#___>?{?{ THE TAUSKS
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Thomas Agerfeldt Olesen, Der Wind bläset wo er will, Johannes Moser, Danish National Symphony Orchestra, Otto Tausk, (CD, Digital album), 8.226586, Dacapo Records, 2020
Recorded at DR Koncerthuset, Copenhagen, on 9-10 November 2017 (Cello Concerto) and 5-7 August 2019 (Der Wind bläset wo er will)
Recording producer: Bernhard Guettler Sound engineer: Jan Oldrup (Cello Concerto), Mikkel Nymand (Der Wind) Editing and mastering: Bernhard Guettler
Liner notes: Lasse Laursen English translation: Susanne Lange Proofreader: Svend Ravnkilde
Artwork: Studio Tobias Røder
Johannes Moser Danish National Symphony Orchestra Otto Tausk
Publisher: Edition Wilhelm Hansen
#graphic design#typography#art#music#music album#cd#cover#thomas agerfeldt olesen#bernhard guettler#jan oldrup#mikkel nymand#lasse laursen#susanne lange#svend ravnkilde#studio tobias røder#johannes moser#danish national symphony orchestra#dr symfoniorkestret#otto tausk#edition wilhelm hansen#dacapo records#2020s
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Powder Her Face van Reisopera hekelt dubbele seksuele moraal
De Nederlandse Reisopera legt met zijn productie van Powder Her Face van Thomas Adès feilloos de vinger op de dubbele moraal jegens vrouwelijke seksualiteit. En houdt ons – letterlijk – een spiegel voor: de achterwand bestaat grotendeels uit spiegelende deuren. Tijdens een spraakmakend echtscheidingsproces in 1963 werd de Hertogin van Argyll wegens haar seksuele escapades door de schandaalpers…
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#Alison Scherzer#Daniel Arnaldos#Laura Bohn#Nederlandse Reisopera#Otto Tausk#Paul Carr#Phion#Powder Her Face#Thomas Adès
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musician reader x quinn please and thanks
patron of the arts | quinn hughes x musician!reader
♫ summary: petey brings quinn to the vancouver symphony (against his will). quinn is fully prepared to be a grouch the whole time, until he hears the most holy trumpet melody. his tune changes when he realizes that the musician is just as pretty as her sound.
♫ pairing: reader x quinn hughes
♫ content: fluff
♫ word count: 2.1K
♫ warnings: none
♫ note: i wrote this in ap us history, so it's not gonna be great <3
♫ listen to this for the full experience
. ݁₊ ⊹ . ݁˖ . ݁
“Petey, are we seriously going to an opera?” Quinn asked, adjusting his tie.
“It’s a symphony, Huggy, and yes,” Elias’ voice came out of the phone speaker from across the room.
“When most people call their friends on a friday night, it’s to get hammered and meet girls.”
“They have drinks at the Orpheum.”
“But do they have girls?”
“Hughes.”
“It’s a valid question. I’m 25 and single.”
Y/n sat in the dressing room, staring down the mirror.
“You are a good - no, great - trumpet player.”
“You went to julliard for trumpet performance. You have a master’s degree.”
“You’ve been playing since you were 4. What’s a little Dvořák?”
“Y/N, we’re heading onstage soon,” Marcus said, popping his head in.
“Got it.”
She picked her trumpet up off of her stand and rapid-fire pressed and released the valves. Slides, greased. Valves, oiled. Mouthpiece, polished. She placed the stand in the bell of the instrument, grabbed her music, and walked onstage with the rest of the orchestra.
Quinn settled into his seat, already down two and a half vodka cranberries. He couldn’t help but fidget, already bored.
“Huggy, are you okay?”
“They sound terrible. I hate this song.”
“Quinn. they’re tuning.”
There was a bright, brassy sound suddenly, clear as the sun bouncing off of snow. It was solid, crisp, and beautiful.
“Please try to behave tonight.”
“I always behave.”
“Concert halls are different from rinks.” Quinn rolled his eyes. “You need to be calm and collected.”
“I can do that.”
“That means you don’t talk and you stay off your phone.”
“What if I want to film?”
“Can’t do that here.”
“God, can you do anything here?”
Elias handed him the program. “Read.”
Quinn gave Elias some side-eye, then flipped the program open. “Antonin De-vor-ack, symphony number 9.”
“It’s pronounced De-fur-sh-ock.”
Quinn squinted. “shhh i’m reading.”
“who’s that?” he asked, pointing to a name.
“Y/N Y/N? um, it says she’s principal first trumpet.”
“what does that mean?”
“captain and starter.”
“So she’s good?”
“Y/N specifically? think 2009 Crosby.”
“where is she?” he sat up straighter, craning his neck.
“Huggy, do you know what a trumpet looks like?”
“I went to UMich.”
“Answer the question.”
“Yes I do.”
“there are three trumpet players. find the girl.”
Elias could tell right when Quinn figured out where Y/N was. His eyes had widened, his pupils dilated, his cheeks flushed, and his breathing heavy.
“cap, you good?”
“y-yeah…”
Almost as if to spare him, the director came onstage, his coattails dragging behind him.
“Good evening ladies and gentlemen. My name is Otto Tausk and it is my privilege to direct this fine orchestra here. tonight, we will be performing symphony number 9 in e minor by the legendary Antonin Dvořák.”
“as always, we kindly ask that you keep your phone off and refrain from recording. official photos are available for purchase on the website, if you so desire. please keep talking to a minimum, as these performers have worked incredibly hard to sound as great as they do.”
“thank you. now, give it up for the Vancouver Symphony Orchestra!”
Quinn clapped and let out a whoop.
“I didn’t know you were such a big fan,” Elias said, leaning over to Quinn.
“how can I meet them?”
“meet them?”
“yeah like if I wanted to meet someone from the orchestra.”
“Huggy, you are not meeting Y/N.”
“but I want to.”
The lights dimmed in the house and brightened over the orchestra. They began to play. Quinn was entranced. He had heard classical music before; who hadn’t? He could name musical jargon like crescendo and adagio, basic terms he learned in elementary school music class. But now, he felt like a little kid watching his first hockey game. The way they played far beyond the meager skills he had, the way they did this so effortlessly.
After about half an hour (or minutes for Quinn in his magical music world), Elias leaned over.
“you’ll probably recognize the next movement.”
“why?”
“It’s one of his most famous pieces. I think I played it for you on the way to tampa back in october.”
That piece was it for Quinn. he’d heard Y/N all night, playing her trumpet like an angel from heaven, her sound soaring over the audience and nestling in his ears. But part iv (allegro con fuoco, as Quinn read in the program) was pure magic. It was so intense, so powerful, and Y/N was running the show, hitting notes up in the stratosphere.
As the show ended and all the performers took a bow, Quinn couldn’t tear his eyes off of Y/N. Her black dress hugged her just right, and her smile sparkled in the spotlight. All he knew was he needed to meet her, to at least say “hello,” even if he lost his thoughts right after.
“petey!”
“what?”
“I need to meet her!”
“dude, she’s like, the most important person here besides the conductor.”
“I’m a pretty important person.”
“In sports? yes. in music? not really.”
“um, in Vancouver? yes.”
“Quinn, think of all the people who want to meet you after a game.”
Quinn gave him a sour look.
“It’s not happening.”
☆ ★ ✮ ★ ☆
There is no greater animal than Quinn Hughes in love, and there is no scarier animal than Quinn Hughes in love. It wasn’t just his teammates who could see the change; his dear mother, Ellen, could, too.
“Quinn, you seem… different. haircut?”
“no? I brushed it.”
“who is she?”
“Mom, what?’
“your apartment seems cleaner, you’re wearing a button up instead of some graphic t-shirt, your hair is brushed, you’re smiling. who is she?”
“there’s no one.”
“please tell me she actually loves you-”
“mom!”
“-and not just your name.”
“mom! there’s no girl!”
“honey, it’s okay. tell me about her when you’re ready.”
Quinn hung up, frustrated. Of course, he’d wanted to tell Ellen about Y/N, how she has a master’s in trumpet performance from one of the greatest schools on earth (source: her Wikipedia page), how she’s a Vancouver native, and it was always her dream to play here (source: the VSO website), and how her eyes sparkle in the lights of the Orpheum (source: Quinn). But what’s the point? He’d never even talked to her. Not when he went to see her perform Holst’s The Planets (12/20) or when Ballet BC and the VSO performed The Nutcracker on Christmas Eve. He couldn’t even see her that time, but just hearing that warm, brassy tone was enough.
Where would he even start if he were to tell his parents about Y/N? that he had become so infatuated with some trumpet player that he started going to symphony performances? that he had donated so much that his name was on a plaque in the Orpheum lobby? That he looked forward to the concerts? That he listened to classical music? That he stopped having random hookups and partying with random girls? That his heart belonged to this girl that might know his name but not him?
His phone dinged. Assuming it to be Elias or Jack or someone who wasn’t Y/N, he brushed it off. But then there was another notification.
“what is this?”
“It” was precisely what he had been needing. Tickets for the New Year’s gala (and charity auction) had gone on sale. Quinn decided to look through the auction items to see if anything was worth it. Five free tickets to any show in 2025, rinkside tickets to any regular season canucks game, lunch with the maestro, one of Tausk’s batons, a wine collection, two private lessons with any orchestra member, a ton of vouchers and gift cards, and a meet and greet with the orchestra after a show.
Quinn’s eyes went wide. That was what he needed. he finally had a chance to meet Y/N.
☆ ★ ✮ ★ ☆
He adjusted his tie in the window of his Porche, trying to make sure he looked perfect. His hair was neatly styled, and his all-black suit was impeccable. Tonight, he would do it. He had the money, for sure. Although every cent was worth it since it would bring him closer to Y/N.
Quinn made his way up the steps of the Orpheum, ready to see the most incredible woman in British Columbia.
“name?” asked the security guard.
“Quintin Hughes.”
“welcome to the Orpheum, Mr. Hughes.”
it was even more striking on the inside, the manager group clearly sparing no expense. The hall was draped in gold and all manners of fine things. Waiters with bow ties walked around with platters of champagne flutes. Quinn grabbed one, thanking the waiter, and kept his search for Y/N.
She saw him first. She and her friend, Nora, were standing at the top of the grand staircase, a little off to the side.
“he’s so awkward.”
“I know, isn’t it cute?”
“Y/N, look at yourself.”
“I’m gonna go talk to him.”
“no, Y/N, get back here!”
Nora grabbed Y/N’s wrist, staring her deep in the eyes.
“don’t.”
“why not?”
“you’re so polished and refined. you used to live in new york, you’re principal first trumpet for a globally renowned orchestra. he’s a hockey player.”
“hockey captain.”
“Y/N.”
“Nora.”
meanwhile, downstairs, the auction had begun. Quinn was focused. If he didn’t get the meet and greet, it was over.
“Hello everyone and welcome to the Vancouver Symphony Orchestra’s annual charity gala and auction. i’m Sasha Martin and i’ll be your auctioneer tonight. Now, don’t be afraid to bid high, this is for charity after all.”
A laugh went around the crowd. Quinn didn’t laugh. His love life was on the line.
“Huggy, don’t overspend. there’ll be other girls out there.”
“Elias, this is the girl.”
“let’s start the bidding for this artisan wine basket. do I hear 500?”
“Nora, I should talk to him.”
“how many glasses of champagne have you had?”
“two. i’m gonna do it.”
“you lightweight! don’t do it.”
“have you seen him?”
“yeah, his brother’s hotter.”
“jack? ew.”
“you’re so weird.”
Y/N started going down the grand staircase for the auction. There was an item she’d be wanting for a while.
“and sold to buyer 231 for $3500! Our next item is an authentic Vancouver canucks jersey, signed by captain Quinn Hughes. let’s start the bidding at $700.”
Y/N held up her paddle. “800.”
“800, 800, do I hear 850?”
“850!” someone across the room (Y/N’s new enemy) shouted.
“900!” she raised her paddle again.
“950!”
“1000!”
“Y/N/N what are you doing?” Nora whisper screamed at her.
“I need this!”
“1500!”
“1500, 1500. is there a 2000?”
“going once, going tw-”
“5000”
“Y/N do not put that paddle up again.”
“I need this jersey.”
“you’re gonna spend over 5k on a jersey?”
“Yes.”
“7500.”
“10000.”
“15000.”
Quinn turned to see who would pay 15 grand for his jersey. They must be pretty generous. His jaw dropped. Y/N L/N. Y/N L/N had just bid 15 thousand dollars on his jersey. 15 thousand. on his jersey. His. Jersey.
“20000.”
“going once.”
“going twice.”
“and sold to buyer 184!”
Y/N buried her face in Nora’s shoulder, trying not to cry.
“there will be more jerseys.”
“this is the jersey!”
“let’s begin the bidding for the orchestra meet and greet! do I hear a 500?”
“1000.”
“1500.”
“1600.”
“1800.”
“2000.”
“5000.”
“Huggy, don’t overspend.”
“7000.”
“going once, going twice, and s-”
“8000.”
“some generous folks in the audience. unless I hear an 8-”
“10000.”
“Elias, this is the girl.”
“and sold to buyer 379!”
Quinn walked up to the stage to get the pass. it was a simple piece of laminated paper.
“ladies and gentlemen, it looks like Quinn Hughes is a supporter of music education!”
Quinn Hughes is a supporter of gorgeous women in music.
After taking the pass, he walked offstage and started to head toward the exit. He was almost out of the building when he heard someone calling his name.
“Quinn!”
“Y/N?”
“don’t leave.”
“what?”
“I said don’t leave.”
she took his hand, slipping her fingers between his.
“why’d you buy the meet and greet pass?”
he looked at his shoes and mumbled, “so I could meet you.”
he looked back up. “why’d you want the jersey?”
“because I want you.”
“you can have me,” he said, blushing like a little kid.
“you can have me too.”
he let go of her hand and wrapped his arms around her.
“Quinn?”
“yes, Y/N?”
“let’s get out of here.”
he took her hand again and led her to his car.
“your chariot awaits.”
part 2
tags: @verycoolusername1 @luvoblivixus @tomskookie @leclerc-drives-in-circles @dream-girl06 @skepvids @how-what-why-huh @devilinpradaheels @r0wdymaize86
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Alphons Diepenbrock (1862-1921) : Hymnen an Die Nacht (1899)
Hans Christoph Begemann (Solo vocalist) with Sinfonieorchester St. Gallen conducted by Otto Tausk
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NONC'ÈDICHE
di Daniele Luttazzi
L’informazione italiana funziona da gigantesca macchina influenzante
Il Fatto Quotidiano 17 MAGGIO 2023
Cercare di correggere l’oceano di cazzate che ogni giorno stampa e tv rovesciano sugli italiani è un’impresa improba. Troppo pochi quelli che si oppongono all’andazzo, perché se non ti adegui ci rimetti di brutto; la stragrande maggioranza dei sedicenti professionisti dell’informazione campa taroccando quotidianamente le notizie secondo agende prestabilite; e così impera il loro frastuono. Da un anno, per esempio, i media embedded cercano di convincere l’opinione pubblica ad accettare certe conseguenze apocalittiche (la guerra della Nato contro la Russia) di cui l’apparato politico-militare Usa ha bisogno per i suoi fini geopolitici. Facile farti passare per complottista, se lo fai notare; ma la cronaca della guerra russo-ucraina dimostra che la micidiale macchina influenzante è una realtà. Uso la definizione di “macchina influenzante” non a caso: la macchina influenzante è uno dei deliri persecutori più frequenti nei pazienti schizofrenici, che, proiettando all’esterno i propri dinamismi psichici, arrivano a immaginare un macchinario che ruba, modifica o influenza i loro pensieri (ne scrisse, agli inizi del secolo scorso, lo psicanalista Viktor Tausk). Inquieta che il complesso informativo nazionale funzioni come una gigantesca macchina influenzante: la realtà viene trasformata in una realtà psicotica. Lo psicotico è angosciato e abulico: così ci vogliono? Vespa ha incontrato Zelensky sulla terrazza colonnata del Vittoriano, una scenografia degna di Patton, confezionandogli addosso la puntata (ha usato il panorama di Roma come fosse il plastico della villetta di Cogne). C’erano pure Mentana, Maggioni, Molinari, Porro, Tamburini, De Bortoli e De Bellis. Spero non vi siate persi la vigorosa stretta di mano di Molinari a Zelensky (qui a 3’ 35’’: bit.ly/3IgnmgS): valeva 100 editoriali di propaganda bellica. Peccato non fosse commentata dal trillo di un registratore di cassa, sarebbe stata perfetta (satira: gli Agnelli-Elkann fanno affari d’oro con la guerra). Nessuno dei direttoroni ha contestato a Zelensky la sua versione dei fatti: “La cosa importante è che parliamo delle cose pratiche, concrete; non proporre, come ha fatto la Russia, gli accordi di Minsk per attendere, riarmarsi e continuare l’occupazione”. Un rovesciamento interessante: secondo Angela Merkel (intervista al Die Zeit, dicembre 2022) gli accordi di Minsk furono un tentativo “di dare tempo all’Ucraina” di ricostruire la sua difesa. E se a far saltare gli accordi di Minsk non ci si fosse messo anche Zelensky, oggi non saremmo a questo punto. Cosa c’è di più pratico e concreto di un cessate il fuoco immediato? Lo propone la Santa Sede, ma Zelensky non vuole, il suo piano è andare avanti con la guerra finché i russi non si ritireranno: “Noi crediamo nella vittoria”. Nessuno dei direttoroni gli ha fatto presente che questa è pura follia, erano troppo presi ad annuire: e così, con la macchina influenzante in azione, il folle diventa chi, sulla base di informazioni più realistiche (quelle di generali statunitensi e italiani), non crede alla propaganda. Lo stratagemma più odioso è il ricatto morale. Al Parlamento tedesco, Zelensky rammentò la responsabilità della Germania nei crimini nazisti; da Vespa, ha ricordato gli aiuti che l’Ucraina ci diede agli inizi dell’emergenza Covid: come se la sua agenda militare fosse l’unica possibile e dissentire un’ingratitudine di cui vergognarsi. Poi s’è incartato: “Putin non porta il vaccino: lui porta la malattia”. Un’allegoria infelice: tutti ricordano l’aiuto russo all’Italia in pandemia. “Se l’Ucraina cade, il passo successivo è la Moldova”, l’argomento del domino con cui gli Usa giustificavano la guerra in Vietnam; ma un cessate il fuoco non farebbe cadere l’Ucraina: fermerebbe la guerra, impedendone davvero ogni allargamento. (1. Continua)
🔴 Per ricevere tutti gli aggiornamenti segui Giorgio Bianchi Photojournalist
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Lou Andreas-Salomé Pt. 9
Warning: Suicide Themes
Lifework
With her last intellectual connection she made with another father figure Freud, it became a final home for Lou. "[She] felt herself 'in such good company' among the Freudians. She caroused with them in the Café Ronacher or the Alte Elster a few steps from her hotel. She attended a new elementary course on psychoanalysis offered by one of the five young men in the Wednesday group, Viktor Tausk, and by Tausk's doing she got to try practicing psychoanalysis once at a neurological clinic."
With a strong preference for synthesis, Lou found that libido, or craving, was a great place to introduce this feeling of oneness to patients, albeit a dualistic version of oneness. "She cherished the [craving] for its instinctual immediacy, for its 'preserved affective identification with everything,' for its ever-readiness to overwhelm the ego and restore the old unity. Her pet peeve was the ego, vehicle for 'the original sin of individuation' what with its competitive animus and fragmenting rationality. Grudgingly she allowed that the ego breaks off from [craving] only under duress and for the sake of their joint survival. She likewise acknowledged the ego's mission of leading the individual to a knowing reunion with the all—and for that reunion's sake she endorsed the historic progress of repression and sublimation away from the permanent proto-narcissism of animals and savages. Besides, to the ego's credit it betrayed its narcissistic origin—and destination—in its dedication to the 'world object,' its universal labels such as 'reality,' its aims of total objectivity and integral consciousness, its sense of its experience as a solvent of otherness, its very pretension to judge of what is and what ought to be. Lou saw the aftereffects of proto-narcissism all around: in fantasies of noble birth and convictions of immortality; in the 'man of destiny...so magically served by fate from without'; in sublimation, which was a sexualization of the ego and a displacement of [craving] from local onto universal objects; in the impassioned lover's regarding his beloved as all of everything; in the high value we set on love; in 'that huge, simple fact that there is nothing to which we are not native'; in any call for 'unity' and any calling things beautiful or sacred or lovable; in all art, prayer, creativity, sincerity, authenticity; in all neuroses even, these being bad bargains between ego and sex; indeed, in just about everything psychic that succeeds proto-narcissism except for its direct derivative, narcissism proper, which was her own instinctual fixation point."
Being in the early days of psychoanalysis, students were not analyzed very often. This would be a procedure that was added later on with its own dangers and perils. Lou fumbled about anyways and began taking patients. "After Vienna, where she had proudly donned 'the white doctor's frock' in the neurological clinic, she took on a first patient in Berlin three hours daily for one week late in October 1913. In the winter she rounded up a girl to treat at Loufried, in the spring a man, in the summer a lady. She kept her practice from Freud until she grew submissive in this imitation of him in turn and, beginning in November 1917, sought his guidance and approbation. She did have more than her share of outlandish cases even for those times before common knowledge of neurotic syndromes had normalized them. With one case she drove Freud to doubt he could ever make simple sense of emotional life—that of a girl who, after taking her father's piles [on his butt] for a pregnancy, thought his penis a half-born baby and his anal wind the baby's first cry, so that she grew up to be hysterically anxious lest she break off a lover's penis and lest she break wind in public.' Lou had a sharp eye for what held in her own case as well as the patient's—or, if it held all too obviously in hers, a blind spot. She triumphantly solved the 'riddle' of a girl at once anxiety-ridden and orgastic when she noticed that the girl's lovers were all father substitutes by contrast, but Freud had to drive it home to her that the girl's regular turnover of lovers was likewise a defense against incest."
Lou made plenty of suggestion mistakes and also got emotionally invested in her patients through projection. "To the psychoanalyst approaching a cure, 'the depths of our common humanity open up as if to his own self-comprehension' (a tacit avowal that she was reading her own mind in her patients')." There were also points where Lou was intellectually dry and didn't know how to proceed. "[Freud's] first, faint rebuke concerned mock confessions designed by Lou to elicit real ones from a six-year-old: he assisted her in an easy cure along those lines, then deplored the bad pedagogical example she had set. Another time she cleared up a young man's neurosis except that an ache at the heart of it lingered on in the form of a vague after-feeling, which baffled her until Freud suggested: 'It is meant for you as transference mother.' She made herself into Freud's pet pupil somewhat in spite of him: he once called her a 'problem-finder,' and in time he told her bluntly: 'Among the special advantages of the analyst's trade is this one, that in it the consultant's practice is hardly possible,' whereupon she ceased reporting on cases interrogatively."
She continued working, aiming to make steady progress. "The local trade being light, Lou solicited mobile neurotics far and wide. Freud sent her some beginning with an agoraphobic female, 'the personification of plain, nasty lewdness,' who was turning psychotic in his care—and whom she fondly cured. She would see patients at any hour and well beyond the hour: 'New Year's Eve, analysis till just before midnight,' she once noted. She would charge as little as the traffic would bear. 'The fairy band that surrounded your cradle seems to have withheld from you the art of calculating,' remarked Freud upon summoning her in 1923 to raise her fees as the Mark fell. She would raise them 'quite without scruples or ado,' she replied, except that the inflation had ruined everyone! Another time Freud sent her a woman with a wealthy family." Freud wanted Lou "to accept nothing under twenty gold Marks per hour: patient and family arrived first, and Lou took ten; Freud told the family she had thought them impoverished, so she got twenty after all. 'I had to be glad you had not said five,' he epilogued. And again, on a later occasion: 'I hope this time you did not forget your own interest altogether. I shall not ask, so as not to be vexed.' At least once she went as high as ten hours a day, as Freud learned 'with horror'; only rarely, though, could she fill out a full schedule in her house Loufried. One slow season she took on a patient by mail. 'Why not?' deemed Freud. 'It's worth a try.' The try failed...Perhaps her favorite patient was a hysterical girl who, upon realizing that virtually since babyhood she had imagined guilty hands to be concealed beneath the color of clothing, took to painting hands: within weeks she was cured—and an accomplished artist. Lou felt respect tending toward envy for every patient who dared reopen those oldest developmental options the very closure of which he called 'I,' and melancholy at every cure as at a development completed, even if for the best. And concern: once she worked up such passion over a woman's 'right' to retain custody of her children ('her lasting possession') during treatment that Freud had to call her to order: 'You are no legal friend or helpful aunt, but a therapist.' Doing Freud's own work after Freud's own heart, she found herself. 'I am one of the happy few who day after day rejoice to be doing just what they are doing,' she once told him—'what more can one ask? What more can one ask?'"
Lou also worked with Anna Freud in the 1920s. Freud was worried about a father-fixation Anna had. She wanted to follow in his footsteps, and Lou was able to help her with her first paper, Beating Fantasies and Daydreams. "She deemed Anna's incestuous set-up more blissful than any alternative 'within normalcy.' Sistering and mothering his closest child for him, Lou made herself that much more of a daughter-wife to Freud. In 1925 she assured him, [and talked] to him in her imagination—as formerly to her god.: 'I feel only too deeply how utterly utterly I am beside you, and with you, as if I were a piece of age-old Anna somehow also inseparably hanging on.' She 'ever again' called him a joy-bringer as she ever newly affirmed the 'grateful indebtedness' of 'your ever newly grateful Lou.' And he pampered his anal daughter-wife, regularly heaping hard-won hard money upon her through the inflation years and beyond for all her assurances, exultantly given, that she neither needed nor deserved it."
They continued to differ on philosophy which Freud was uninterested in. He felt he was a positive pessimist in that his low expectations kept disappointment at bay, especially during the Great War. "Freud inquired: 'Do you still think all the big brothers are so good?' 'They have become devilish one and all,' she avowed—'(but that is because States cannot be psychoanalyzed).' 'It is too foul,' Freud returned; 'and saddest of all is that men are behaving just as psychoanalysis might have led us to expect. This is why I could never join in on your jolly optimism.' Pressed, Lou did her protonarcissistic best short of invoking original love: 'I do still think: behind individual human activities, farther back than psychoanalysis can reach, the worthiest and nastiest impulses condition each other indistinguishably, making a final verdict impossible." Lou experienced ambivalence around the Russian Revolution with lots of hope mixed with skepticism. The internal politicking over the years left her disappointed. She eventually lost her brother Sasha who served on the front. Her other brother Roba buried his youngest son.
Tausk
A certain pattern can be seen following Sigmund Freud as his method began to achieve wider notoriety. Starting with him, there was a pressure to be successful and famous by making a difference. All the other psychologists that found something in his work were also joining from different disciplines, but the pressure was always the highest on those who felt that they couldn't go back to their old professions. Financial pressures to support a family were one reason, but many people were searching their entire lives for their own version of happiness through a change in vocation. They may have tried to do many things, but many would feel like the Benno character in Lou's Deviations, who wanted more opportunities for exploration, creativity, and self-development, to replace the feelings of monotony and slavery. It took Lou until her 50s to find Freud, but for many others, they never found a solution.
Lou Andreas-Salomé Pt. 3: https://rumble.com/v5gpvpp-lou-andreas-salom-pt.-3.html
Once Freud dominated his profession, the fear of being a nobody changed into the fear of being superseded. Anyone following in his footsteps would find it difficult to be treated as an equal. For those dissatisfied with Freud, they found their calling by starting their own school, especially if they had enough differences from his theories and enough material to make it competitive to win over students. Many others would try to stay underneath his umbrella and make innovations to expand psychoanalysis, only to find that a career is lifelong and one has to wait for progenitors to die before the coast is clear. When you have people that need to earn money into their 80s, and youthful competitors that need money for a family, something has to give. People like to pick on Freud for this behavior, but its probably the most common attitude in all professions and especially in areas where originality is exalted. That kind of tension between master and understudy played out classically with Freud and Victor Tausk.
Object Relations: Melanie Klein Pt. 8: https://rumble.com/v50nczb-object-relations-melanie-klein-pt.-8.html
Victor Tausk came from an Eastern European family with an authoritarian father, who was a successful journalist, and a warm hearted and devoted mother, to the point of masochism. Victor's father was unfaithful to his mother, but demanded rigid morality from the children. Their family was non-practicing Jewish and German speaking. Victor took personality elements of both of his parents. At the turn of the century, he pursued being a lawyer because it seemed more accessible. He married Martha Frisch, despite his hostile relationship with her father. She was an intellectual Marxist activist and so she chose to dress plainly and avoid accentuating her beauty. She had a child with Victor, but it died at birth. They later had two sons, Marius, and Victor Hugo.
Victor become a successful defense lawyer and had the opportunity to make a good career of it, but the marriage failed and the two separated. He blamed her for the ending of the marriage, but he continued giving her money where possible and she worked as a bookkeeper for her father's firm. A friend of Victor's criticized his restlessness and ambition and charged that he should focus on providing for his family. He was still wondering where his real talents had lain while feeling the pressure to be a good provider. He got into autobiographical fiction where characters felt true impulses related to authentic vocations that were repressed, and there were also resentments over parents imposing careers where no passion lay. In the same vein, he resented Martha's dependence and only felt comfortable in friendships where there was no obligation. "I want to work my way up in such a way as my nature requires, without fostering false ambitions and ambiguous feelings. Only in this way shall I be able to gain moral capital. The way I am living now is truly the best one for this intention: independent because nobody depends on me, not a slave because not a master."
In Berlin, Tausk indulged in creativity by writing poetry, playing the violin, drawing charcoal sketches, and directing plays. His Plan B profession to pay the bills was journalism, a profession to which he looked down upon. Martha didn't cause any rancor by turning the kids against their father and she still loved him and kept all his letters. Later on, Tausk became ill and went to a sanitorium with complaints of catarrh in his lungs and he received useless general diagnoses of a "hereditary inclination towards the psychopathological side," and neurasthenia. He eventually fell into depression because of his lack of an authentic profession and a sense of home. Even though he was beginning to move towards suicidality, by writing "I have had enough of this life," he repeatedly found the courage to try new things. This time he was interested in Freud's psychoanalysis. His hope came back when Freud assumed that Victor was a medical doctor and requested he come to Vienna to train. His studies were supported by his job at a Viennese newspaper. He had enough confidence then to finally go through with a complete divorce.
He was welcomed at first by the Vienna society and his manic-depressive personality allowed him to connect to many analysands. He was in great company with other analysts who also gave up on their old careers. "Freud encouraged both Sachs (a lawyer) and Reik (a scholar), for example, to give up their previous fields, and to practice psychoanalysis for the sake of understanding its theory." The prospects for psychoanalysis grew in cities large enough to provide clients at the right time for these characters to land on a cushion. These were the more likely people to join Freud, because their personal struggles led to their sympathy with his theories. Freud also found it beneficial for psychoanalysts to study in medicine to improve its status. Being a doctor fostered networks with hospitals and led to referrals when neurologists couldn't find signs of brain damage to explain psychological symptoms.
Tausk went on to be a psychiatrist. He bridged both sides of the rivalry between Freud and Wagner-Jauregg by working for Wagner-Jauregg at the University of Vienna. He was a sarcastic old colleague of Freud's because he felt psychoanalysis had a very narrow patient group and he felt that Freud was too confident on what it could provide them. Freud respected Wagner-Jauregg, but he was resentful of his criticisms and he treated psychoanalysts who worked with him as suspicious. Despite the rivalry, Tausk became one of Freud's best students, and Lou Andreas-Salomé viewed him as another suitor for mutual inspiration as she had the habit to do. He was thirty-three while she was fifty-one. Despite the age gap, Tausk didn't feel that terrifying dependence and obligation a younger woman would have imposed upon him.
When working together, Tausk allowed Lou to observe cases in his clinic, and she tagged along with his visits to his sons. In a way, Freud, Tausk, and Lou became a new trinity and she became a mediator between the both of them to keep their petty jealousies in check. Freud would be jealous of Tausk's sexual appeal for Lou and Tausk would be jealous of being second fiddle to Freud's intellectual gravity. Most of Freud's followers were expected to be a sounding board for his theories, but innovations could not be branded as a part of psychoanalysis without his assent, otherwise he was bound to feel that his position was being challenged. This led to followers feeling held back, because they all sought to have their day in the sun by finding something original, so clinical cases that brought up new material to analyze would get the attention of practitioners, even if they weren't looking for them. If those innovations could stay under Freud's umbrella of the Oedipus Complex, it was welcomed, because it was a confirmation that he was on the right track. Destructive innovations would require followers to start their own school. Tausk took the opportunity to defend Freud against Adler and Jung and wasn't afraid to be polemical, which he must have felt would keep him in a secure position with Freud, though Lou could see that this could be a trap, because his career would again be in a contingency based on alignment with Freud.
That contingency didn't take too long before Tausk's venture into exploring the nature of sublimation and art drew criticisms. Freud felt Tausk was going too fast. "We should not dare to move so boldly into new territory leaving the rear so exposed, and confirmation of earlier discoveries needs to be made again and again." The irony was that by narrowing the focus on research, Tausk was bright enough to anticipate ideas before Freud could get there, including his views on narcissism that Freud criticized, or there was a threat to complete what was already partially clarified. There was a fine line between plagiarism and originality. This situation would naturally create a rivalry where the originator of a theory would need to protect his position while the understudy would be impatient, waiting for their turn to become famous and celebrated. At the time, Otto Rank was a favorite of Freud's, but he also embarked on a similar path of psychoanalyzing art and artistry, and received Tausk's treatment.
Object Relations: Otto Rank Pt. 1: https://rumble.com/v1gvrq9-object-relations-otto-rank-pt.-1.html
Victor Tausk was stuck in another internal battle between his loyalty to Freud and his original contributions in psychiatry, especially in psychosis. This pressure was compounded by his need to finish medical studies and to provide for his sons. Lou eventually lost attractiveness for Tausk because of her perception that he needed analysis as much as any patient, and his initial attractiveness was in the end more of a pity towards the human struggle. "In the long run no helpful relationship is possible; there can be none when reality is cluttered by the wraiths of [unprocessed] primal reminiscences. An impure tone resonates through everything, buzzing as it were with murmurings from within. Yet from the very beginning I realized it was this very struggle in Tausk that most deeply moved me—the struggle of the human creature. Brother-animal. You."
In these struggles, Tausk managed to complete his medical studies and he was achieving results in a growing practice. This was tragically destroyed by the Great War. His patient list dwindled and he was eventually called up. Victor was back to square one. In Lublin he was able to fill a role as an army psychiatrist along with his military duties. He worked to exhaustion, was depressed, but he developed a lot of his most important works in psychoanalysis, including topics of war psychoses and schizophrenia. Another irony was that he was able to use his legal experience as a defense lawyer to help deserters at the time who were ignorant of the regulations and punishment by firing squad. The people he helped never lost their gratitude for him.
There were a lot of expenditures after WWI in Austria and they were paid for by the printing press. The hyperinflation impoverished everyone. Freud couldn't raise his fees as high as the rate so he almost depleted all of his savings. Tausk was middle aged and living like an impoverished student. Analysts at the time needed Freud's referrals and if they weren't American, many could not pay the fees or they paid in worthless local currency. Victor returned to writing and was thinking about re-entering psychiatry to gain a post. Despite his initial opposition to being analyzed he eventually requested Freud analyze him. He said no, knowing full well that the society would probably have more conflicts unleashed. He then offered Helene Deutsch as an alternative, but not without priming her with his difficulties with Tausk. Freud thought that Tausk's running ahead would make him think that Freud was stealing his ideas when the foundations were all Freudian.
Despite the insult of not being analyzed by Freud, in a way he was, because Helene was being analyzed at the same time. What she learned through Freud was being applied on him, even if Tausk was more accomplished than her at the time. Freud could also monitor Tausk from afar. In the end, these were Victor's personal problems, despite what topics he mastered and published about other people. The analysis as expected revolved around Freud. He was sad that Freud didn't recognize his pioneering contributions and he felt that Freud was dependent on him. Tausk used Freud's framework, but he felt his discoveries were not taken directly from Freud.
Freud didn't like hearing innovations in his theories because he wanted to get there on his own, which would slow down these new theorists. "I do not find it easy to feel my way into unfamiliar trains of thought, and generally have to wait until I have found a point of contact with them by way of my own complicated paths." Yet if Freud did come around to the same conclusions, it would be easy for new theorists to feel like they were stolen from and not given credit where credit was due. Freud in turn would feel that people used his framework to get to conclusions that they would not have arrived at without him. By giving people the framework, they could follow it, and sometimes get to Freud's inevitable conclusions faster than him, because he wanted to take the time for case studies to define more clearly what he had discovered already. But when you compound each theorist's skills in other arenas, like psychiatry or scholasticism, innovations were likely to happen. This slowed Tausk's work even further, because he needed to reference Freud's papers more and more to avoid plagarism. This of course continued throughout the history of psychoanalysis and is always a challenge in scientific endeavors. Once researchers have mastered the current frameworks, it's easy to anticipate parallel discoveries and it becomes a race against time if one is seeking fame and fortune. Fame for being at the cutting edge was what brought the clientele, and they would take no less than the newest and most advanced treatments.
All these absorbing topics from Tausk's free associations ruined Helene's analysis with Freud. She formally ended it with Tausk. It was a similar situation where Lou was a confidant for Freud against Tausk and now Helene was just another one. All of his jealousies were now known to Freud. He later on refused requests to analyze Tausk's son Marius, and was completely done with him. Freud was also beginning to become world famous and patients were starting to lineup again. He could now dispense with Tausk because many new fresh and naïve students were ready to follow in his footsteps.
Tausk was again back to square one looking for a way out. One day he saved a Serbian woman from arrest and he eventually moved in with her while she fell in love with him. Despite being illiterate, she was a member of the Serbian aristocracy and could provide him with prospects. This fed again into his fear of being dependent on another person and he still harbored dreams of being a lecturer in Vienna. Earlier on he was in love with a successful actress who was very interested in him, but he was afraid of engulfment and broke the relationship with her leaving her shattered. He again went through the same process with a female doctor. A different woman cheated on Tausk with one of his patients, and he ironically decided later on to marry a patient of his who was a concert pianist.
Tausk was complicated because he depended on leaders for a post in life, but he also wanted independence. Because he couldn't secure a career without interruptions from the war or from his own desire for independence, it made him a financial risk for women. If the woman was demanding, like Martha because of her children, then his uncertainty with his job would kill the relationship. If the woman had more wealth, then he was worried about being dependent on her. If the woman loved him too much, there could be a lack of independence with engulfment. Paul Roazen had his theories that one must go back to the parents to see their templates. Did he fear he would become like his father? Did he fear that the woman would be like his mother? His sister was in a happy marriage, was she an ideal type that none of the women could match? Was marrying a patient an affront to a father figure like Freud? Did he feel any other forms of shame? For whatever reason, he could not commit with any of these women who he legitimately loved. Tausk was twisted into a pretzel and it was beginning to dawn on him that his life was a complete failure.
When he last spoke to his son Marius, the tried to separate himself from him by suggesting that he become more independent and to not be slavish to the commands of his mother. He also suggested the same about himself. "Don't worry about me." He later sent a thank you note to his sister Nada who regularly provided him with cigarettes and bacon. He told about his upcoming wedding, but as he was getting closer to his commitment, suicidal thoughts were rising. He then wrote his will and two letters, one to Freud and to his fiancée Hilde. "While completing this writing he sipped Slivovitz, the Yugoslav national drink. Then he tied a curtain cord around his neck, put his army pistol to his right temple, and pulled the trigger. Here was a man utterly determined to put an end to his life. Besides blowing off part of his head, as he fell he strangled himself."
When the news filtered out, Victor's son Marius demanded to see Freud to find out what happened. Freud was formal and Marius eventually was given the suicide letter he received, either from Anna or from Freud himself. Marius cherished the letter, because despite all the rancor between Tausk and Freud, Tausk was unexpectedly thankful and grateful to Freud and only asked that his fiancée and his kids were looked after. The emotional reversal of the suicide letter was suspect, because of the obvious fact that his inside knowledge of Freud's theories did not save him. He even analyzed his fiancée in the suicide letter and hoped Freud could help because "she tends toward compulsive symptoms and identifications. She is noble, pure and kind, it is worth the trouble to give her good advice." The typical reasoning, of choosing death over life, because there would be less pain, also appeared in the letter. "I have no melancholy, my suicide is the healthiest, most decent deed of my unsuccessful life. I have no accusations against anyone, my heart is without resentment, I am only dying somewhat earlier than I would have died naturally."
The clue as to why he put Freud on a pedestal, like when he said "your work is genuine and great, I shall take leave of this life knowing that I was one of those who witnessed the triumph of one of the greatest ideas of mankind," was found instead in his last will. "I am taking leave of my life, which I have systematically disintegrated ever since my childhood and which has now completely lost its sense since I can no longer enjoy it. My talent is too little to support me. The recognition that I cannot gladly enter into a new marriage, that I can only keep myself and my beloved fiancée in conflicts and torments, is the true conscious motive of my suicide...I have deceived you all by living a role to which I was not equal." It was a sad end, because he put all his hopes in Psychoanalysis for solving his life problems, which no modality can possibly guarantee, and he held onto an ego-ideal that was so perfectionistic and unrealistic that it meant that he was in competition with Freud to prove his worth. He needed symbols and signs of his success to be worthy of love in his own mind. Freud had his own theories about aggression against oneself as a way to avoid committing murder towards a rival and as a way to escape life circumstances. One also succeeds in killing the tormenting object-relation that lives rent free in the mind.
Freud worked with a committee to make an official statement on Tausk, and he blamed the war as being a last straw that ended any possibility of success to be a breadwinner for his family and to achieve a successful marriage at last. Tausk was getting more visibly sick at meetings and felt that time was running out for his contributions. Freud didn't mention their rivalry and accepted without question Tausk's lauding of Psychoanalysis as a historical milestone. In a letter to Lou, Freud was more candid and brutal. He suggested that Tausk's father was the influence, and heaped some blame on Lou. His comments matched his fears of analyzing Tausk, and one could guess that his experiences with other men, like Adler, would make it easy to predict that any new analyst entering the fold could one day ask for their place in the sun and rival directly with him. The suicide only left Freud with a sense of relief that now the rival was out of the way. "So he fought out his day of life with the father ghost. I confess I do not really miss him; I had long taken him to be useless, indeed a threat to the future. I had a chance to cast a few glances into the substructure on which his proud sublimations rested; and would long since have dropped him had you not so boosted him in my esteem. Of course I was ready anyhow to do what I could for him, only I have been quite powerless of late given the degeneration of all relations in Vienna. I never failed to recognize his significant gift, but it was prevented from being translated into correspondingly valuable achievements." Lou's responding letter was more generous to Tausk, but she carefully avoided irritating Freud by agreeing that Tausk was a danger to the future of Psychoanalysis. She still felt bad about her abandonment when Tausk asked her to meet him in Munich. "No one will sit down at the same table with a wretch; not even you have done so." Helene Deutsch also felt guilty because she ended the analysis too soon. She thought that she could have saved his life by continuing it. Freud responded "but you made the right choice, you chose for yourself." This is never mind the fact Helene was a new pupil and she was essentially getting distracted by Tausk's rivalry with Freud and was naïvely fueling it by giving that information to Freud. As Freud mellowed out in old age, he admitted "when a man is endowed with power it is hard for him not to misuse it."
Psychologist Paul Federn wrote quickly after the suicide with fresh insights. Being more of a socialist, he felt that Tausk "could not ascend...by an interest in the common welfare...He was not kind...Whenever I approached him in a friendly way I found only vanity, envy, and lack of interest...I am certain that being destitute and unable to borrow money for enough to eat was but the last push. The motivation was Freud's turning away from him...Freud possesses so much love for people that he can be kind, but in his old age he became increasingly harder—and this is understandable with Freud because he, too, had to live a life unworthy of his greatness." It also appeared that Tausk's hatred of his lack of skills and his resentment of Freud presented more outwardly than suspected. "He made enemies for himself everywhere and always; at the end he drove his psychological patients away, apparently in order to demonstrate the uselessness of the method, out of rancour against Freud. The methodological rigor which Freud teaches makes people hard and alienates them from their fellow men; he who cannot love is defenseless against failure."
Federn wasn't entirely against suicide. Tausk may have done this out of pride, or narcissism, but Federn had his own breaking point as well. In old age, after his wife had already died, he was suffering from cancer, and after a scary psychosis following a surgery, he was set to go back for another procedure, and that was more than enough for him. He transferred all his patients and shot himself in his analytical chair. The suicide note also championed psychoanalysis.
Looking Back
Lou continued her ideal lifestyle of publishing autobiographical fiction that expounded her more settled beliefs as well as receiving patients for analysis. "Patients were recommended to her by Freud and others, and soon she could not imagine her life without at least one current analysis. At home she saw few people apart from patients but lived quietly, enjoying her house and garden and surrounding woods, her dog, and the seasons."
As can be expected in old age, Lou's thoughts focused more on her past. Her book Rodinka, was dedicated to Anna Freud. It was "like a gathering of places, atmospheres, characters, conflicts, fates and ideas, which could have been shaped and sharpened into a novel, but with no sign that the author wished to do so. It seems written for herself alone, a homage and reminiscence; or perhaps it was also for friends whom she wished to remind of shared experience, like a discursive and very full diary, or even like a rough, large painting, for it is all visual and still, scene after scene." For example, the character Vitaly understands "the way women need men as brothers." He confides in Musya, who is "Lou's image of herself...She is the only one he tells of his dangerous activities, but he also assures her that he and she 'have the same relation to life—one without deception.'" Lou wanted freedom for herself and the irresponsibility to follow her intuitive delving amidst the traditional way others lived. "[She] thought of herself: stable, settled and domiciled, yet romantically free, with the whole world hers to roam."
What was considered in the culture of her time important values, duty and cleanliness was something Lou rebelled against in her The Devil and his Grandmother. "The animal world, with all its slimy, ugly creatures (not only spiders, snails, rats and frogs, but also the life going on in the human belly, gut and womb), is worthy of endless admiration; Freud had furthered this work of release by showing how one could look with unflinching interest at the most ghastly preoccupations of the mind. Some of the materials liberated for decent consideration by Freud's theories are the subject matter, the stuff—it is extremely physical—of this play. The importance of their liberation is its message; the theme is the redemption of the body, especially of anality and physical sexuality."
In The Hour Without God, it recounts Lou's own loss of faith, through failed prayers and the perennial question of why evil exists in the world. The characters gradually came to the reconciliation that they had to instead look to each other for love that was originally demanded from religion. Her message bleeded into her book on Rilke, where he went in the direction of being anti the body. "So the physical, because it is the sign of 'not belonging to the angel realm,' is for him 'the last word for the horrible." The Christian hatred of the earthly ugly animal side of humans inevitably leads to self-hatred for Lou. "For beauty is nothing but the beginning of terror, which we can still barely endure, and while we stand in wonder it coolly disdains to destroy us. Every Angel is terrifying."
The First Elegy By Rainer Maria Rilke: https://poetrysociety.org/poems/the-first-elegy
Oh Berlin - U2: https://www.youtube.com/watch?v=NAtsgk02oYI
The Weeknd - Every Angel Is Terrifying: https://www.youtube.com/watch?v=kMXs99tPkcg
In Rilke's poetry, man cannot be like the animals, happy in their acceptance of nature, because of intelligence. Yet the intelligence wants to escape, leading to fragmentation away from reality. Lovers can ward off this need to escape the lowly animal feeling for a time, but love too is impermanent. Lovers will eventually struggle with concentration for each other and become distracted. The oneness of love eventually deflates back to the individual self-preservation again and again. This also happens with parents. For example, Rilke loved his mother, but felt judged by his father who had higher expectations for his future. Similar to Victor Tausk, Rilke didn't feel successful enough. In the Duino Elegies, intelligence offered humans the ability to explore, but no life pattern could be agreed upon, and hence a lack of harmony continues to follow the human experience. Love for Rilke had to be more real and include the acceptance of death. "Art cannot be helpful through our trying to keep concerning ourselves with the distresses of others, but in so far as we bear our own distresses more passionately, give, now and then, a perhaps clearer meaning to endurance, and develop for ourselves the means of expressing the suffering within us and its conquest more precisely and clearly than is possible to those who have to apply their powers to something else."
The Great War was devastating for Rilke and the generations that went through it, and they all agreed that something had to change. "Only through one of the greatest and innermost renovations it has ever gone through will the world be able to save and maintain itself." Through sympathy and catharsis, which isn't as far away from Freud's "abreaction," art could express feelings of the maker of the art and allow others to imitate that resilience. This endurance could spread and lead to a better world where peace and serenity could be reproduced. "The task of the intellectual in the post-war world would be 'to prepare in men's hearts the way for those gentle, mysterious, trembling transformations, from which alone the understandings and harmonies of a serener future will proceed.'"
For Lou, Rilke's meaning of life was still too full of resistance to reality, which she was also bothered by in the same way when she read other "depth" psychologists. Art "has its proper limits, it is 'nothing but' communication, even when its motive is not the wish to convey but the desire to disburden. At the furthest point to which it ought to go, art is still only a bridge: between the sayable and the unsayable. As a bridge it can go a long way, all the way, towards the unknown, but it may not lose touch with the known. If it tries to do more, to be the path in the unknown (which it can only lead to), art will take the place of reality and steal away the ground of the human. This happened to Rilke...She knew the remedy for Rilke's malaise and boldly prescribed it, as she had done in his lifetime: it was, or would have been, the 'unrestrained giving up of himself to his most forgotten memories.' Because he would not do this, she considered, he lost the rapport with what was deepest in himself, and instead of reaching the 'primal ground' he ended up in the 'unfathomable' from which nothing could rescue him..."
In My Thanks To Freud, Lou described this very angelic psychosis. "The Angel devalues man to the extent that it strips him even of his reality. This devaluing not only deprives man of all but his deepest roots from which rises a pleasing, yeasty smell, the smell of the wine of life itself, and to draw it in, as it were to satisfy the angel's least claim to reality, thereby denying the reality of the whole of mankind, whose instincts had been nurtured in a warmer place which, for its part had every appearance of having been emptied, forced to mimic after a fashion a restrained, spiritual manner towards the angel—of whom the poet complained at the top of his voice as being a 'spiritual monkey' that sat on his shoulders and would be removed only by the laws of physics which forces everything to the ground. All its devotion is offered to the reality-usurping angel, who, conceived and fathered, in that order, in the mother's body in the centre of love, which is where it stays, all tangled up, and where the angel becomes a love partner." For most people, there needs to be a balance. Too much purity, leads to inhumanity, as Lou pointed out, but not enough control over one's impulses leads to conflict with others. Each person has to find a balance they find agreeable.
Clarifying views
Despite her youthfulness, Lou was weakening by the 1930s. "[She] was frequently ill. Hospitalized with diabetes in the fall of 1929, she would receive her patients in her sick room after 4:00—and after her husband. 'As my husband spoke to me day by day at the pre-appointed hour from the armchair by my bedside,' she related to Freud, 'we two old people noticed how much we had to tell each other for which we had really never found the time.' On her release at the winter's end, Andreas applied his exotic salves to her, which did her soul good. That summer he took her place at the hospital with cancer. For three months she kept the secret with his doctor, dreading 'day and night' lest heightened pains arouse his suspicions: 'as on his last night he...sweetly dozed off,' she related to Freud again, 'I felt unmixed gladness.'"
Lou was left with reconciliation between her philosophy background and psychoanalysis. Many philosophers, including Edmund Husserl, Karl Jaspers, and Martin Heidegger, were trying to escape sterile philosophical principles devoid of immediate reality and human feeling. Psychoanalysis was another kind of phenomenology and existentialism trying to free people from intellectual cages. Lou entertained Sigmund with her synthesis of his views and her own. Her freedom was that of the Ego from the Super-ego where the Ego takes the lead and the Super-ego rests in the backseat. Despite being 70, her writing style was polemical, energetic, and vibrant. She believed that a healthy narcissism would use the omnipotent energy in adulthood that gave children their boldness to adventure. Timidity, inhibition, and repression are a form of sickness, and health is learning for oneself through self-development. "The more fully we enter into the 'challenge of the hour', into the present factual moment, into the conditions that hold from one case to another, instead of being trammelled by prescriptions and directives (written by human beings!), the more connectedly do we act in accord with the whole...And what does that matter if one's tentative thoughts are encompassed by all manner of possible errors and mistakes? If some people choose to call that immoral, arrogant, arbitrary, then all the more reason to point out to them that what they are doing is using convenient pronouncements to keep people at a comfortable infantile level, which, morally speaking, is a disgrace. At the same time, what are others doing by first and foremost daring to make up their own minds, daring to choose, to seek true worth? One is at one's most committed when acting on one's own accord, relying on a flood of inspiration and accepting every risk. It's an action that is legitimised by its own transcendence and is saying: This is where I belong—I'm not simply making a stand in a struggle against a foe.—Am I being overbold?—Yes, because overboldness is what we humans have invented; it's what comes of being human and exercising [one's own] judgement; exercising [one's own] judgement is the most sublime adventure life has to offer."
For those like me who have studied Jungian Myers-Briggs, we can see screaming out to the reader a preference for subjectivity, like an ENTP, who loves Extroverted Intuition, which is exploration and brainstorming, and Thinking Introversion, which subjective logic. The opposite functions of an ENTP, the functions she normally disliked, would be an ISFJ, who likes using memory in Sensing Introversion, to make procedures and harmonizing with others with Feeling Extraversion. Lou had a distaste for sterile wisdom taken from others, because they could be misleading. She developed her demonically weak Sensing Extraversion in her life by enjoying oneness through sensation and took in all the details that were considered earthy, dirty and irrelevant to Sensing Introversion. She wanted to do things herself and didn't fear inefficiencies and mistakes that go along with "reinventing the wheel." An opposite personality for Lou, the ISFJ, would want a smoother and more peaceful world where all the trap doors would have already been mapped out by prior generations, saving all that effort and time. For Lou, this would be sterile and it would lose the sense of aliveness and adventure, like being a robot. Lou's adventures included experimentations that led to unexpected surprises pointing to new ways of being and different lifestyles, including the lifestyle that suited her best, which was focusing on a vocation that one likes and making friends into family, to keep engulfment at bay. Finally, where she did find agreement with Freud, was that the Id, or for Lou, narcissism, was the foundation of energy, and was the "creative aspect of being alive...This umbilical cord goes on working indestructibly in the background of our conscious urges—one cannot fail to recognise the deep-seated root of our [body], our individual, undetachable 'exterior.'"
This is what Lou didn't want to be held back. The intuitive cravings would naturally arise and then the ego's personal logic could use that fuel to take a stab at solving a problem. This was where her narcissism went into the secondary kind because of her distrust of others and their repressions against her activity. She wanted to act on impulses when she wanted to and how she wanted to, regardless of how it affected others. Too much concern for people would be depleting for her. "On the other hand this state of affairs most likely calls to mind the erotic problem and the question as to why we don't reserve our narcissism entirely for ourselves, thus avoiding, for the sake of one's object, pouring it away down the sink, love's drain, or offering it in gushes of endearment: the individual is divesting himself of too much, as if bent on isolating himself, which at the same time and in the same sense finds expression in the now opposing constraint that, so to speak, embraces him and assimilates him...But in general its simply a matter of individuals keeping themselves to themselves and having no relationship with another human being. What they want is to be left in peace and to live out their lives free from hate. For whenever our individuality sees itself being forced into a love relationship with another individuality it straightway puts at risk its struggle to develop the 'I', a struggle that is every bit as pressing and fundamental as are the passion and exclusiveness that threaten it." This worldview is similar to that of a hunter-gatherer who only spends so much time in the village, but is instead allowed to roam and explore for sustenance and satisfaction for most of the day. In her more romantic village, free exchanges were to be made without excessive conformity. Skill development would also be prioritized, so that women wouldn't only focus on traditional female pursuits and skills. The best way to look at this lifestyle is one in which you made decisions without feeling like an authority figure is about to punish you or control you at any time.
Lou also wanted shame against the animal side of the human to decrease so the narcissistic Id could become omnipotent enough to approach goals and not run away from normal obstacles. Now a problem-solving mentality to satisfy our craving-intuitions could arise with as little repression as possible. As each successive tension-craving was satisfied, a peaceful release would be realized. Also, some situations are permanently solved in a way that they don't reappear in the mind as a sense of lack anymore. A mental burden is released off some of the branches in the mind, and these experiences can be used for societal reform. Societies attentive to this wisdom of release could design revolutionary social structures and exchanges so as to improve the mental health of their citizens. "When moral imperatives that are far too rigorous and impractical disregard our impulsive nature, then that self-same nature, being of sound health will take issue even with the prevailing authoritative beliefs..."
Regardless of personal philosophy, Lou still was moving ever closer towards the "undiscovered country" like all people do, and a fear grips when those around you are dying and the final stage of life becomes tangible and unavoidable. At the time, she had temptations toward suicide, but she held on to her optimism. In the awareness of those who prioritize phenomenology, perceptions, recognitions, experiences, stories, and lessons learned she said that "human life—indeed all life—is poetry. We live it unconsciously day by day, piece by piece, but in its inviolable wholeness it lives us."
Ernst Pfeiffer, a veteran from the Great War, was disillusioned with the loss and what happened to Germany during the Weimar Republic. Lost as he was, he had consulted her earlier on behalf of a friend, and their friendship continued on an intellectual plane. "'I find it nice of life to have sent me something so select in companionship even this late.' She talked Kleist with him, psychoanalyzed him to the extent of eliciting a colossal transference, and initiated him into her paper world. By the end of 1934 the estate was his 'to own and administer' after her death on the understanding that he would make it available 'to posterity.' A man so constituted must have watched the rise of the Nazi movement with mixed emotions. On the one hand, he could not help but be moved by the rebirth of patriotism, especially among Germany's youth, which was so marked in the early thirties. On the other, he must surely have wondered about the aims of those who made use of it...Lou sensed at once that here was a human being lost in the confusion and turmoil of a world that offered him no place. She taught him how to relax, made him lie on her couch and encouraged him to tell her the story of his life. 'She was such a quiet listener that I sometimes thought she had fallen asleep. But when I stopped and waited, her gentle voice, coming as from far away, said: 'Go on.' By relating his life to Lou, Pfeiffer became more and more dependent on her. She gave him what he had been seeking in vain until he met her: a goal and a purpose in life. Repaying his frankness with an equal frankness of her own, she told him the story of her life."
Regardless of how fulfilled a person is towards the end of their life, regrets naturally come up. There's always a desire to go back over life and change things based on an understanding of how little time there is, like a deathbed philosophy, but living with the thought that there's still more years left to go makes one relax and slow down nonetheless. It's hard to live with your hair on fire trying to experience everything that life has to offer. "During the last months of her life, when she was rapidly growing weaker as a result of uremic poisoning, Pfeiffer visited her almost daily. Like a faithful paladin he sat by her bedside, ministered to her needs and read to her from her memoirs. Sometimes she would interrupt him quietly and say: 'Yes, that is how I would say it today, too.' Once she looked up suddenly and said in a surprised tone of voice: 'I have really done nothing but work all my life, work...why?" And then toward the end, her eyes closed and, as if talking to herself, she murmured: 'If I let my thoughts roam I find no one. The best, after all, is death.' Lou's wish was to be cremated, then scattered about her garden; the police forbade the scattering, so the urn containing her ashes was set into her husband's grave—to which, being terrified of cemeteries, she had not returned since his burial. The epitaphs on her all bore out the apt one by Andreas's stepsister-in-law: 'Whoever came close to her succumbed to the magic of her personality.'"
Freud was still alive and saw her life full circle. From her childhood dreams to fears of restriction and limitation, she found her home. "It was in Vienna that long ago the most moving episode of her feminine fortunes had been played out. In 1912 she returned to Vienna in order to be initiated into psycho-analysis. My daughter, who was her close friend, once heard her regret that she had not known psycho-analysis in her youth. But, after all, in those days there was no such thing."
The threats of repression were alive and well during this Nazi period before WWII. A person as well travelled as Lou made it difficult to pin down her nationality so the Nazis provisionally "called her a 'Finnish Jewess,'" and gossip mongers called her "'the Witch of Hainberg'...A few days after Lou's death a police truck, led by a Gestapo official, stopped in front of the recently vacated house, carted away Lou's library, and dumped it in the basement of the city hall. The reason given by the Gestapo officials for this confiscatory act was that Lou had been a psychoanalyst, a practitioner of what the Nazis called 'Jewish Science' that she had been a collaborator and close personal friend of Sigmund Freud and that her library had been stacked with books by Jewish authors."
Lou was a recluse in Göttingen, and was mostly left alone due to her advanced age. This didn't stop her from being an inspiration for rumors coming from the town's nosy moralists about her history of exploits with different men. Like Nietzsche's sister attempted to do to his philosophy, it also was being twisted in self-serving ways by the Nazis, and the effects where surrounding Lou at the end of her life. Lots of questions could be asked about the importance of letting go of repression, and opening up the lizard brain of Pandora's Box. Freud supported an ego that was free to act, but with a healthy super-ego conscience, yet what if there was a misunderstanding about this balance? What happens if aggressive impulses are given complete license? One person's freedom can be another person's repression. A common theme around this time was a world in which people struggled with their low self-esteem, because of their identities or vocations, and unfortunately many aimed for suicide: A sadism against oneself.
Pilgrimage - Nine Inch Nails: https://www.youtube.com/watch?v=CdTeX8gGPC4
After the Nazi period, researchers wondered if followers of the movement were more psychopathic than regular people, or they were just led by psychopaths, but in a Rorschach inkblot test, it was found that "unlike most previous studies, variance in type and degree of psychopathology precluded the application of a mental disorder, character structure, or trait to all, or to the majority, of Nuremberg war criminals. Nevertheless, common features, such as avoidance of responsibility, low self-esteem, and capacity for affection, were revealed." So people who needed affection, and tried to imitate role models that influenced their ego-ideal, but instead felt low self-esteem due to their own perceived, or actual weaknesses, what if they could regulate their emotions outwardly when they didn't want to commit suicide? What would happen if the roaring, vengeful imagoes found in free association were allowed to possess the bodies of their hosts? If they had a group of people they could transfer blame to for the world they experienced, and scapegoat, there might be some catharsis, but at the expense of innocents. After the influence of Darwin, Nietzsche, and secularism, the debate about the true scope of freedom raged on.
Frau Lou: Nietzsche's Wayward Disciple - Rudolph Binion: https://www.isbns.net/isbn/9780691618609/
My Sister, My Spouse - H.F. Peters: https://www.isbns.net/isbn/9780393007480/
Brother Animal: The Story Of Freud And Tausk - Paul Roazen: https://www.isbns.net/isbn/9780713901269/
Sexuality, War, and Schizophrenia - Victor Tausk: https://www.isbns.net/isbn/9781138514508/
Salomé, her life and work - Livingstone, Angela: https://www.isbns.net/isbn/9780918825049/
The Freud Journal - Lou Andreas-Salomé: https://www.isbns.net/isbn/9780704300224/
Sigmund Freud and Lou Andreas-Salomé letters: https://www.isbns.net/isbn/9780393302615/
Looking Back - Lou Andreas-Salomé: https://www.isbns.net/isbn/9781569248485/
Duino Elegies - Rainer Maria Rilke, J.B. Leishman, Stephen Spender (Translators): https://www.isbns.net/isbn/9780701121631/
Philosophical Note in Rilke’s Duino Elegies: A Critical Analysis by Jayadev Kar Research Scholar, The Criterion: An International Journal In English G.M. Autonomous College, Sambalpur, Vol. 6, Issue II April 2015.
The Great Austrian Inflation - FEE: https://fee.org/articles/the-great-austrian-inflation/
Greiner N, Nunno VJ. Psychopaths at Nuremberg? A Rorschach analysis of the records of the Nazi war criminals. J Clin Psychol. 1994 May;50(3):415-29.
Psychology: http://psychreviews.org/category/psychology01/
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Arnold Veeman presents: JAN
ou la la ! we need a coffee break for this music
Arnold Veeman releases new single "J A N" Dutch composer and musician Arnold Veeman, together with Hot Club de Groningen, proudly presents his latest single J A N.
The song tells the humorous and quirky tale of "Jan the Terrible," a local legend who scares his neighborhood with papier-mâché weapons and eerie appearances. Blending elements of jazz, swing, and modern folk, J A N perfectly showcases Arnold’s unique storytelling and musical style, balancing between humor and emotion.
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BIO:
Arnold Veeman: A Unique Blend of Northern Roots and Cinematic Soundscapes
Hailing from the northern Netherlands, Arnold Veeman's music embodies the stark beauty and honest spirit of his homeland. With a voice often compared to Paolo Conte and Leonard Cohen, Arnold stands out with his own distinctive twist and style, as praised by publications like Volkskrant, Heaven Magazine, and NRC. Born and bred in Groningen, Arnold's northern roots permeate his work, from sweeping vistas to the simplicity and strength of the local people. As a versatile talent, he thrives in various roles including composer for films, orchestrator, songwriter, lyricist, and performer of his own music.
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Collaboration is at the heart of Arnold's career. He has worked with renowned artists such as Lilian Vieira, Diggy Dex, and Izaline Calister, as well as esteemed conductors Otto Tausk, Jurjen Hempel, and Fabrice Bollon. His partnership with the Noord Nederlands Orkest (NNO) has resulted in multiple successful projects, including a tour with Daniël Lohues, Piter Wilkens, and Ellen Ten Damme. Arnold's student days under Alex Manassen offered him the opportunity to work with the Meridian Arts Ensemble and the Kronos Quartet, experiences that helped shape his unique sound. Today, Arnold Veeman's music continues to captivate listeners with its evocative blend of northern heritage and cinematic landscapes.
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EL DIVAN Y LA PARCA
Letalidades y bufonerías del Psicoanálisis
Gustav Sablonsky, Un fantasma recorre Europa…
En febrero de 1928 Gustav Sablonsky, médico y psicoanalista que supo tener participación en las reuniones de los miércoles en Viena, tomó en tratamiento a Ernest Bröhm, un obrero del carbón de 27 años y militante comunista. La dirección de ese tratamiento conducido por Sablonsky (amigo personal de Eitingon y estalinista convencido) fue adquiriendo progresivamente la consistencia de un adoctrinamiento que no sólo pretendía confirmar la filiación política del paciente sino que (y he ahí el motivo de su trágico final) pretendía “reformar las pulsiones homosexuales pre edípicas, superando las fijaciones anales y las confusiones generadas por la alienación moral causada por los valores burgueses del modo de producción capitalista”.
Por cierto, ya tempranamente Sablonsky evidenciaba rasgos poco auspiciosos por la carga moral que desplegaba en sus juicios e intervenciones. De hecho, en las actas vienesas pueden encontrarse numerosas transcripciones que dejan constancia del tenor panfletario y edificante que invariablemente utilizaba para comentar aportes ajenos o demoler las contribuciones de algún adversario. Con frecuencia se le amonestaba porque pretendía tomar la palabra para embarcarse en larguísimas disertaciones, las que tenían siempre como objetivo la articulación forzosa entre psicoanálisis y marxismo. Sadger y Wittels (éste último en particular) solían fustigarlo sin piedad, lo cual creaba un clima de violencia insoportable.
En tal sentido resulta interesante y profético el juicio que Tausk -en una carta a Freud- vierte sobre él: “La desmañada e impiadosa obsesión de este hombre [Sablonsky], por forzar un encastre entre psicoanálisis y materialismo histórico, es tan implacable que no repara en los medios ni en las consecuencias que éste afán tiene en su producción teórica y –seguramente- en su práctica.”
Años después, esa apreciación hecha por Tausk adquiriría un carácter profético porque la sostenida y permanente violencia de la “dirección de la cura”, conducida por Sablonsky en el trabajo con Bröhm, alcanzó cotas que han de haber sido intolerables para el paciente. Lo cual llevó a éste a cometer un acto irreversible in situ: el 16 de septiembre de 1928 Ernest Bröhm se introdujo en el recto un cartucho de dinamita, ingresó a sesión con ese artificio y lo detonó tras unos minutos, como remedio definitivo a las torpezas agobiantes de Sablonsky. La explosión acabó con ambos y destruyó dos estancias contiguas.
El lamentable suceso, ocurrido en el Policlínico del Instituto de Psicoanálisis de Berlín, conmocionó a las autoridades y a la sociedad. En cuanto a la comunidad psicoanalítica europea, generó en su seno un clima de malestar y debate soterrado que puso a la incipiente organización en crisis. Freud mantuvo con Eitingon una encendida polémica epistolar al respecto y llegó a considerar seriamente la posibilidad de cerrar el Policlínico y suspender todas las actividades en territorio alemán.
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Behzod Abduraimov plays Beethoven’s Piano Concerto No.3 with WASO & Otto Tausk at Perth Concert Hall
Behzod Abduraimov plays Beethoven’s Piano Concerto No.3 with WASO & Otto Tausk at Perth Concert Hall
Behzod Abduraimov drew the limpid, lucid tones of Beethoven’s Third Piano Concerto into streams of liquid gold with WA Symphony Orchestra at Perth Concert Hall on Friday. A decisive opening captured the fatalistic quality of Beethoven with a dash of cool intensity well judged by conductor Otto Tausk; woodwind reprising the first theme, trumpets and timpani adding spine to the structure, and…
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Rob Zuidam zooms in on Joanna the Mad in his opera Rage d'Amours: 'Joanna took me by the hand'
Rob Zuidam zooms in on Joanna the Mad in his opera Rage d’Amours: ‘Joanna took me by the hand’
In 2005, Dutch National Opera and Holland Festival presented Rob Zuidam’s opera Rage d’Amours. Five years later, he received the Kees van Baaren Prize for this blood-curdling production about the life of Joanna The Mad. The award ceremony was part of the Festival Dag in de Branding, with a performance by Residentie Orkest conducted by Otto Tausk. In its next edition on 10 April, Dag in de…
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#Dag in de branding#Dutch National Opera#Joanna The Mad#Otto Tausk#Philip the Handsome#Pierre de la Rue#Rage d&039;Amours#Residentie Orkest#Rob Zuidam
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Alphons Diepenbrock: Hymnen an Die Nacht (1899)
Hans Christoph Begemann (Solo vocalist) with Sinfonieorchester St. Gallen conducted by Otto Tausk
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Otro de los galanes de Lou Andreas Salomé, el psicoanalista Viktor Tausk, si se suicidó por ella
Dato del Día.
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1972 March 17, Marjorie Neikrug, in her New York Gallery, made Sudek’s work accessible to the general public in the first solo exhibition of his work to be mounted in the USA.
1974 His career was slowly coming to a close; he took stock of his life’s work and made new contact prints from earlier negatives.
1976 In March, Československá fotografie ran a profile of Sudek by Fárová entitled “Z tvůrčí dílny Josefa Sudka osmdesátiletého” (From the workshop of the 80-year-old Josef Sudek), and the April special issue of Camera, published by C. J. Bucher, included an interview and articles by Fárová and Camera Editor-in-Chief Allan Porter (who had worked with Sudek for ten years). Three retrospectives were held to mark Sudek’s 80th birthday: in Prague, organized with Fárová, in Brno, organized with Antonín Dufek, and abroad, organized by Petr Tausk for the Ministry of Culture, which began in Aix-La-Chapelle, September 11. Sudek died in Prague, September 15; his obituary was written by Seifert; September 23, his funeral was held at the Strašnice Crematorium, Prague; the urn with his ashes is buried in the family grave in Kolín. His estate, comprising 21,660 prints, 54,519 negatives, and 618 other works of art (pictures, drawings, sculptures, and prints), was catalogued by Fárová from 1976 to 1985, who then, as the executor of his will, gradually distributed it in compliance with the wishes of Sudek and his sister Božena among the following institutions: the National Gallery, Prague, the Museum of Decorative Arts, Prague, the Institute of Art History at the Academy of Sciences, Prague, the Moravian Gallery, Brno, the Regional Gallery of Fine Art, Roudnice nad Labem, the Regional Museum, Kolín, and the Bibliothèque nationale de France, Paris.
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about as much about his death...
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Jakob Mohr
- Beweisse [Proofs],
ca. 1910.
Courtesy Prinzhorn Collection, University of Heidelberg.
The psychiatrist Hans Prinzhorn began collecting for his famous Museum of Pathological Art the same year that Tausk published his essay (within a year Prinzhorn had acquired 4,500 works, which are currently housed in the Psychiatric University Hospital in Heidelberg, Germany). One of these images illustrates an Influencing Machine in strikingly graphic form. The artist was Jakob Mohr, a farmer and hawker suffering from paranoid schizophrenia, and his picture shows someone holding a small box which resembles an old-fashioned camera and transmits something like static at its victim. The structural workings of the contraption are explained in a palimpsest of scribbled notes, which Prinzhorn called “word salad.” The operator, who is thought to be the psychiatrist (he wears headphones so that he can listen in on Mohr’s thoughts), aims a radiation tube at his subject that emits “electric waves” and renders him a “hypnotic slave.” The machine’s energy flows two ways—it is a magnet as well as a gun: “Waves are pulled out of me,” Mohr scrawled, “through the positive electrical fluorescent attraction of the organic positive pole as the remote hypnotizer through the earth.” The appliance’s malevolent power over Mohr is illustrated by a series of childishly drawn arrows and wavy tentacles which unite both men in a painful-looking spasm of electricity.
(From The Influencing Machine by Christopher Turner, Cabinet Magazine, 2004 issue 14).
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RUSH's GEDDY LEE To Appear At VANCOUVER SYMPHONY ORCHESTRA's Virtual Gala Concert
RUSH’s GEDDY LEE To Appear At VANCOUVER SYMPHONY ORCHESTRA’s Virtual Gala Concert
RUSH‘s Geddy Lee will take part in a virtual gala concert organized by the Vancouver Symphony Orchestra (VSO). The event, which will support the VSO and the VSO School Of Music, will be streamed via TheConcertHall.ca on February 18 at 6:30 p.m. “The Resilient Symphony: The Show Must Go On” will be hosted by Steve Maddock and will feature additional special guests maestro Otto Tausk, James Ehnes,…
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Kinh nghiệm sống chung với bệnh vảy nến và ngăn ngừa bệnh trở nặng
Vảy nến là bệnh lý mạn tính phổ biến và tái phát nhiều lần. Tình trạng này xuất hiện khi các tế bào da tái tạo quá nhanh, từ đó hình thành lớp vảy óng ánh như bạc trên bề mặt da của người bệnh. Hiện vảy nến chưa có thuốc điều trị dứt điểm. Bài viết này sẽ chia sẻ một số kinh nghiệm sống chung với bệnh vảy nến và ngăn ngừa bệnh trở nặng hữu ích dành cho bạn đọc.
Vảy nến là căn bệnh da liễu tự miễn, chịu ảnh hưởng của nội tiết tố và có xu hướng ăn sâu vào máu. Do đó, hiện nay, giới nghiên cứu vẫn chưa tìm ra thuốc đặc trị. Trong khi đó, tác dụng chính của các loại thuốc điều trị vảy nến là ức chế quá trình phát triển của bệnh cũng như phòng ngừa những biến chứng nguy hiểm.
Kinh nghiệm sống chung với bệnh vẩy nến và ngăn ngừa bệnh trở nặng Vảy nến là căn bệnh da liễu tự miễn, chịu ảnh hưởng của nội tiết tố và có xu hướng ăn sâu vào máu.
Xem thêm: 6 Cách chữa bệnh trĩ bằng lá chè xanh bạn nên biết
Vảy nến thường xuất hiện theo chu kỳ với các đợt bùng phát kéo dài vài tuần hay vài tháng, sau đó, bệnh sẽ thuyên giảm và tạm lắng trong một thời gian trước khi tái phát. Các phương pháp điều trị hiện tại đang tập trung vào việc kiểm soát và hạn chế triệu chứng của bệnh. Vì vậy, có thể nói, nếu mắc phải bệnh vảy nến, bệnh nhân cần chuẩn bị tâm lý gắn bó với bệnh suốt đời.
Dưới đây là những kinh nghiệm sống chung với bệnh vảy nến và ngăn ngừa bệnh trở nặng được các chuyên gia da liễu khuyến khích thực hiện:
Xây dựng chế độ ăn uống khoa học, hợp lý Một nghiên cứu của Tổ chức bệnh vảy nến Quốc gia Hoa Kỳ (National Psoriasis Foundation) cho biết tình trạng vảy nến được cải thiện đáng kể khi bệnh nhân bổ sung các thực phẩm giàu vitamin và khoáng chất. Những hoạt chất này có khả năng đẩy lùi triệu chứng ở thể nhẹ.
Xây dựng chế độ ăn uống khoa học, hợp lý Một nghiên cứu của Tổ chức bệnh vảy nến Quốc gia Hoa Kỳ (National Psoriasis Foundation) cho biết tình trạng vảy nến được cải thiện đáng kể khi bệnh nhân bổ sung các thực phẩm giàu vitamin và khoáng chất. Cụ thể, người bệnh nên ưu tiên ăn các loại thực phẩm sau:
Cá biển chứa nhiều omega-3 và axit béo như: cá hồi, cá trích, cá thu, cá basa… Các nghiên cứu chứng minh rằng nếu dùng 150g nhóm thực phẩm này mỗi ngày trong một thời gian dài, bệnh nhân vảy nến có thể giảm lượng thuốc Corticosteroid đi một nửa mà vẫn không làm giảm tác dụng của thuốc. Vì thành phần omega-3 trong cá biển có khả năng ngăn cản quá trình sinh viêm của bệnh vảy nến. Rau quả giàu beta-caroten như: đu đủ, bí đỏ, cà rốt, xoài, anh đào, mận, rau diếp, bắp cải, củ cải… giúp bảo vệ cấu trúc mỏng manh của làn da. Mè đen vừa giàu dầu béo tương tự omega-3 vừa bổ sung vitamin E cần thiết để hình thành lớp sợi liên kết (collagen) bên dưới da. Bông cải xanh cung cấp nhiều axit folic. Đây là hoạt chất sinh học đóng vai trò quan trọng trong tiến trình tổng hợp kháng thể. Người bệnh vảy nến rất dễ thiếu chất này. Nghêu sò chứa nhiều kẽm và khoáng chất cần thiết cho sự phát triển toàn diện của cơ thể. Bệnh nhân vảy nến không nên cho rằng ăn hải sản sẽ thêm ngứa ngáy. Điều đó chỉ đúng nếu bạn bị dị ứng với loại hải sản đó mà thôi. Một số loại thực phẩm người bệnh nên hạn chế:
Thịt, trứng, sữa vì chúng chứa nhiều axit arachidon. Đây là chất xúc tác của quá trình viêm tấy ngoài da, trong khớp và ở thần kinh ngoại biên. Rượu bia là đòn bẩy của phản ứng thoái biến chất đạm, từ đó sinh ra dị ứng. Hơn nữa, ở người bệnh vảy nến, tiến trình giải độc rượu của gan sẽ bị trì trệ rất nhiều. Không hút thuốc Thói quen hút thuốc lá giúp bệnh vảy nến bùng phát nhanh chóng. Một nghiên cứu trên tạp chí American Journal of Epidemiology vào năm 2012 cho biết, nguy cơ phát triển bệnh ở những người hút thuốc lá cao gấp đôi người bình thường. Các chuyên gia nhận định rằng đây chính là một trong những yếu tố khởi phát khiến bệnh tình thêm trầm trọng. Ở những người nghiện thuốc lá nặng, bệnh vảy nến không chỉ ảnh hưởng tới làn da mà còn tác động đến nhiều cơ quan khác. Ngoài ra, số năm hút thuốc có liên quan mật thiết đến mức độ nặng thêm của bệnh lý này.
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Chăm sóc da đúng cách Tuy là bệnh lý da liễu mạn tính, khó điều trị dứt điểm nhưng nhìn chung, vảy nến tương đối lành tính. Nếu chăm sóc làn da đúng cách, bệnh nhân hoàn toàn có thể kiểm soát triệu chứng và ngăn ngừa bệnh tái phát.
Kinh nghiệm sống chung với bệnh vẩy nến - Chăm sóc da đúng cách Nếu chăm sóc làn da đúng cách, bệnh nhân hoàn toàn có thể kiểm soát triệu chứng và ngăn ngừa bệnh tái phát. Dưới đây là một số biện pháp đơn giản, hiệu quả mà bạn có thể tham khảo:
Tránh gãi ngứa hoặc làm xước da Người bị vảy nến luôn cảm thấy ngứa ngáy, khó chịu. Tuy nhiên, nếu gãi ngứa hoặc làm xước da, bạn sẽ vô tình khiến vết thương bị nhiễm trùng, lở loét và lan sang vùng da lành lặn. Trong trường hợp này, bệnh nhân nên cắt ngắn móng tay và có thể uống thuốc kháng histamine (theo chỉ định của bác sĩ) khi bị ngứa.
Giữ ẩm cho da Giữ ẩm cho da là một trong những phương pháp chăm sóc da an toàn và dễ dàng nhất khi da bị kích ứng do vảy nến. Cách làm này giúp hồi phục tổn thương và hạn chế tình trạng khô, ngứa, đau rát trên da.
Người bệnh nên chọn kem dưỡng ẩm phù hợp với đặc điểm làn da cũng như mức độ khô da hiện tại. Thuốc mỡ có khả năng giữ ẩm, ngăn ngừa sự bay hơi nước trên da vô cùng hiệu quả. Thêm vào đó, người đọc hãy sử dụng sản phẩm dưỡng ẩm không mùi hương nhằm tránh gây ra kích thích. Nếu không có điều kiện hoặc không thích dùng kem dưỡng ẩm, bạn có thể thay thế bằng dầu dừa hay dầu ô liu bằng cách bôi trực tiếp lên vùng da bị bong tróc, ngứa ngáy.
Thời điểm vàng để thoa kem dưỡng ẩm là sau khi tắm. Những ngày lạnh, khô, bệnh nhân có thể bôi kem nhiều hơn bình thường. Ngoài ra, dùng máy tạo độ ẩm không khí trong nhà cũng là một cách giữ ẩm làn da hiệu quả mà bạn không thể bỏ qua.
Tắm bồn bằng nước ấm Việc tắm bồn bằng nước ấm khoảng 15 phút mỗi ngày với xà phòng dịu nhẹ có tác dụng loại bỏ tế bào da khô và làm dịu chỗ ngứa. Người bệnh có thể cho thêm tinh dầu, muối biển khô hay bột yến mạch vào bồn tắm cùng nước ấm và xà phòng trước khi ngâm mình thư giãn. Tuy nhiên, bạn cần lưu ý điều chỉnh nhiệt độ của nước sao cho phù hợp. Nếu nước quá nóng, da sẽ bị ửng đỏ, kích ứng.
Kinh nghiệm sống chung với bệnh vẩy nến - Tắm bồn trong nước ấm Việc tắm bồn bằng nước ấm khoảng 15 phút mỗi ngày với xà phòng dịu nhẹ có tác dụng loại bỏ tế bào da khô và làm dịu chỗ ngứa. Khi tắm, bạn không nên kỳ cọ, chà xát hay cố tình làm bong tróc da. Điều này sẽ khiến vết loét trở nên nghiêm trọng, đồng thời dẫn đến các tổn thương mới. Nếu không đủ thời gian tắm rửa, bệnh nhân có thể lau cơ thể nhẹ nhàng bằng một chiếc khăn ướt.
Phơi nắng thường xuyên Đối với những người bệnh vảy nến, tắm nắng là một thói quen lành mạnh, có thể góp phần tăng cường sức đề kháng. Tia cực tím (UV) trong ánh nắng mặt trời có tác dụng làm chậm quá trình sinh trưởng của các tế bào da do bệnh vảy nến gây ra. Việc tận dụng ánh nắng với cường độ phù hợp (theo sự hướng dẫn của bác sĩ) trong một thời gian dài có thể hỗ trợ điều trị và phòng ngừa tái phát hiệu quả.
Bệnh nhân cần tắm nắng 2 – 3 lần/tuần vào thời điểm 6 – 8 giờ sáng kết hợp thoa kem chống nắng tại những vị trí da khỏe mạnh để cảm nhận sự cải thiện của các triệu chứng. Đặc biệt, bạn không nên ra ngoài lúc 10 – 15 giờ vì ánh nắng mặt trời gay gắt trong khung giờ này có thể khiến tình trạng vảy nến thêm tồi tệ và làm tăng nguy cơ ung thư da.
Sử dụng sản phẩm chăm sóc dịu nhẹ với làn da Người bị vảy nến nên tránh dùng kem dưỡng có cồn, xà phòng khử mùi hoặc những sản phẩm chăm sóc da chứa axit salicylic, axit glycolic, axit lactic… bởi vì các chất này sẽ gây kích ứng trên làn da nhạy cảm của bạn.
Kinh nghiệm sống chung với bệnh vẩy nến - Sử dụng sản phẩm chăm sóc dịu nhẹ với làn da Người bị vảy nến nên tránh dùng kem dưỡng có cồn, xà phòng khử mùi hoặc những sản phẩm chăm sóc da chứa axit salicylic, axit glycolic, axit lactic… Ngoài ra, người đọc cần lựa chọn các loại trang phục rộng rãi, thoải mái, chất vải mềm mại, êm ái, tránh mặc quần áo bó chặt cùng chất liệu len, lông cừu nhằm hạn chế kích ứng.
Chú ý phòng bệnh khi chuyển mùa Vì sức đề kháng suy yếu nên bệnh nhân có nguy cơ tái phát cao hơn người khỏe mạnh gấp nhiều lần. Do đó, một trong những kinh nghiệm sống chung với bệnh vảy nến và ngăn ngừa bệnh trở nặng quan trọng nhất là duy trì sức khỏe.
Người bệnh cần chủ động giữ ấm cơ thể trong thời điểm giao mùa hay khi thời tiết diễn biến thất thường. Nếu bị cảm cúm, bệnh nhân nên hạn chế dùng thuốc kháng sinh vì cách làm này có thể gây suy giảm khả năng miễn dịch. Bên cạnh đó, hãy bổ sung đầy đủ dưỡng chất cần thiết cho sự phát triển toàn diện của cơ thể bằng cách uống nhiều nước, ăn nhiều trái cây, rau xanh.
Cân bằng cuộc sống, hạn chế căng thẳng, mệt mỏi Tâm lý áp lực, căng thẳng là một trong những tác nhân hàng đầu giúp bệnh vảy nến phát triển và tái phát. Mặc khác, sự phiền toái, mệt mỏi mà bệnh lý mang đến cho cuộc sống sinh hoạt hàng ngày của người bệnh cũng khiến họ cảm thấy căng thẳng. Điều này tạo nên một vòng luẩn quẩn, khiến các triệu chứng khó được đẩy lùi.
Tuy nhiên, nếu biết cách cân bằng cuộc sống, giải tỏa căng thẳng, bạn hoàn toàn có thể cải thiện tình trạng trên. Giáo sư Francisco Tausk, người đứng đầu Trung tâm Da liễu thuộc Đại học Y khoa Rochester (Hoa Kỳ) cho biết, một số biện pháp hữu hiệu dành cho bệnh nhân vảy nến bao gồm: yoga, thiền, tập thể dục, tham gia vào các hội nhóm hỗ trợ để cùng nhau chia sẻ kinh nghiệm sống chung với bệnh vảy nến. Đây cũng là cách giúp bạn ngăn ngừa nguy cơ trầm cảm do vảy nến vô cùng hiệu quả.
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Kinh nghiệm sống chung với bệnh vẩy nến và ngăn ngừa bệnh trở nặng Một số biện pháp hữu hiệu dành cho bệnh nhân vảy nến bao gồm: yoga, thiền, tập thể dục, tham gia vào các hội nhóm hỗ trợ để cùng nhau chia sẻ kinh nghiệm sống chung với bệnh vảy nến. Vảy nến là bệnh lý mạn tính, rất khó điều trị. Do đó, bệnh nhân cần tích cực hợp tác với bác sĩ trong quá trình chăm sóc và chữa bệnh để nhanh chóng đẩy lùi triệu chứng. Những kinh nghiệm trên chỉ áp dụng đối với trường hợp bệnh nhẹ. Khi bệnh tình trở nên nghiêm trọng, người bệnh cần thường xuyên đi khám bác sĩ để được chẩn đoán và điều trị kịp thời.
Hiện nay, nhiều bệnh nhân chủ quan, tự ý mua thuốc mà không tham khảo ý kiến của bác sĩ da liễu. Điều này có thể dẫn đến một số biến chứng toàn thân nặng nề, tác động tiêu cực đến xương khớp hoặc gây ra các bệnh lý nhiễm trùng nguy hiểm. Vì vậy, trước khi sử dụng bất cứ loại thuốc nào, người bệnh nên trao đổi kỹ với bác sĩ để được tư vấn và hướng dẫn cụ thể.
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