Immersion versus interactivity and analytic field.
Losing oneself in a story, a film or a picture is nothing but another step in the suspension of disbelief that permits one to become immersed in the 'novel' of reality. It is not by chance that the text-world metaphor informs classical aesthetics that, more than anything else, emphasizes emotional involvement. On the contrary, as in much of modern art, self-reflexivity and metafictional attention to the rhetoric of the real, to the framework, to the conventions and to the processes of meaning production, all involve a disenchanted, detached and sceptic vision--in short, an aesthetics of the text as game. By analogy, any analytic style or model that aims to produce a transformative experience must satisfactorily resolve the conflict between immersion (the analyst's emotional participation and sticking to the dreamlike or fictional climate of the session, dreaming knowing it's a dream) and interactivity (for the most part, interpretation as an anti-immersive device that 'wakes' one from fiction and demystifies consciousness). In analytic field theory the setting can be defined--because of the weight given to performativity of language, to the sensory matrix of the transference and the transparency of the medium--the place where an ideal balance is sought between immersion and interaction.
Civitarese
Giuseppe
G
gcivitarese@venus.it
D006801:Humans; D007802:Language; D008512:Medicine in the Arts; D009040:Motion Pictures; D011573:Psychoanalytic Interpretation; D011574:Psychoanalytic Theory; D014584:User-Computer Interface