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Film: A Dangerous Method

David Cronenberg’s A Dangerous Method stars Michael Fassbender as Jung and Viggo Mortensen as Freud, with Keira Knightley as the disturbed patient that comes between them

The Observer, Sunday 12 February 2012

Jung (Michael Fassbender) was 29, fairly recently married to the wealthy Emma, and working at a hospital in Zurich in 1904 when Sabina (Keira Knightley), aged 18, a Russian Jew and fluent German speaker, was referred to him in a deeply distressed condition. He decided to experiment with the “talking cure”, or psychoanalysis, then being used in Vienna by the 48-year-old Sigmund Freud (Viggo Mortensen), a well-established but highly controversial figure.

Fascinated by and attracted to the highly intelligent Sabina, who shows a considerable aptitude for medicine and psychology, Jung corresponded about this case with Freud, who subsequently passed on to him an infinitely more deeply disturbed patient, Otto Gross (Vincent Cassel).

Gross was himself a psychiatrist in his 20s and suffering, it transpired, from dementia praecox (as schizophrenia was then known). Gross by name, gross by nature, he was brilliant, insightful and liberated in a way the highly respectable, middle-class Jung and Freud were not. “Never repress anything,” was his belief, and he acted as the catalyst that both freed and trapped Jung, taking him beyond the expected transference and into an unprofessional sexual relationship with Sabina. Their sadomasochism gave them a better understanding of her condition while inducing de ep feelings of guilt. It led to a dangerous relationship that lasted for some years and became both traumatic and healing.

Meanwhile, the friendship between Freud and Jung developed rapidly, with the older man, a secular Viennese Jew, deciding that the Swiss Protestant psychologist was his natural heir. But along the way, over a period of around five years, Cronenberg and Hampton trace a gradual change in their relationship. As John Kerr puts it at the end of his book, “the sexual, the religious, the theoretical became hopelessly intertwined” in a manner that these students of the mind found it impossible to disentangle. In one of the funniest, most beautifully acted and most frightening scenes in the movie, Jung attaches significance to a cracking noise in the woodwork of Freud’s study, announcing that it’s some kind of portent. Nothing in his view is coincidence. “That is an example of a so-called catalytic exteriorisation phenomenon,” he claims, and predicts that another will follow. And so it does, to the furious annoyance of the rationalist Freud.

There is drama in the choice of smoking matter. Freud draws deeply on his cigar, speaking ironically, acting manipulatively, simultaneously bold and cautious in advancing his theories about sexuality. Jung puffs philosophically on his pipe, quietly questioning Freud’s conviction that sexuality lies at the roots all neuroses, and coming to believe that his mentor’s views are overly deterministic and inflexible. Yet he embraces parapsychology and telepathy and ultimately (though this was to come long after the timespan of this movie) gives credence to the possibility of flying saucers.

Beyond them, passing from the rational into the realms of madness, is the uninhibited Otto Gross, snorting cocaine and puffing on his hand-rolled cigarettes. He explores the ultimate consequences of their discoveries and is prepared to pursue them even if self-destruction is the result.

They all become too much for each other. Gross finishes up starving to death in 1920. Freud is torn over seeing himself as the father that the superstitious Jung wishes to destroy. Jung believes that psychoanalysis may save the world and sees in Sabina the positive combination of intelligence and intuition that might lead to universal therapy. She, we learn, returned to Russia, became a celebrated psychologist in the Soviet Union and was an early victim of the Holocaust.

Jung was deeply ambivalent about the future, convinced on the one hand that America represented a liberating force and on the other that some apocalypse was about to be visited upon mankind. And indeed it was by the first world war, the point at which A Dangerous Method ends, concluding the era of hope and discovery it invites us to explore. We are left to ponder the legacy of Freud and Jung and the complex way it continues to affect the way we think and colour our daily lives.

The Meaning of the All Seeing Eye

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In ancient Egypt, there was a school that taught disciples to communicate through telepathy, dominate the instincts and remember their past lives in order to learn from the past incarnations. It was called the Eye of Horus Mystery School and it had the All-Seeing Eye as its symbol.

 

Although many people have heard about the Eye of Horus, only a few understand the real meaning behind this beautiful symbol.

 

The Meaning of the Eye of Horus or the All-Seeing Eye

The All-Seeing Eye derives from the Eye of Horus. The eyes can perceive the vibrations of colours and transmit the intensity of light to the brain. They emerge from a crystal white sea, and symbolize duality as the left eye corresponds to the sun, sensible to the negative sides of the object while the right eye corresponds to the moon, sensible to the positive side.

This is why the eyes symbolize a tool to find the truth in a world full of contrasts, and the truth is found when one has the ability to reunite the contrasts and understand all duality like two sides of the same thing. One side cannot exist without the other.

The eyes can also choose to focus on one tiny spot or contemplate the sight of a whole town from the top of a mountain.

But most important, the Eye of Horus can be broken into six different symbols, each of them represents one among the seven steps that leads to full consciousness, described in so many cultures. The seventh symbol is the Eye itself, which is the union of all the other six, meaning that one reaches God once he has gone through all the six levels of consciousness. The journey of the soul in search of light is represented by a pyramid, the top of it being the final destination.
 

 

 

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‎”You must have chaos within you to give birth to a dancing star.”

-Friedrich Nietzsche

Joey Lawrence

Joey Lawrence

 

Joey L is a Canadian commercial photographer, director and published author based in Brooklyn, New York.

A sensitive observer of endangered cultures and traditions, Joey travels the globe creating dramatic portraits while giving the viewer a powerful insight into his subjects’ lives.  His photo series range from Brooklyn, New York to Siberut, Indonesia; proof of an artist equally comfortable with the familiar and the exotic. 

 His work is cinematic and contemporary-a fine art portrait approach to subjects once only seen in photojournalistic styles.

 Select Commercial Clients:

Coca-Cola, National Geographic, JWT. Doner, McGarry Bowen, Upshot, Cimarron Group, Verizon, Nickelodeon, History Channel, FX Channel, Smirnoff, Pennzoil, Kawasaki, Summit Entertainment, Forbes, Services for the Underserved, The Government of Abu Dhabi.

 Exhibition:

 “Joey L. is an entirely new breed of photographer who brings photojournalism to the fine art arena.  The dignity and beauty that he portrays in peoples of rapidly vanishing cultures are incredibly important in getting their message out the to world.”-Dr. Peter Keller, President, Bowers Museum.

“These exquisite images evoke in the most powerful and glorious way the place of origin of all humanity.  From Africa, 40,000 years ago, our human ancestors began their great journey and within 2500 generations carried the human imagination to every corner of the habitable world.”-Wade Davis, National Georgraphic Explorer, Ethnobotanist, Anthropologist, Author.

“Joey L’s subjects present themselves with an artistry which bridges the gap between them and the viewer.  We see their frailty, and their pride and resilience in confronting our myopia, which condemns them as backward, dispensable, and moribund ‘primitives’.  Joey l’s art penetrates their exoticism and shows us the sheer beauty of our shared humanity, with all its tragedy and hope.”-Stephen Corry, Director, Survival International “The images are breath taking and this collection is alive with the all universal vibrations of our existence”-DMC, Musician.

 

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