The Origin of Surrealism: Rethinking Apollinaire's Penetrating Brain Injury with Current Knowledge Regarding White Matter Tracts.

The French poet Apollinaire enrolled in the French army during World War I. In 1916, he sustained a penetrating brain injury when a fragment of shrapnel pierced his helmet in the right temporal region. Neurosurgical techniques were at that time standardized to manage the significant number of war-related neurosurgical casualties. Apollinaire, who experienced transient fainting followed by left-sided hemiparesis 2 months after his trauma, underwent trepanation. The poet's personality and behavior changed dramatically after his trauma. These neurobehavioral changes, associated with preserved cognition and no other neurologic dysfunction, were later described as Apollinaire syndrome. These personality changes were accompanied by flourishing writing changes. Hence, 15 months after his penetrating brain injury, the poet introduced the term "surrealism" to the world in his play The Breasts of Tiresias, giving birth to a major movement that paved the way for the 20th century. Linguistic shifts such as phonologic and semantic word games were at the forefront of the narrative process of the play. Traumatic brain injury often leads to cognitive impairment. In the case of Apollinaire, if the ballistic trauma were also responsible for diffuse axonal injury, it could have also led to semantic and social cognition impairment, in addition to the neuropsychological disorders that had already been widely documented by his friends and family. The world will always remember Apollinaire's writing genius as deeply associated with the birth of surrealism. But what if the poet's new writing style was caused, at least in part, by the unexpected help of a lost shrapnel fragment?

Creativity, Eye-Movement Abnormalities, and Aesthetic Appreciation of Magritte's Paintings.

Dyslexic children have been shown to be more creative than their non-dyslexic counterparts. They have also been shown to have an abnormal oculomotor profile while viewing targets in free space, making vergence or saccadic eye movements while reading or when viewing Op art. They show a slower deceleration of their eye movements and a difficulty in coordinating their two eyes to obtain single fused vision in depth. Interestingly, their abnormal oculo-motor profile is exacerbated while reading more difficult texts. Given these differences, we postulate that dyslexics' increased creativity may be related to their different eye movement control affecting how they perceive the world. Therefore, we decided to measure adolescent dyslexics' creativity, oculomotor profile, and subjective responses while they viewed three paintings by Magritte. These were chosen to stimulate the perception of hidden conceptual spaces or stimulate conflict between the perception of the figural and textural content. For the first time to our knowledge, dyslexic adolescents were demonstrated to be more creative in terms of flexibility and fluidity than their non-dyslexic peers. Subjectively, while viewing the Magritte paintings, dyslexics reported fewer conceptual spaces and fewer hidden words than their non-dyslexic peers; thus, they confabulated less than non-dyslexics. Dyslexics also demonstrated an abnormal oculomotor profile similar to those that we have shown when reading, viewing randomized targets, and while perceiving illusions of depth in Op art paintings, in that they demonstrated difficulty with disconjugation and abnormalities in their eye velocity profiles. We propose there may be a link between dyslexic increased creativity and their eye movement abnormalities. Similar to reading nonsense text, we propose that Magritte's contradictory paintings exacerbate dyslexics' eye movement abnormalities. These eye movement abnormalities while viewing these particular paintings might provide a physiological signature suggesting a contribution of their unusual eye control to their higher creativity scores.

Intentional mind-wandering as intentional omission: the surrealist method.

Mind-wandering seems to be paradigmatically unintentional. However, experimental findings have yielded the paradoxical result that mind-wandering can also be intentional. In this paper, we first present the paradox of intentional mind-wandering and then explain intentional mind-wandering as the intentional omission to control one's own thoughts. Finally, we present the surrealist method for artistic production to illustrate how intentional omission of control over thoughts can be deployed towards creative endeavors.

Constructed Realities: Claude Cahun's Created World in Aveux Non Avenus.

In her 1930 publication, Aveux non Avenus, Claude Cahun used the relationship between her inwardly focused poetic writing and symbolic photomontages to construct a unique reality for self-expression. This article focuses on three chapters and respective photographic images from the publication to relate Cahun's, and by association her partner Marcel Moore's, discussion on sexuality and gender expression. The utopian dreamscape created investigates issues of narcissism and otherness, female homosexuality, dandyism and going beyond gender, individual and social critique, mocking the antiquated views of art and writing, accepting and breaking taboos, while allowing for other departures from the accepted norm. Through analysis of the publication and supporting evidence from early influences, it can be seen that Cahun created a world in Aveux non Avenus where she could exist in a space between the established feminine-masculine binary of 20th-century Europe.

O trabalho do sonho na poética surrealista / The work of the dream in the surrealist poetics

O artigo procura tecer as contribuições freudianas na construção da poética surrealista. Os artistas deste movimento artístico, declaradamente, fizeram uso ativo das explorações do inconsciente. Assim, pretende-se explicitar que, para além das imagens oníricas que traziam os temas psicanalíticos (como o Édipo, a sexualidade, a histeria), os surrealistas procuravam explorar o próprio "trabalho do sonho" como procedimento artístico para a construção de suas imagens artísticas.

The article tries to weave as Freudian contributions in the construction of surrealist poetics. The artists of this artistic movement, reportedly, use the exploits of the unconscious. Thus, it is intended to make explicit that, in addition to the dreamlike images that psychoanalytical themes (such as Oedipus, a sexuality, a hysteria) brought, the surrealists sought to explore their own "dream work" as an artistic procedure for constructing their images artistic activities.

little sister: An Afro-Temporal Solo-Play.

little sister: An Afro-Temporal Solo-Play is at once a memory-scape and a mytho-biography set to poetry, movement, and mixed media. A performance poem spanning from the Antebellum South to present-moment Chicago, it tells the story of a nomadic spirit named little-she who shape-shifts through the memories and imaginings of her sister, the narrator. Through the characters little-she and the narrator, the solo-performance explores embodied ways to rupture and relieve the impact of macro forms of violence in the micro realm of the everyday. To this end, little sister witnesses and disrupts the legacy of violence in the lives of queer Black women through a trans-temporal navigation of everyday encounters within familial, small groups and intimate partner spaces.

Living Poetry.

We introduce three of our interactive artworks that translate text into artificial creatures or creatures into text by means of user interaction. These installations make use of experimental literature, media archaeology, surrealism, artificial life, and algorithmic methods.

The first Australian painting of schizophrenia by Ivor Francis.

OBJECTIVE: This article examines the 1943 surrealistic painting Schizophrenia by Ivor Francis, the first major Australian art work depicting a mental disorder. Francis was influenced by Max Harris who encouraged him to read works on surrealism and psychoanalysis, but took his ideas from the book on schizophrenia by the radical Melbourne psychiatrist, Reg Ellery. CONCLUSION: Ivor Francis produced a riveting painting that stands as an enduring visual beacon in the cultural history of Antipodean psychiatry.

Arte e Jung: a obra de René Magritte / Art & Jung: the work of René Magritte

O presente trabalho tem como objetivo fazer uma reflexão sobre o surrealismo à luz da psicologia analítica, tomando como base as obras de René Magritte. Traz uma revisão histórica sobre o surrealismo, fazendo um diálogo entre o movimento artístico e os conceitos junguianos. A pintura surrealista, procurando fixar as imagens oníricas, interpenetra o vivido com o sonhado e emerge como uma nova realidade. A obra de arte emerge como fotografia dos conteúdos do inconsciente, revelando aspectos do pessoal e do coletivo

The aim of this paper is to reflect on surrealism in light of analytical psychology having the work of René Magritte as basis. it brings a historical survey on surrealism through dialogues between the artistic movement and the jungian concept. Surrealist painting, intending to draw attention to oneiric images, interpenetrates dreams with what was lived, and emerges as another reality. The art piece emerges like photographs of unconscious content, revealing aspects of personal and collective unconscious

A metrópole moderna, o olhar surrealista: considerações benjaminianas / Walter Benjamin's approach to the modern metropolis and the glance surrealistic

Walter Benjamin intenta apresentar a cidade, em sua multiplicidade e diversidade, como espaço de experiência sensorial e intelectual, local de encenação dos conflitos sociais e de transformações urbanísticas. Suas ruas são palco de circulação de mercadorias, repletas de enigmas; o lugar onde o sujeito autônomo, senhor de uma razão iluminista, perde-se em meio a uma labiríntica multidão - de pessoas, de objetos, de imagens -, e em que a experiência de rapidez, de anonimato pode ser realizada de modo mais radical do que em qualquer outro lugar. Desse modo, ler a cidade é ler um mosaico, e Benjamin retoma uma das mais profícuas leituras da metrópole urbana: a visada surrealista.

Walter Benjamin aims to present the different and multiple aspects of modern city. It is seen as the place where men have sensorial and intellectual experience, where social conflicts and urban transformations take place. In the streets of the city goods are sold and bought and they are mysterious and cannot be understood at once. In the street of modern city autonomous citizen, guided by enlighted thinking, cannot distinguish himself among a huge crowd of people, objects and images. In this very context, he does feel the speed things change and his own anonymous presence. The city can only be read as a mosaic and Walter Benjamin tries to understand it in the surrealistic way that he considers the richest form of doing so.

Edward Hopper e a imagem cinematográfica / Edward Hopper and the cinematographic image

Neste artigo, o autor se propõe a expor e analisar a relação de mútua influência entre a obra do pintor norte-americano Edward Hopper e o cinema. A transposição de seus temas e elementos estilísticos para certos filmes é discutida, assim como o papel de sua pintura na fixação de uma iconografia da realidade norte-americana reproduzida pelo cinema. Uma comparação mais detida é estabelecida entre elementos da pintura de Hopper e do cinema de Wim Wenders e Michelangelo Antonioni. Por fim, discute-se no artigo a pertinência da classificação de Edward Hopper como um pintor realista, pondo em evidência as implicações de uma afirmação desse tipo, bem como considerações sobre o realismo no cinema e a manifestação de elementos psicológicos nos quadros de Hopper.

In this article, the author sets out to expose and analyze the relationship of mutual influence between the work of American painter Edward Hopper and film. The transposition of his themes and stylistic elements to some movies is discussed, as well as the role of his painting in the setting of an iconography of American reality also reproduced by cinema. A more detailed comparison is made between elements of the work of Hopper and that of filmmakers Wim Wenders and Michelangelo Antonioni. Finally, the article discusses the relevance of the classification of Edward Hopper as a realist painter, highlighting the implications of such a statement as well as considerations about realism in the cinema and the emergence of psychological elements in the paintings of Hopper.

Ciência e arte: relações improváveis? / Science and art: unlikely relations?

Este artigo discute as relações entre ciência e arte, principalmente entre física e pintura, com o objetivo de apresentar uma abordagem cultural para a ciência. Dessa forma, entendemos que a compreensão dos conteúdos da ciência torna-se mais significativa. Abordamos diferentes momentos da história desde a revolução científica até o século XX. As relações aqui salientadas não buscam uma relação causal entre ciência e arte, mas sim uma visão mais significativa do que é o processo de construção do conhecimento. Assim, a ciência se desnuda para nós como parte da cultura e pode nos ajudar a compreender melhor o processo histórico que nos trouxe até aqui.

With the goal of presenting a cultural approach to science, the article discusses relations between science and art, especially between physics and painting. From this standpoint, we can see how understanding the substance of science becomes more important. Different moments in history are examined, from the scientific revolution down through the twentieth century. The relations highlighted herein are not chosen in an effort to undercover a causal relation between science and art but to arrive at a more meaningful understanding of how knowledge is constructed. Science is thus revealed to be part of culture, which can help us better understand the historical process through which we have come to this point.

A experiência surrealista da linguagem: Breton e a psicanálise / x

Este artigo apresenta alguns aspectos da experiência surrealista da linguagem nos anos 1920, mostrando que o automatismo surrealista se inspira no funcionamento do inconsciente proposto por Freud. Considerando a linguagem como fundamento da realidade humana, Breton antecipa as formulações de Lacan sobre o eu e a realidade. No entanto, a primeira concepção lacaniana da linguagem, circunscrita exclusivamente ao simbólico, separa Lacan do surrealismo. Apenas nos anos 1970, a teoria da linguagem em Lacan permitirá pensar a prática surrealista da linguagem.

The surrealist experience of language: Breton and the psychoanalysis. This article presents some aspects of the surrealist experience of language in the twenties, showing that the surrealist automatism is inspired by the functioning of the unconscious as described by Freud. Considering language as the foundation of human reality, Breton anticipates Lacan's formulation of the self and reality. Nevertheless, the first Lacanian conception of language, exclusively circumscribed to the symbolic register, separates Lacan from surrealism. Only in the seventies, will Lacan's theory of language allow the interpretation of the surrealist practice of language.