Non-fiction authors from Austria

370 quotes found

"When Freud turned his searing eye to socialism he saw a delusional philosophy […] To Freud, the communists of the twentieth century were engaged in a perfectionist political project […] The central flaw Freud identified in socialist doctrine was the idea that private property is the primary, if not the sole, source of man’s depravity. With this foundational idea, socialists were able to say that man could be redeemed if, and only if, the institution of private property were abolished and replaced by a kinder, more humane system. [To Freud,] Man’s “depravity” is rooted much deeper in his nature and the abolition of private property would do little or nothing to change his basic constitution. [Freud argued that] socialism has its roots not in love and fraternity, as the socialists themselves would have us believe, but rather in revenge and aggression. According to Freud, “It is always possible to bind together a considerable number of people in love, so long as there are other people left over to receive the manifestations of their aggressiveness” (Freud 1961, 72). Freud pointed to nascent Soviet Russia as evidence of this phenomenon: “it is intelligible that the attempt to establish a new, communist civilization in Russia should find its psychological support in the persecution of the bourgeois. One only wonders, with concern, what the Soviets will do after they have wiped out their bourgeois.”"

- Sigmund Freud

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"At the core of Freud’s initial theory of psychoanalysis was his proposal of the instinctual system, which included two fundamental classes of instincts. The first were the life-preservative instincts. These included the needs for air, food, water, and shelter and the fears of snakes, heights, and dangerous humans. These instincts served the function of survival. Freud’s second major class of motivators consisted of the sexual instincts. “Mature sexuality” for Freud culminated in the final stage of adult development—the genital stage, which led directly to reproduction, the essential feature of Freud’s mature sexuality. Astute readers might sense an eerie familiarity. Freud’s two major classes of instincts correspond almost precisely to Darwin’s two major theories of evolution. Freud’s life-preservative instincts correspond to Darwin’s theory of natural selection, which many refer to as “survival selection.” And his theory of the sexual instincts corresponds closely to Darwin’s theory of sexual selection. Freud eventually changed his theory by combining the life and sexual instincts into one group called the “life instincts” and adding a second instinct known as the “death instinct.” He sought to establish psychology as an autonomous discipline, and his thinking moved away from its initial Darwinian anchoring."

- Sigmund Freud

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"Freud’s cultural influence [on the West] is based, at least implicitly, on the premise that his theory is scientifically valid. But from a scientific point of view, classical Freudian psychoanalysis is dead as both a theory of the mind and a mode of therapy. No empirical evidence supports any specific proposition of psychoanalytic theory.... This is what Freud believed, and so far as we can tell Freud was wrong in every respect. For example, the unconscious mind revealed in laboratory studies of automaticity and implicit memory bears no resemblance to the unconscious mind of psychoanalytic theory... Freud also changed the vocabulary with which we understand ourselves and others. […] While Freud had an enormous impact on 20th century culture, he has been a dead weight on 20th century psychology . . . At best, Freud is a figure of only historical interest for psychologists. He is better studied as a writer, in departments of [Western] language and literature, than as a scientist, in departments of psychology. Psychologists can get along without him […] Of course, Freud lived at a particular period of time, and it might be argued that his theories were valid when applied to European culture at the turn of the last century, even if they are no longer apropos today. However, recent historical analyses show that Freud’s construal of his case material was systematically distorted and biased by his theories of unconscious conflict and infantile sexuality, and that he misinterpreted and misrepresented the scientific evidence available to him. Freud’s theories were not just a product of his time: they were misleading and incorrect even when he published them."

- Sigmund Freud

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"Freud contended that the clitoral orgasm was adolescent, and that upon puberty, when women began having intercourse with men, women should transfer the center of orgasm to the vagina. The vagina, it was assumed, was able to produce a parallel, but more mature, orgasm than the clitoris. Much work was done to elaborate on this theory, but little was done to challenge the basic assumptions. To fully appreciate this incredible invention, perhaps Freud's general attitude about women should first be recalled. Mary Ellmann, in Thinking About Women, summed it up this way: "Everything in Freud's patronizing and fearful attitude toward women follows from their lack of a penis, but it is only in his essay The Psychology of Women that Freud makes explicit ... the deprecations of women which are implicit in his work. He then prescribes for them the abandonment of the life of the mind, which will interfere with their sexual function. When the psychoanalyzed patient is male, the analyst sets himself the task of developing the man's capacities; but with women patients, the job is to resign them to the limits of their sexuality. As Mr. Rieff puts it: For Freud, "Analysis cannot encourage in women new energies for success and achievement, but only teach them the lesson of rational resignation." It was Freud's feelings about women's secondary and inferior relationship to men that formed the basis for his theories on female sexuality. Once having laid down the law about the nature of our sexuality, Freud not so strangely discovered a tremendous problem of frigidity in women. His recommended cure for a woman who was frigid was psychiatric care. She was suffering from failure to mentally adjust to her "natural" role as a woman."

- Sigmund Freud

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"Steiner's incredible industry was self defeating. The mountain of titles, the avalanche of ideas, obscures the clarity and simplicity of his basic insight. Nevertheless, for the reader who declines to be discouraged, the rewards can be enormous. Once the basic insight has been grasped, we can begin to understand the source of those tremendous mental energies, and the sheer breadth of Steiner's vision. It hardly matters that there is a great deal that we may find unacceptable, or even repellent. What is so absorbing is to be in contact with a mind that was capable of this astonishing range of inner experience. Steiner was a man who had discovered an important secret; his books are fascinating because they contain continual glimpses of this secret. We may read them critically, wondering where Steiner was 'amplifying' genuine intuitions, and where he was amplifying his own dreams and imaginings. We may even conclude that Swedenborg, Blake, and Madame Blavatsky had all developed the same power of amplification, and that Steiner's visions of angelic hierarchies are no truer than Swedenborg's visions of heaven and hell, Blake's visions of the daughters of Albion, or Madame Blavatsky's visions of the giants of Atlantis. But all that is beside the point. The real point is that this faculty of amplification is our human birthright, and that anyone who can grasp this can learn to pass through that door to the inner universe as easily as he could stroll through the entrance of the British Museum."

- Rudolf Steiner

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"Using the scanty means at my disposal I attempted to paint the room together with several objects that I had gathered together,white on white. The white room is an interior to be made devoid of any specific sensualism emanated by objects. Ultimately it is a classic white canvas expanded into three-dimensional space. It was in these surroundings that I rolled across the room,my body wrapped up in pieces of white cloth like a pile of parcels. The pieces of cloth unwound themselves from my tense body,which for a long time remained in a catatonic position,with the soles of both my feet stuck as it were to the wall.[...] I had planned to do some bodypainting for the second part of the performance.[...] At first I poured black paint over the white objects,I painted Anni with the aim of making a “living painting”. But gradually a certain uncertainty crept in. This was caused by jealous fight between two photographers,which ended by one of them leaving the room in a rage.[...] My unease increased,as I became aware of the defects in my “score”-and should this not have any,the mistakes in the way I was translating it into actions. Recognising this,I succumbed to a fit of painting which was like an instinct breaking through. I jammed myself into a step-ladder that had fallen over and on which I had previously done the most dreadful gymnastic exercises,and daubed the walls in frantic despair-until I was exhausted. The very last hour of “informel”. Mühl angrily ridiculed my relapse into a “technique” that had to be overcome."

- Günter Brus

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"Total actions are a further development of the happening and combine the elements of all art forms, painting music, literature, film, theatre, which have been so infected by the progressive process of cretinisation in our society that any examination of reality has become impossible using these means alone. Total actions are the unprejudiced examination of all the materials that make up reality. Total actions take place in a consciously delineated area of reality with deliberately selected materials. They are partial, dynamic occurrences in which the most varied materials and elements of reality are linked,swapped over,turn on their heads and destroyed. This procedure creates the occurrence. The actual nature of the occurrence depends on the composition of the material and actors′ unconscious tendencies. Anything may constitute the material: people, animals, plants, food, space, movement, noise, smells, light, fire, coldness, warmth, wind, dust, steam, gas, events, sport, all art forms and all art products. All the possibilities of the material are ruthlessly exhausted. As a result of the incalculable possibilities for choices that the material presents to the actor,he plunges into a concentrated whirl of action finds himself suddenly in a reality without barriers, performs actions resembling those of a madman,and avails himself of a fool′s privileges,which is probably not without significance for sensible people. Old art forms seek to reconstruct reality,total actions unfold within reality itself. Total actions are direct occurrences(direct art),not the repetition of an occurrence,a direct encounter between unconscious elements and reality(material). The actor performs and himself becomes material: stuttering, stammering, burbling, groaning, choking, shouting, screeching, laughing, spitting, biting, creeping, rolling about in the material."

- Günter Brus

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"Majorca,Spring 1960: As chance would have it-and chance always has something up its sleeve-I bumped into another academic renegade. He was about to leave for Majorca,where,he said,two stone houses were waiting for him and for me. So off we went. On the boat from Barcelona it was bitterly cold,and I arrived in Palma like a lump of ice on two sticks. My stone house was an aesthetic delight,especially as there was no furniture at all in it. We made straight for the local fishing village,where we soon met an Englishman suffering from a skin disease who lent us two matrasses. Later,other European artistic refugees arrived at the Café Marinero, including a Pole called Foot who had fought in the French army against what he called "very romantic barbarians". he painted too, alternately in monochrome and in abstract expressionist style. Abstract Expressionism was the only style practised by Joan Merritt,a brilliant woman from the United States. She transformed an artistic nature reserve into a jungle. In Franco´s empire you had to report to the Guardia Civil once a week. It was the same ritual every time. You knocked on the door and a voice answered "Un momentino!" You waited until eventually receiving a very loud command: "Entra!" A man with a big stomach,a moustache and a cigar would be leaning backwards in his chair at a desk with an oversize telephone. You stood in silence. The official would pick up the receiver and make an official call. A pin-up calendar hung on the wall,displaying a senorita in a skin-coloured bathing costume. Then the official leafed through your passport and bashed a stamp into it. A second ritual was Sunday mass, the Catholic way. It was conveyed by loudspeakers to the outside world, so it could be heard miles away. A third ritual was collecting your post.For obvious reasons,the Generalísimo would not allow post offices all over the place. In our village he left things to an itinerant clerk-cum-supervisor. she set up her office in one "cervecería"or another, as fancy took her. You entered the room and nodded silently to the other foreigners,all of us always somehow suspicious. A mother´s-milk monster with strictly arranged hair, a Generalísima, would be sitting behind a table on which she´d piled letters that had arrived. When she wasn´t disappearing into a backroom she´d occasionally call out a name. The whole business often lasted as long as the deep sleep of a dreaming donkey. Once you´d been given your post you had to go to the man with the moustache and cigar. The first ritual was then repeated, before the stamped postage stamp was stamped out of existence. Despite this, life in the fishing village was genuinely worth living. The sun shone every day,the fish were cheap,the wine even cheaper and mineral water free. The café proprietor reaked of tobacco and his customers smelled a fish. One fisherman had lost three fingers,and the lavatory´s aroma lay over the whole room. Once,when I was drunk,I called the Englishman with skin disease a "fucking bastard" and he scratched away at his scabs in fury. Red wine flowed from the barrels and murky blood trickled out of eyes. Smoke rushed through the room,the landlord fell over a barrel and,unbelievably,got up straightaway and refilled his own and customers´ glasses with what he had. this time,it was a bitter-tasting liqueur,spiced with filterless Peninsulares cigarettes. everyone smelled of ham and sweaty feet,and you´d sometimes tread on a rotten olive. One day a blonde Danish woman came to the Café Marinero,got to know me and invited me to her house,where she showed me her housekeeper,a local,who was pining for her unfaithful boyfriend. And there was an American woman who introduced me to My Fair Lady. Finally,I met an émigré Mongolian fisherman who couldn´t swim and drowned without a hope in the world. The fishing village had a soporiphic effect. Even when you were sitting at the bar and had to look for the owner to order another glass of red wine,it felt as though you were in a dream. And you were still dreaming when you crept along the dusty alleys with their weathered walls to visit the village barber. That man cropped my hair once. He sat down in a chair he´d probably got from a doctor. He begun practising his craft behind my right ear,worked his way up to the parting-and then vanished. I looked through some magazines he´d probably got from a dentist. Eventually,I decided to get down from the chair,which he´d wound up high,and went through several alleys looking for him. And Io and behold- there he was,waving down at me from a roof he was helping to tile. There I stood, like a half-finished Mohican, and carried on dreaming. Having grasped the way, fatalistic system worked, I returned to the barber´s shop,where you could also buy sweets,soap,toothpaste"

- Günter Brus

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"Let us define what we mean by Marxism. Is it the doctrine of Marx and Engels? Or is it the movements to which that doctrine has given birth, and which, rightly or wrongly, claim to be Marxist? To what extent are these movements actually inspired by Marxism, and to what extent have they caused it to develop, sometimes reforming, sometimes deforming it? Are these movements still really Marxist in the classic sense? Or do perhaps both friends and enemies of Marxism often harbour a distorted conception of Marx’s original theories? We must therefore ask ourselves whether the so-called crisis of Marxism is not in large measure a crisis of differing posthumous interpretations of Marxism. Karl Marx died in 1883 and Friedrich Engels in 1895. Although a number of their followers have developed their doctrines and provided important supplementary analyses of the modifications experienced by capitalism in the course of the twentieth century, the results of these labours have hardly affected the movement as a whole. In fact, as the movement grew in size, the assimilation even of the ideas of Marx and Engels themselves, which were naturally better known, became slower, more fragmentary and more superficial. In accordance with historical conditions which obviously differed considerably as between country and country, each movement took what best suited it from the original doctrine, and applied its choice (very rarely the Marxist method itself) to its own particular situation."

- Lucien Laurat

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