L’articolo considera il problema della fruizione dell’arte partendo dal libro curato da Sergio Givone e Graziella Magherini, Ascoltare l’arte. Arti figurative, letteratura, musica (Nicomp, Firenze 2012). Prende in considerazione il tema dell’ascolto – una cifra che caratterizza perfettamente sia il mondo dell’arte, in tutte le sue forme, che quello della psicoanalisi. In entrambi i campi, il termine “ascolto” viene inteso nel suo significato piu ampio, come disposizione e apertura verso l’altro, cosi come nelle sue “opacita”: opacita della creazione artistica, ma anche opacita che caratterizza la relazione tra analista e paziente e quella dell’arte con il suo pubblico – una relazione che, come sappiamo, non e univoca, come del resto quella tra l’opera d’arte e il suo pubblico.

This paper focuses on the critical analysis of Merda d’artista (1961) by Piero Manzoni, underlining the problematic nature of psychoanalytic interpretations proposed by Nancy Spector, Jean-Pierre Criqui, Gerard Silk and others related to Freudian theories. Starting from the philosophical interests of the artist and his theoretical declarations, it proposes a reinterpretation of the famous Manzoni’s work in the perspective of that bond to the social and experiential dynamics that will characterize most of the conceptual researches of the late Sixties.

How does the autobiography reproduce its author’s life? What kind of reality and truth does the author investigate? Does his reconstruction accept imagination? And where does the narrative of fiction find its contents? Is the author’s biography part of the fictional plot? Quoting Sigmund Freud, Groucho Marx, David Metzinger, David Foster Wallace, Wilfred Bion and Albert Camus among the others, in this article, we have underlined how reality and fiction can meet in both the types of narrative. We have also studied the trans-autobiographical narrative in which the autobiography intentionally encounters the fiction, and have analysed its reparative effects.

The poetics of dripping developed by the American painter Jackson Pollock has been investigated by many authoritative critics and theorists through existentialism, pragmatism, phenomenology and psychoanalysis. Through a rational comparison of these various positions, from that of Francesco Arcangeli to that of Rosalind Krauss via Enrico Crispolti, Italo Tomassoni and Allan Kaprow, the aim is to understand the experience values and those of the unconscious are present the US artist’s research, with reference also to reflections and affirmations of the painter himself.

L’ospedale psichiatrico del Santa Maria della Pieta svolge durante gli anni Cinquanta a Roma la funzione di contenitore sociale, ospitando non solo persone affette da disturbi mentali, ma anche disabili gravi, disadattati sociali, poveri, emarginati, alcolisti e, dal dopoguerra, molti orfani; ma c’e anche chi ci nasce e qui trascorrera tutta la vita. Negli anni Sessanta la nuova sede di Monte Mario arrivera a ospitare tremila pazienti. Cio che e stato non deve essere dimenticato o ignorato. Dalla collaborazione del direttore Pompeo Martelli con Paolo Rosa nasce il progetto del Museo Laboratorio della Mente, realizzato da Studio Azzurro e inaugurato il 7 ottobre 2008. Quello che viene raccontato grazie all’allestimento riguarda si la storia dell’ex ospedale psichiatrico, ma soprattutto le esperienze di coloro che la dentro hanno vissuto e quelle di coloro che, per vari motivi, vi si sono “affacciati”. Il gruppo milanese, impegnato da piu di trent’anni nella ricerca artistica, e riuscito a elaborare per questo museo un percorso dove le nuove tecnologie sono state sapientemente utilizzate per creare un rapporto d’interazione capace di rendere possibile al visitatore un’esperienza culturalmente formativa. Forse uno degli esempi piu riusciti di quella che oggi viene definita “museografia sensibile”. All’interno del percorso le interfacce e i dispositivi scompaiono. Nonostante la loro apparente assenza, le installazioni interattive riescono a coinvolgere il visitatore e lo invitano a prender parte alle storie del museo e a sperimentare i diversi modelli culturali attraverso i quali ha avuto origine il pregiudizio sulla malattia mentale.

The article presents and investigates different aspects of the use of photography in clinical psychology. It focuses on Judy Weiser’s PhotoTherapy Techniques and presents some data from an exploratory qualitative research.

James J. Gibson, The ecological approach to visual perception: interview with the editor of the italian translation Vincenzo Santarcangelo by Nicola Bruno.

The following work reveals the identity hiding behind the painting Mere superieure (1935) by Tamara de Lempicka. The portrayed character is Sister Therese Delphine, at that time Mother Superior of the Sanvitale Convent in Parma. Thanks to the accurate review of biographic sources, the careful check of places and times, and the contribution of some meaningful testimonies it was possible not only to retrace the context in which the work originated but also to finally identify the protagonist of the painting. In 1935, during a trip to Italy, Tamara looked for a convent where she could finally be heard in order to ease her pain. At that time the painter was suffering from serious physical disorders and deep depression both hindering her artistic work. She mentioned the meeting with Sister Therese. That encounter was so meaningful to her that it left a deep mark in both her private life and artistic production. She decided to portray immediately the face that had struck her so much and she will always have a very special bond with that painting.

The literature has been considered by Freud and others after him, a form of unaware exploration of mind that can leads to discoveries similar to psychoanalysis’s discoveries. From this perspective, the author puts forward the following hypothesis: Pinocchio is a puppet who comes to life and is therefore, from a child's perception, a transitional object according to Winnicott. Consequently Geppetto is nothing more than the involuntary representation of any child interacting with the transitional object. The author explains the results of the analysis of the text in support of the hypothesis and reflects on the impact of The adventure of Pinocchio on the reader.

The tactility is the place of the relationship between the senses, area of interaction of the faculties involved in every constitutive act of our perceptual intelligence. It is a feeling from within , that knocks out the equation “hand-touch” responsible for an exploration of the surface. In the same way, the practices of digital technologies are far from instances of body. In the early decades of the last century, in the French area, an address of experimental psychology, the metapsychics, has theorized about the intelligence of the senses and the sensible ulteriority.