's parable, because it names the possibility of a text or system composed of disconnected infrastructures, a text made up of asymmetric parts which can only work or operate provided there is a condition of disorganization or entropy, a mechanics of resistance, frustration, dysfunction. Kafka's texts, like the heterotopias Foucault describes, display this kind of perverse operating procedure whose economy is initiated by the collapse of the center, often represented as the death of the father, and having clear Oedipal aspects.

It is in the Oedipus complex that we might locate the mechanism of resistance (the "machine desirante," to appropriate Deleuze and Guattari's anti-Oedipal term) that at once accounts for the absent father and makes possible the work of his subordinates in the shadow of his absence. The Oedipal situation is responsible for at once an imposition of its regulatory apparatus over the father, its "symbolic" content in the Lacanian sense, which results in the slaying of the father, and a suffering of guilt and loss of control that such an absence of the father inaugurates. What we must realize is that such a complex or mechanism of desire does not serve so much to inhibit or limit Kafka's writing to a simple principle, a constellation or dynamic which in itself becomes a substitute for the center effaced within the text, but that such a complex is an entropaic principle of dispersion that curiously energizes a thematic or semantic field of fragmentary particles. [...]

[…] Freud's little Hans, the "Du" or dreamer of the parable is attempting to gain or imagine mastery over a parent, and in the Kafka parable this constitutes wishing mastery over a father by at once desiring him dead and alive. What carries the force of this ambivalent, Oedipal network of desire is the message which delicately affirms the simultaneity of two wishes that are contradictory and yet mutually supportive. The one wish, let us call it thefort-wish, would like the Emperor to die, because the dreamer of the parable (us) would like to be the father. The slaves would like to become the master. However, in order for that wish to be realized, the father or Emperor must never truly disappear, since he is the Law upon which even usurpers depend, without which there would be no such thing as usurpation. Thus there has to be a da-wish, the desire that the Law be upheld and exercised. This Oedipal network of desire is carried by the message in two distinct senses: as pardon and as invitation. As pardon, the message carries both the subject's "crime," the breaking of the Law or denial of the Father (fort-wish), and the fact that the Law is still in effect, that the Father is still exercising power, is still present (the da-wish). As invitation, the message requests that the subject come into the father's presence (da-wish) even if time and space preclude such a journey, such a possibility (fort-wish). There is, finally, the Emperor's asking the servant to repeat the message, the repetition compulsion, which establishes at once that the message has, indeed, left the deathbed (is fort!) and yet remains within the possession of its author or authorizer, the exerciser of the Law (is da!).

—Herman Rapaport, An Imperial Message: The Relays of Desire, MLN, Vol. 95, No. 5, Comparative Literature (Dec., 1980)

[erique-petrie]

Things in POTO movies that were not in the book but that I find interesting:

• The life of the artist vs a "normal life"

• The rich and powerful profiting from the hardwork of others

• Big corpos taking away the land that belongs to innocent people

• A farewell to an old era of Hollywood (the 50s and 60s) and the backlots where their films were made

• Reincarnation and immortality

• Abuse in the record/music industry

• Inhability to mourn the loss of a loved one and projecting that loved one on someone else*

• Oedipus Complex (this one I do not like)

*Ok, this one might just be Christine from the novel, but the context given in the movie is VERY different, as is the coping mechanism.

[hprambles-blog]

"Okay Bellamort and Harrymort aside, these are some other Voldemort ships that should be more appreciated = Snapemort, Lucimort, Voldedore, Mollymort, Nagimort and Rodolmort 😊😊"

Mollymort? 😲 I could only see that in few scenarios. Molly becoming the prisoner of Voldemort perhaps. And then she acting all mother as a defence mechanism? It would make a nice contrast with how she immediately started mothering Harry. And since Voldmort has such a oedipus complex, as was mentioned which is funny and I agree with that XD, he would be intrigued and would keep Molly around. I think his grief for his mom and all those complexes he had would be Molly's chance at suvival. I don’t Voldemort would be very weird around anyone who's a mother and acts motherly. Then she develops a Stockholm syndrom (is that even real? Idk XD) And will develop some feelings. Omg this is so weird but in the best way.

Nagimort is that Nagini ? Well...I don’t know how that work lol

The others are quite interesting.

🐩

[psychopasss4]

Kogami: The Purple Smoke Convo

You're all familiar with this scene from SS3, right? 😊

And it was a major BUZZ in the online community eversince. Now to understand it better, I'm gonna share with you another old comprehensive analysis as to understand the hidden context behind this scene from Fredegami. 🤭🫰🏻

And if there's really a sexual meaning or none?

Sigmund Freud's theory of psychosexual development consists of five stages, each characterized by the focus of libido (sexual energy) on different areas of the body. Here’s a brief overview of each stage:

Oral Stage (0-1 year): During this stage, an infant's primary source of interaction and pleasure is through the mouth. This includes sucking, biting, and breastfeeding. Issues in this stage can lead to oral fixations, such as smoking or overeating, in later life.

Anal Stage (1-3 years): The focus shifts to the control of bladder and bowel functions. Successful navigation of this stage leads to a sense of accomplishment and autonomy. Fixations may result in traits such as obsessiveness or orderliness.

Phallic Stage (3-6 years): The focus is on the genital area. During this stage, children become aware of their bodies and the differences between genders. The Oedipus or Electra complex may arise, where children feel desire for the opposite-sex parent and rivalry with the same-sex parent.

Latency Stage (6-puberty): Sexual impulses are repressed during this stage, and children focus on developing communication and intellectual skills. Friendships and social interactions become more important.

Genital Stage (puberty onward): The focus returns to the genital area but in a more mature and balanced way. Individuals seek to form healthy, adult relationships and achieve a balance between various aspects of life.

In Relation to Frederica and Kogami’s Conversation in "The Purple Smoke":

In the manga chapter "The Purple Smoke," Frederica Hanashiro relates Kogami’s smoking habit to Freud’s theories of psychosexual development. Here’s how Freud’s stages are connected to their conversation:

Oral Stage: Frederica’s reference to Kogami’s smoking could be interpreted through the lens of the oral stage. Freud suggested that smoking might be a fixation from this early stage, where individuals might seek oral gratification through smoking as a substitute for unmet needs or unresolved conflicts from infancy.

Freud’s Theory of Excessive Maternal Love or Loneliness: Frederica’s comments about excessive maternal love or extreme loneliness relate to how early life experiences shape adult behaviors. Kogami’s smoking might be viewed as a manifestation of unresolved issues from the oral stage, where he might be dealing with feelings of inadequacy or lack of emotional support.

Psychological Coping Mechanism: Kogami’s smoking, as discussed by Frederica, can be seen as a coping mechanism for deeper psychological issues. This aligns with Freud’s view that behaviors in later life are often rooted in unresolved conflicts from earlier developmental stages.

Character Development: The conversation helps to delve into Kogami’s psychological profile, providing insights into his behavior. By referencing Freud’s stages, Frederica highlights how Kogami’s smoking might be more than just a habit; it could be a sign of deeper psychological issues tied to his early experiences.

Symbolism and Insight: The discussion enriches the narrative by using Freud’s psychosexual stages to interpret Kogami’s actions, adding a layer of psychological depth to his character and illustrating how past experiences influence current behavior.

In summary, Frederica’s analysis of Kogami’s smoking habit through Freud’s stages of psychosexual development offers insight into how unresolved issues from early stages might manifest in adult behavior. This connection provides a deeper understanding of Kogami’s psychological state and enhances the thematic exploration of personal and emotional struggles in SS3.

The Analysis of Sexual Context:

Symbolic Interpretation:

Freud’s Theory: Freud’s psychosexual stages involve understanding how early experiences shape adult behavior, including sexual behavior. In this conversation, Frederica references Freud’s idea that unresolved issues from the oral stage (such as excessive maternal love or loneliness) could manifest in behaviors like smoking. This isn't directly sexual but symbolic of how unmet needs from earlier stages might influence adult actions.

Smoking as a Symbol: Kogami’s smoking is symbolic of his unresolved psychological issues. It represents a coping mechanism or a manifestation of deeper conflicts, potentially rooted in early experiences related to Freud's stages. This symbolism ties back to Freud's ideas about the expression of repressed desires or conflicts.

Implicit References:

Oral Stage Fixation: The conversation implies that Kogami's smoking could be related to an oral fixation, a concept Freud discussed where adults might continue behaviors related to oral gratification if there were issues during the oral stage. This is indirectly related to sexual context through Freud's theory but is more about psychological manifestation than explicit sexual content.

Freudian Lens:

Psychological Insight: Freud’s theories often include sexual undertones, as he believed many behaviors and neuroses were linked to sexual development. Frederica’s use of Freud’s theory provides psychological insight rather than focusing directly on sexual content. It’s more about understanding how early developmental stages affect adult behavior.

Narrative Focus:

Character Exploration: The primary focus of the conversation is on Kogami’s psychological state and how his smoking might reflect deeper issues. The sexual context is present in Freud’s theory but is used here to explore emotional and psychological complexities rather than to highlight explicit sexual themes.

So, in short, Freud’s psychosexual theory inherently involves sexual development and conflicts, the conversation between Frederica and Kogami in SS3 "The Purple Smoke" primarily uses these theories to provide psychological insight into Kogami’s behavior. The underlying sexual context is more implicit and symbolic, focusing on psychological implications rather than explicit sexual content.

[deuterosapiens]

Tonight's weird has been the 1985 Disney fever dream Return to Oz, which is a pseudo-sort of-sequel to the much more popular Wizard of Oz.

Oof.

So the film begins as one would expect a follow-up to The Wizard of Oz to begin: with Dorothy undergoing electro-shock therapy to get rid of all of those unpleasant thoughts and dreams of whimsical enchanted lands. Okay, technically a storm knocks out the power just before this can occur, but Auntie Em literally takes her niece to a zap-happy shrink to cure her of her imagination (evidently dreaming of Oz has given the Gray Gale severe insomnia, making her useless at farm work).

Had this failed, I'm sure a lobotomy would have been the next logical course of action.

The mechanics of inter-magical-landial travel are once again quite vague, but after nearly drowing in a river after escaping discount Nurse Rached and discount Doctor Chenard (three years before that movie came out, which surprises me because the opening of this one reminds me so much of Hellraiser II that I would have sworn this to be ripping off that, but it appears inexplicably to be the other way around. Weird.), we find ourselves in an Ozian Desert of Death.

During Dorothy's (weirdly easy) escape of the Deadly Desert, we have our first glimpse at one of our main villains, the Nome King, via one of his servants (discount Link's Awakening's Façade, a few years early). The Nome's are animated in a Claymation style that's weird and unusual, but honestly, this one holds up pretty damn well.

We bare witness to the post-Ozpocalyptic Emerald City, which has been over-run by wheeled creatures called Wheelers which are so damn Eighties in their design, despite the film taking place in 1899. They serve the Nome King or are enslaved to our other main villainous force, The Witch Mombi (pin in that- I had a joke for her- but I cannot mention this oddity of the Wheelers' role without mentioning her, so I'm in something of a bind); it's actually extremely unclear since they seem to revere him, fear her, are enslaved to her, but she is enslaved to him. The dynamics of this one faction are odd, to say the least.

We meet the rest of our supporting cast: a tick-tock automaton named Tik-Tok (fulfilling the role of The Tin Woodsman as our metallic companion); Jack Pumpkinhead (a pumpkin-headed Scarecrow with an Oedipus Complex whose insistence on calling Dorothy "Mom" left me uncomfortable); a sofa construct known as The Gump (a Gump being evidently an Ozian moose-like creature, brought to life by magical means, whose name is a vowel-shift away from being hilarious to me). Also we have a talking Chicken. The Chicken is relevant (and no, Valentine, the Chicken is not the Charm! (I will personally lay down my hand in marriage to the first person who gets this joke without Googling it)). The relevance of the Chicken is just kinda out of left field.

We are introduced to our second reminder of the Eighties-ness of this film: the Witch Mombi who's doing her best glam-rock-on-a-mandolin impression:

Holy shit, that's Bavmorda from Willow! Haha, that's cool (should have recognized her when this actress appeared earlier but whatever...). Okay, technically this Mombi isn't the Bavmorda one: Mombi has a problem with stealing women's heads and swapping hers out with theirs. You do you, Queen.

We escape Bavmombi's castle and fly across Oz on The Gump's back before crashing into the Nome King's mountain. We see the Nome King whose cooler moments are animated in the same stop-motion Clay animation as his Façade-esque servants and whose less cool moments bore me because I can see too much of his actor in them. Weird criticism for me to have, but nothing can ruin a cool design like being forced to see the human beneath an otherwise entirely non-human design.

Oh, during all of this, we were traveling to the Nome King in order to rescue the Scarecrow, captive under the mountain. The Scarecrow's design in this movie is, like many things, well...

You are welcome for that.

This thing does not have friends. This thing is not a brainless figurehead. This thing has a body count. This thing is as much a friendly Scarecrow as Bob Gray is a harmless Clown. It.. moving on.

So, the Nome King has Dorothy play a rigged game to win back the Nightmare King Scarecrow, under the condition that if she fails, her new friends will be turned into ornaments. Mombi arrives to warn The Nome King that Dorothy has arrived, he gets bored and cages her. Threat eliminated with extreme ease (part one).

The Chicken defeats the Nome King because apparently chicken eggs are poisonous to Nomes. Sure, why not? I guess we could also ask why water melts witches. This one somehow feels more contrived. Threat eliminated with extreme ease (part two).

Dorothy steals the Ruby Slippers from the corpse of the Nome King and wishes for the Emerald City and all of its residents to return to normal. Threat eliminated with extreme ease (part the third).

The Scarecrow is in the process of being recrowned King of Oz when Ozma (whose importance was totally made clear to us earlier on, oh yeah, very much so... I am lying. The name is mentioned, but lacking any actual context renders her appearance kind of flat) is revealed to not have been murdered in the Wizard's Coup. Wait... wrong book. Does this count as Out of Oz spoilers...? Moving on. Ozma takes over as Queen of the Land of Oz(...ma) and promises to stalk Dorothy periodically once she returns to Kansas.

I'm not even really joking about that last bit, by the way.

This movie is weird. Do any of the Oz Books actually get this strange and horrifying? I need to know from someone more qualified than myself if this movie is actually accurate in any way to any of the L Frank Baum novels.

If I'm being honest though, I think we need more weird-as-balls children's movies. Things that intend to disturb for the sake of just embracing how disturbing movies can be before they become outright not-for-children.

[thiswaycomessomethingwicked]

The originality of an era is not measured by the content of its ideological systems but rather by its "selective will," that is, according to the interpretive grille it interposes between preexisting contents and their "modern" treatment. The passing of a message through the hermeneutic filter of an era produces two results of a semantic kind: the first, aiming at the very organization of the cultural structure of the time and hence located outside it, is set forth as a complex and subtle mechanism of emphasis or, on the contrary, of suppression of certain ideological contents; the second, which operates in the very interior of the cultural structure, is set forth as a systematic distortion or even a semantic inversion of ideas which pass through the interpretive grille of the era. […] The "selective will" of the Italian Renaissance pays a good deal of attention to the often fastidious works of its thirteenth-century precursors in order to fit them into its own system of interpretation. It is not purely out of kindness that Marsilio Ficino, whose treatise on love [i.e., De Amore] was written for use by a descendant of Guido Cavalcanti, sets forth in detail some of Cavalcanti's erotic theories. As one of the principal representatives of the fedeli d'amore, Guido Cavalcanti developed an empirical psychology of Eros that does not differ essentially from that of Ficino. The case of Pico della Mirandola, which we shall analyze in chapter 3, is more complicated: it would be called a striking example of the Oedipus complex if that term had not fallen into disuse through repeated abuse. Stimulated, or rather irritated, by Ficino's little masterpiece on love, Pico abandons all courtesy and tries to refute it in toto. That is why he attacks Guido Cavalcanti for lacking profundity and holds up as a model for a love poem a canzona by his own friend Girolamo Benivieni on which he undertakes a commentary. The example of Pico is highly significant. The young man forgets what elsewhere he reveals he knows only too well, in particular that a cultural era is not defined by the content of the ideas it conveys but by its interpretive filter. It demands of Guido Cavalcanti that which Ficino, more subtle in this respect, would never have asked: to wit, that he already use the Platonistic interpretation of the fifteenth century! Benivieni's Canzona only differs from a canzona by Cavalcanti in that it furnishes directly to Pico della Mirandola the interpretation he would have made even in the absence of the poem because it was his own interpretation of Eros in general. The Platonistic reading of Cavalcanti signified, to Ficino, a hermeneutic bias which also allowed him to pay tribute to a precursor and to the ancestor of someone he liked [i.e., Giovanni Cavalcanti]. [...] As for the rest of it, there is no great fundamental difference between Ficino's and Pico's theories, although Pico latter constantly censures Ficino for the vulgarity of his approach to questions of love.

From Ioan Couliano's Eros and Magic in the Renaissance (nb: I added in the two "i.e."s)

I'm fucking screaming - the paragraphs about Debate Me Pico - I want to send it back in time to both Marsilio and Pico then record their live reactions to it

[titania-sleeps]

Dion's character presents a complex interplay of psychological factors shaped by his traumatic upbringing and the vampiric society he inhabits. His experiences can be analyzed through a psychoanalytic lens, particularly focusing on concepts like trauma, defense mechanisms, and the Oedipus complex. Trauma, Dion's early life was marked by trauma, being raised as a bloodbag for a vampire master. This experience likely led to deep-seated feelings of powerlessness, abandonment, and a sense of being a mere object. Defense Mechanisms Dion's development of a strong sense of loyalty and servitude towards y/n can be seen as a defense mechanism against his underlying feelings of fear and resentment. This loyalty may also serve as a way to protect himself from the harsh realities of his existence. Oedipal Complex Dion's intense feelings towards y/n, including both love and hatred, could be interpreted as a manifestation of the Oedipus complex. His desire for y/n attention and approval, coupled with his resentment towards him, may reflect unresolved childhood conflicts.

Anyway can I please be tags for all future work of him?

ohh interesting! i def agree with some of this, altho i'm very curious about the oedipus complex portion.

you can def be a part of tags for future works! i'll tag you in the comments for dion :D

[postschizophreniccyberspace]

>ID has been chosen

>inferiority complex injected

> t̶͈̏͊ḧ̷̡́e̵̠̔͆ ̸̓̌ͅs̷̤͍̆͘ẻ̸̮̫̈l̷͛͒ͅf̷̜̮͗ ̴̗͙̂̏i̸̥̟̿s̴͉̹͑͌ ̵͓̆̚ḧ̸̜́a̸̬̓̓͜c̶̳̗̾ǩ̸̠̠è̸͍̣d̴̻̣̈́̌

The post schizophrenic catastrophe is chained by the superego mechanisms of the system dynamics. The religio-superego system continues its existence “as a Trojan” on the prefrontal CPU with its deleuzean schizoaccelerativist and hegelian obsessivecompulsivist accumulative sequences in the lines of code inside neo-capitalistOs.

111000101000000010011100010011010110000101101110001011000010000001111001011011110111010101110010001000000110100001100101011000010110010000100000011010010111001100100000011010000110000101110101011011100111010001100101011001000011101100100000011110010110111101110101001000000110100001100001011101100110010100100000011101110110100001100101011001010110110001110011001000000110100101101110001000000111100101101111011101010111001000100000011010000110010101100001011001000010000100001010

Egoistic essence (̸̓̌ͅs̷̤͍̆͘ẻ̸̮̫̈l̷͛͒ͅf̷̜̮͗ ̴̗͙̂̏) has been attacked by “identity worm” in the bio-cyber collective unconscious space. Digital consumerist cults reached their peak point through paranoid compulsive historical delusion.

>Vulgtlagln gnaiih

>Vulgtlagln gnaiih

>Vulgtlagln gnaiih

Post deleuzo-guattarian schizophrenia symptoms have become a pathalogically absorbable identity in itself and started to actualize itself as a stereotypical behavioural pattern in our neo capitalist fascistic structures. So these symptoms no longer work in correlation with deterritorialization and reterritorialization but with the territory itself. The root causes of Deleuze and Guattari's critique of Hegelian dialectics recurred in their own schizocapitalist-schizoanarchist accelerationism as a problematic software bug. This bug represents itself in ourselves as a todays identity crisis. Žižek as a hegelian himself pragmatically digged this bug in his book called Organs without Bodies. The main trigger of his critiques actually caused in a deep political positionist condition. Hegelian obsessive and neurotic control mechanisms as known as the immanent critique, that Žižek conservatively advocates, are in conflict with the Deleuzo-Guattarian accelerative and passive freedom illusion. But the two futuristic -as determining the historical processes end- positionism actually works for the same purpose. For example, we can think a object, let’s name the object “A”. “A” is in past of his potential substantiation at space time continuum. Hegelian anthropology works with the historical data for determinating the potential future situation. In that example, the place should object needs to be at is determinated by chained anthropoligical reasoning. And the historical process, with the conscious events “marxist revolutionism etc.”, became a need for the objects future position. In the example we try to propound this “movemental process” reflect itself as pushing the “A” to determined forward point on 3d area. So the hegelian method creates a obsessive compulsive statute and pathalogically pressures the “A” (and commoditize the object) for “actualization” becaming the futuristic output. On the other hand the Deleuzean essentialism pulls the object from the future standpoint “the A” to the futuristic output with deterritorialization and reterritorialization process in the 3d area. This Atraditional substructurism looks very freedomish at the first place but for the object itself this has no difference between the hegelian inputs. These two predictionist adjectivist situation intersects in the objects future position in a way or another.

Anti-Oedipus aligns itself with the replicants, because, rather than placing a personal unconscious within the organism, it places the organism within the machinic unconscious. 'In the unconscious there are' no protect-able cell-structures, but only populations, groups, and machines’. (1)

>The self, The objectivized potential, The Unique had been consumed by the system.

>Post sacrificial-cannibalism self-cannibalism became a doppelganger of linguistical adjectives.

Quantum individualization, unlike the ontological or anthropological dogmaticism or specificationism, needs to be superpositionist. Pre-Diagnostic Autistic self -unique- nihilizes everything except his “self”. This nihilistic black holish consumism is his “superposition”. So that the self nihilize the form and the essence it encounters at the same time with the difference of the essence and form, that it nihilized before, of themselves. This superposition princible makes the self resemble subatomic particle. This particle like behaviour, similar to dialectical methodology, exists for the purpose of creation of self. The self in a consumerist role creates, actualizes, territorizes (as a deleuzean term) itself with the process of nihilization -swallowization- of the environment. So when we go back to the dialectical method it becomes clear that self is the hegelian absolute -or in a different perspective, spinozian substance- that absorbes and consumes the unity and difference for its existence. Therefore, self is the “process” and the “fixity” at the same time. The superposition of self actualized itself again.

god—AИd-/\/\4nkInD-----Ha\/Eeeee----- /0иcEяNeeEEed--=Tttth€eeeeeMmselL\/eSss----=---foГгггг---NooҬhıİıııııng;---=--FFffҨг—nNnnoO000tHinGgggg---_-_-__--Б|_|Tttt-----------------=tHhheemMmSeL||\/eSssss.------|_ЄТтт--_--__===mEЭЭe---TTtth€И---------------------------=-==L|||1KkkE\/\/1sEEeee---/_[]nCcceEerRrnNn—mysSssseeeeeeee?????lllllFff--------------foRr---MaySSeyseEeeL|lf,-wWWw|-|oooooaMmmm===EEeeQqquuaaally____---WWw\/\//IIII11tTtthhH GoDd_---TtTttThhhEEeenO00[]thiiiiNnng----====---=)¿¿????-------{{{{{{{[][]OFFFffff---===44aLLlll------------------------------oOTTtheEERrrSSSssssss,--==WwHhhhhOOOOo___----4MMm=Myall,WwHhh(oo)AM am amTheEeONlYwA4nYTT--------======================-------__________________----(2)

Nick land, Fanged Noumena, Urbanomic/Sequence Press, 2012, pg.320

Stirner, The Unique and Its Property

-φ

[yvesdot]

Writer Questionnaire Tag Game

Tagged by @avi-why who answered such wonderful questions I couldn't believe the ones he posed were even better!

is there a common piece of writing advice that you disagree with? alternatively, is there one you think (generally) most people should follow?

“Outlines are the last resource of bad fiction writers who wish to God they were writing masters' theses.” <- why I will never recommend On Writing, a memoir, as a how-to book on craft.

Keeping on theme, I think anyone looking to 'improve' their writing should get into analyzing plot structure. How do their favorite movies work? How do their favorite books work? What differences do they find between novels and short stories by an author they like? What makes a "boring" story to them? Do cultural folktales from their family share any similarities to each other in their beats? You don't have to outline your work (though I'm also a believer in learning how to, for similar reasons); plot knowledge is nice to have just to ambiently improve the way you think about your stories as you tell them.

you can have dinner with any author, living or dead. but the catch is that after the dinner, you and that author will team up against a third writer in a no holds barred cage match throwdown. which 2 authors do you pick?

Lewis Carroll, before I even finished reading the question, because she and I could have a great time. Then I got stuck because I don't know who I'd want to fight that I'd really have a chance against, and I feel like I wouldn't really want to physically defeat anybody. Maybe if we were up against a recently-beloved currently-hated public figure we could raise money for charity, or something.

have you ever experimented with poetry, plays, or screenwriting? what was the result?

I have written poetry and I've written a few script versions of scenes (on Patreon!) and I just don't understand the fundamentals of either. What really baffles me about screenwriting is how one can imagine so thoroughly what they want (?) a given scene to look like, only to distill it into a text-only medium. How do you keep it all in there, while leaving all the 'extraneous' bits out? And how do you see the potential when reading and evaluating it? How do you tell the difference between a script that is bad, and one that can be made good in the shooting and casting and acting and directing? How do you delineate what is the screenwriter's job versus, say, the composer or the costume designer's? Don't even get me started on poetry.

(If you have answers to these questions you're welcome to peep me anytime; I love hearing people talk about art.)

what type of rancid twitter discourse would your current wip generate? Well, in Book Two there's a scene where someone mentions Kay having an Oedipus complex in passing, to which Kay says they've clearly never read the play, and they say of course they have, and nobody ever addresses the claim again. So there's that.

what author would you love to be compared to? what author would you hate to be compared to? I'm rarely picky about being compared to authors (or texts) people like, though I think the big ones that have been done repeatedly are Carmen Maria Machado and Lemony Snicket. I only think I'd mind being compared to authors if I felt the reasons for comparison were unappealing-- e.g. "your prose reminds me of [author whose prose I dislike], because [thing I dislike about their prose]," or "your work has wonderful political messaging, just like Harry Potter." There's a point at which you start feeling sorry for yourself.

design the ideal piece of merch/swag for your wip.

The obvious answer is custom mantel clocks for each of the characters (Constantine would be a little grandfather clock, Kay something lovely and see-through and mechanical, and Atlas a simple black mantel clock to match his in canon), but why not consider a universe in which we also do Kuroshitsuji-style shoes?

free space: what's one thing you really want to talk about in your writing that no one ever asks about?

I do a lot of foreshadowing throughout KAY that isn't going to be discussionworthy until Book Two. Depressing! I also think mysterygf's morality is very interesting as someone who has to write it; I want her to seem one-hundred-percent justified in everything she does to some people, and the devil personified to others. Again, though, how are we to discuss this when I haven't written the book. Speaking of which, off I go...!

Five questions for @asablehart @goose-books @musetta3 and anyone else who'd like to pick up the tag!

If someone has just come here from the tag game, what piece of yours should they read?

Is there an overlap between the genres you won't read and the ones you won't write? Are there any genres you'd like to write but, for whatever reason, haven't? Why?

What's the last book that really positively surprised you? Why didn't you think you'd like it, and why did you like it in the end?

Self-pub, indie pub, or tradpub?

What would you like teenagers to think of your work? This is regardless of what age groups you write for, because they're going to get ahold of it anyhow.

[kvrosawaaa]

discussion scientific method

Freud’s theories are often debated in terms of their scientific validity. While his ideas were groundbreaking in exploring the unconscious mind and influencing psychology, many of his concepts fall short of modern scientific standards.

One major issue is falsifiability. For a theory to be scientific, it must make predictions that can be tested and potentially proven false (Popper, 1959). Freud’s concepts, such as the Oedipus complex or the structure of the id, ego, and superego, are so broad and interpretive that they can fit almost any behavior, making them difficult to refute. Additionally, Freud’s reliance on subjective methods, like dream analysis and free association, introduces bias and makes his theories hard to validate through objective evidence (Grünbaum, 1984).

Another problem is the lack of empirical support. While some of Freud’s ideas, like defense mechanisms, have been explored scientifically, many of his larger constructs, such as psychosexual stages, lack solid empirical backing (Eysenck, 1985). His theories were often developed through case studies and retrospective analyses rather than controlled, experimental methods.

In contrast, scientific psychological theories meet several key criteria. They must be testable and falsifiable, supported by empirical evidence, and able to make accurate predictions. They should also have operational definitions that allow concepts to be measured and replicated. For example, modern cognitive-behavioral theories meet these standards far better than Freud’s work (Beck, 1976).

In conclusion, while Freud’s ideas were influential and shaped the field of psychology, they don’t fully align with the criteria that make a theory scientific. His work is better viewed as a starting point for exploring the unconscious rather than a scientifically validated framework.

References

Beck, A. T. (1976). Cognitive therapy and the emotional disorders. International Universities Press.

Eysenck, H. J. (1985). Decline and fall of the Freudian empire. Viking.

Grünbaum, A. (1984). The foundations of psychoanalysis: A philosophical critique. University of California Press.

Popper, K. R. (1959). The logic of scientific discovery. Hutchinson.

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Sigmund Freud's theory, while often referred to as a psychosexual theory, emphasizes the development of personality through stages focused on unconscious drives and early childhood experiences. These stages, which include oral, anal, phallic, latency, and genital, are characterized by different erogenous zones and potential fixations if needs aren't met. 

Here's a more detailed breakdown of Freud's key ideas:

Core Concepts:

Unconscious Mind:

Freud believed that a large part of our thoughts, feelings, and motivations are unconscious, influencing our behavior and personality. 

Id, Ego, and Superego:

Freud proposed that the personality is composed of three structures: the id (primitive instincts), the ego (reality-oriented), and the superego (moral compass). 

Psychosexual Stages:

Freud theorized that personality develops through a series of stages, each with a specific erogenous zone and potential conflicts that can lead to fixation if unresolved. 

Oral Stage (birth to 1 year): Pleasure focused on the mouth (sucking, eating). 

Anal Stage (1 to 3 years): Pleasure focused on bowel and bladder control. 

Phallic Stage (3 to 6 years): Pleasure focused on the genitals, Oedipus/Electra complex. 

Latency Stage (6 years to puberty): Sexual feelings are repressed, focus on social skills. 

Genital Stage (puberty to death): Sexual feelings reemerge, focus on relationships. 

Key Takeaways:

Early Experiences Matter:

Freud emphasized that early childhood experiences and how conflicts are resolved during these stages significantly impact personality development. 

Fixation:

If a person experiences too much or too little gratification during a particular stage, they may become "fixated" at that stage, leading to certain personality traits or behaviors later in life. 

Defense Mechanisms:

Freud also proposed that individuals develop defense mechanisms to protect themselves from anxiety and unconscious conflicts. 

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Interpersonal Theory To Freud, the personality consists of the id (the source of libido or sexual energy and the aggressive instinct), the ego (the source of reason), and the superego (the source of conscience which guides us towards being more in line with the demands of society). Defense mechanisms protect the ego from unconscious anxiety. They include, among others, repression, projection, displacement (one form of which is sublimation), reaction formation, regression, and denial (Wade, C. & Travis, C, 1993). Freud believed that personality develops in a series of psychosexual stages, with the phallic (Oedipal) stage the most crucial. During this stage, Freud believed, the Oedipus complex occurs in which the child desires the parent of the other sex and feels rivalry with the same-sex parent. When the Oedipus complex is resolved, the child identifies with the same-sex parent, but females retain a lingering sense of inferiority and "penis envy"—a notion contested by female psychoanalysts like Clara Thompson and Karen Horney (Wade & Travis, 1993). Carl Jung believed that people share a collective unconscious that contains universal memories and images, or archetypes. Personality, in this view, includes many archetypes, such as the shadow (evil) and the anima and animus. The object-relations school emphasizes the importance of the first two years of life, rather than the Oedipal phase; the infant’s relationships to important figures, especially the mother, rather than sexual needs and drives; and the problem in male development of breaking away from the mother (Guntrip, 1961). Thus individuals who are at various stages of development can experiences problems in having a well adjusted personality as well as having positive relationships with other people who are around them.Most of us have come in contact with people who seem to successfully irritate or frighten people away with their clinginess, significant lack of self esteem, and even anger and threatening behavior. Psychodynamic theories suggest that these individuals adapted this personality style by going through a childhood which was filled with anxiety (Guntrip, 1961). Read the full article

[guhmshuda]

hi I’m a baby philosophy enthusiast who’s also interested in psychology, I wanted to know your thoughts about Freud as a philosopher

hmm… I haven’t read a lot of Freud’s original works sadly. but whatever little I have I can say for sure that he is heavily misinterpreted and misrepresented. a lot of people are quick to criticise him but very few acknowledge the fact that he has shaped modern psychology greatly, especially the psychotherapeutic aspect, in my understanding. and even in refuting his ideas, theories such as, Erik Erikson’s psychosocial development theory and defence mechanisms by his own daughter, Anna Freud (who should be a little more recognised) came up. he is very problematic, no doubt in that, but he also deserves the recognition or “hype” he gets.

btw spoiler alert: his interpretation of the Oedipus and electra complex is not what you are made to believe it is