Carl Jung Explains His Groundbreaking Theories About Psychology in a Rare Interview (1957)

Here’s an extra­or­di­nary film of the great Swiss psy­chol­o­gist Carl Gus­tav Jung speak­ing at length about some of his key con­tri­bu­tions to psy­chol­o­gy. Jung on Film (above) is a 77-minute col­lec­tion of high­lights from four one-hour inter­views Jung gave to psy­chol­o­gist Richard I. Evans of the Uni­ver­si­ty of Hous­ton in August of 1957. In “Sit­ting Across From Carl Jung,” an arti­cle for the Asso­ci­a­tion of Psy­cho­log­i­cal Sci­ence, Evans explains how the inter­views came about:

I was teach­ing a grad­u­ate sem­i­nar called Approach­es to Per­son­al­i­ty when it seemed like an inter­est­ing idea to have the grad­u­ate stu­dents in the sem­i­nar role-play in front of the class and pre­tend to inter­view the var­i­ous per­son­al­i­ty the­o­rists that I was pre­sent­ing. Carl Jung was one of those the­o­rists, and dur­ing the sem­i­nar, I learned that he had nev­er agreed to an exten­sive record­ed inter­view except for a brief exchange on the BBC. I wrote a let­ter to Dr. Jung to request an inter­view because I believed that filmed inter­views of emi­nent psy­chol­o­gists would encour­age stu­dents to read their work.

Jung, who was 82 years old at the time, agreed to the inter­view and set aside an hour a day over a four-day peri­od. Evans met with Jung in Zurich at the Fed­er­al Insti­tute of Tech­nol­o­gy, or ETH. In the excerpts above, Jung talks about his ear­ly asso­ci­a­tion with Sig­mund Freud and how he came to dis­agree with Freud’s fix­a­tion on the sex dri­ve as the pri­ma­ry influ­ence in men­tal life. He talks about his the­o­ry of per­son­al­i­ty types and about uni­ver­sal arche­types, includ­ing the ani­ma and ani­mus. He talks about the inter­play between instinct and envi­ron­ment, and about dreams as man­i­fes­ta­tions of the uncon­scious. At one point he stress­es the urgency of under­stand­ing psy­chol­o­gy in a world where man-made threats, like the threat of the hydro­gen bomb, are greater than those posed by nat­ur­al dis­as­ters. “The world hangs on a thin thread,” says Jung, “and that is the psy­che of man.”

Note: You can down­load sem­i­nal works by Carl Jung as free audio­books if you sign up for a 30-Day Free Tri­al with Audible.com. Find more infor­ma­tion on that pro­gram here.

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Relat­ed con­tent:

Carl Gus­tav Jung Pon­ders Death

Face to Face with Carl Jung: ‘Man Can­not Stand a Mean­ing­less Life’

Sig­mund Freud Speaks: The Only Known Record­ing of His Voice, 1938

David Lynch Explains How Meditation Enhances Our Creativity

David Lynch med­i­tates, and he med­i­tates hard. Begin­ning his prac­tice in earnest after it helped him solve a cre­ative prob­lem dur­ing the pro­duc­tion of his break­out 1977 film Eraser­head, he has con­tin­ued med­i­tat­ing assid­u­ous­ly ever since, going so far as to found the David Lynch Foun­da­tion for Con­scious­ness-Based Edu­ca­tion and Peace and pub­lish a pro-med­i­ta­tion book called Catch­ing the Big Fish.

It might seem non­sen­si­cal to hear an artist of the grotesque like Lynch speak rap­tur­ous­ly about voy­ag­ing into his own con­scious­ness, let alone in his frac­tured all-Amer­i­can, askew-Jim­my-Stew­art man­ner, but he does med­i­tate for a prac­ti­cal rea­son: it gives him ideas. Only by med­i­tat­ing, he says, can he dive down and catch the “big fish” he uses as ingre­di­ents in his inim­itable film, music, and visu­al art. You can hear more of his thoughts on med­i­ta­tion, con­scious­ness, and cre­ativ­i­ty in his nine-minute speech above.

If you’d like to hear more, the video just above offers a near­ly two-hour pre­sen­ta­tion at UC Berke­ley with Lynch as its star. You’ll also hear from out­spo­ken quan­tum physi­cist John Hagelin and Fred Travis, direc­tor of the Cen­ter for Brain, Con­scious­ness and Cog­ni­tion Mahar­ishi Uni­ver­si­ty of Man­age­ment. Some of what they say might make good sense to you: after all, we could all use a method to clear our minds so we can cre­ate what we need to cre­ate. Some of what they say might strike you as total non­sense. But if you feel tempt­ed to dis­miss all as too bizarre for seri­ous con­sid­er­a­tion, you might med­i­tate, as it were, on oth­er things Lynchi­an: back­wards-talk­ing dwarves, sev­ered ears on sub­ur­ban lawns, alien babies, women liv­ing in radi­a­tors, sit­com fam­i­lies in rab­bit suits. He’s cer­tain­ly pitched us weird­er con­cepts than med­i­ta­tion.

For some sec­u­lar intro­duc­tions to med­i­ta­tion, you may wish to try UCLA’s free guid­ed med­i­ta­tion ses­sions or check out the Med­i­ta­tion 101 ani­mat­ed beginner’s guide above. If you’re not too put off by the occa­sion­al Bud­dhist ref­er­ence, I would also high­ly rec­om­mend the Insight Med­i­ta­tion Center’s free six-part intro­duc­tion to mind­ful­ness med­i­ta­tion.

Relat­ed con­tent:

David Lynch Talks Med­i­ta­tion with Paul McCart­ney

Mihaly Czik­szent­mi­ha­lyi Explains Why the Source of Hap­pi­ness Lies in Cre­ativ­i­ty and Flow, Not Mon­ey

David Lynch’s Sur­re­al Com­mer­cials

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Humans Fall for Optical Illusions, But Do Cats?

Peripheral Drift Illusion

Most “opti­cal illu­sions” are not real­ly opti­cal. They have less to do with the way the eyes work than with the way the brain process­es the infor­ma­tion sent to it from the eyes. For this rea­son, many sci­en­tists pre­fer to call them visu­al illu­sions. So if visu­al illu­sions are a trick of the brain, and human brains dif­fer from the brains of oth­er ani­mals, does that mean our visu­al illu­sions are unique­ly human?

The answer would appear to be no, judg­ing from the cute video below from YouTube. The kit­ten is falling for the “rotat­ing snakes illu­sion” devel­oped in 2003 by Japan­ese psy­chol­o­gist Akiyoshi Kitao­ka. The rotat­ing snakes (click here to view in a larg­er for­mat) are an exam­ple of the “periph­er­al drift illu­sion,” a phe­nom­e­non first described in 1999 by Joce­lyn Faubert and Andrew Her­bert of the Uni­ver­si­ty of Mon­tre­al. Cats are very adept at per­ceiv­ing motion in their periph­er­al vision. It helps them elude preda­tors and home in on their own prey. But this kit­ty is thrown for a loop by the illu­so­ry motion of the rotat­ing snakes.

The periph­er­al drift illu­sion occurs when cir­cu­lar­ly repeat­ing fig­ures with reg­u­lar saw­tooth pat­terns of light and dark are viewed in the periph­ery. You’ll find that if you move your eyes around the var­i­ous cir­cles, for exam­ple going from cen­ter point to cen­ter point, the cir­cles in your periph­er­al vision will appear to be mov­ing but the one you are focused on will not. If you stop mov­ing your eyes, a moment lat­er the cir­cles will all appear to stop mov­ing. In the abstract of their 1998 paper (open PDF), Faubert and Her­bert write:

Illu­so­ry motion is per­ceived in a dark-to-light direc­tion, but only when one’s gaze is direct­ed to dif­fer­ent loca­tions around the stim­u­lus, a point out­side the dis­play is fix­at­ed and the observ­er blinks, or when the stim­u­lus is sequen­tial­ly dis­played at dif­fer­ent loca­tions whilst the observ­er fix­ates one point. We pro­pose that the illu­sion is pro­duced by the inter­ac­tion of three fac­tors: (i) intro­duc­ing tran­sients as a result of eye move­ments or blinks; (ii) dif­fer­ing laten­cies in the pro­cess­ing of lumi­nance; and (iii) spa­tiotem­po­ral inte­gra­tion of the dif­fer­ing lumi­nance sig­nals in the periph­ery.

via Stephen Law

Font Based on Sigmund Freud’s Handwriting Coming Courtesy of Successful Kickstarter Campaign

Doc­tor, what does it mean if you dream of cre­at­ing a font of Freud’s hand­writ­ing?

This is exact­ly what Ger­man typog­ra­ph­er Har­ald Geisler has in mind, and, in the spir­it of self-actu­al­iza­tion, he’s fund­ing the project on Kick­starter. His charis­ma is such that he’s already raised over eight times the orig­i­nal $1500 goal that will allow him to trav­el to Vien­na, where he will cre­ate the type­face in a bor­rowed apart­ment with­in walk­ing dis­tance from Freud’s for­mer home at Berggasse 19. That address is now home to the Sig­mund Freud Muse­um, where the roman­ti­cal­ly-mind­ed Geisler plans to vis­it the hard copies of the eight let­ters from which his alpha­bet will be assem­bled.

Don’t let the pro­jec­t’s ful­ly-in-the-black sta­tus keep you from vis­it­ing its fundrais­ing page. In addi­tion to being an inad­ver­tent tuto­r­i­al on the ele­ments of a top-notch Kick­starter cam­paign, it also pro­vides some inter­est­ing infor­ma­tion with regard to pen­man­ship, font cre­ation, and the dif­fer­ence between Kur­rent, the Ger­man-style script Freud learned as a school­boy, and the Latin-style cur­sive that was stan­dard among his North Amer­i­can patients.

Geisler says it cracks him up to imag­ine some­one jot­ting a note to his or her shrink in Freud’s hand­writ­ing. Per­haps those of us not cur­rent­ly under the care of a psy­chi­a­try pro­fes­sion­al could use it to write our moth­ers.

Relat­ed Con­tent:

Sig­mund Freud Speaks: The Only Known Record­ing of His Voice, 1938

Jean-Paul Sartre Writes a Script for John Huston’s Film on Freud (1958)

Sig­mund Freud’s Home Movies: A Rare Glimpse of His Pri­vate Life

Ayun Hal­l­i­day has nev­er regret­ted her child­ish deci­sion to ape her moth­er’s high­ly idio­syn­crat­ic hand.

Dan Ariely’s MOOC, “A Beginner’s Guide to Irrational Behavior,” Starts Monday

Back in Novem­ber we gave you a heads up on A Begin­ner’s Guide to Irra­tional Behav­ior, a MOOC being cre­at­ed by Dan Ariely. If you’re a fre­quent vis­i­tor to our site, you know that Ariely is a pro­fes­sor of psy­chol­o­gy and behav­ioral eco­nom­ics at Duke Uni­ver­si­ty, who has pre­vi­ous­ly explained by why well-inten­tioned peo­ple lie, and why CEOs repeat­ed­ly get out­sized bonus­es that have no basis in ratio­nal­i­ty. Ariely’s six-week course final­ly begins tomor­row (Mon­day the 25th), so, before you miss the boat, reserve your free seat today.

A Begin­ner’s Guide to Irra­tional Behav­ior now appears on our  list of 300 Free MOOCs from Great Uni­ver­si­ties.

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Can’t Get That Song Out of My Head: An Animation of a Psychological Phenomenon We All Know

You know what it feels like when, no mat­ter how hard you try to shake it, you can’t get that song out of your head. Psy­chol­o­gists have a tech­ni­cal name for this phe­nom­e­non. They call it an “ear­worm,” refer­ring to those songs that “arrive with­out per­mis­sion and refuse to leave when we tell them to.” In the video above, the Dan­ish design agency Ben­ny Box has cre­at­ed a short ani­mat­ed film — called Jazz that nobody asked for — that serves as an “ode to all those unwant­ed songs out there, that have nowhere to go.” The music taunt­ing the main char­ac­ter is “Quak­er City Jazz” (1937) by Jan Savitt and His Top Hat­ters Orches­tra. If you’ve had your own ear­worm — your own mad­den­ing sound­track for this film — let us know in the com­ments sec­tion below.

Relat­ed Con­tent:

Clas­sic Jazz Album Cov­ers Ani­mat­ed, or the Re-Birth of Cool

Ker­mit the Frog Learns to Love Jazz Through “Visu­al Think­ing” (1959)

Jazz Toons: Allen Mezquida’s Jour­ney from Bebop to Smigly

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Jacques Lacan Talks About Psychoanalysis with Panache (1973)

Both psy­cho­analy­sis and psy­chother­a­py act only through words. Yet they are in con­flict. How so? There we have the ques­tion posed to psy­cho­an­a­lyst, psy­chi­a­trist, and world-famous pub­lic intel­lec­tu­al Jacques Lacan in the video above, a clip from a script­ed qua­si-inter­view called Tele­vi­sion whose answers play like his famous lec­tures. Watch it, or watch our pre­vi­ous­ly fea­tured video of Lacan giv­ing a talk, and you’ll expe­ri­ence one qual­i­ty that made him world-famous. Few oth­ers could com­bine such high-flown sub­ject mat­ter with such the­atri­cal­ly emphat­ic ora­tor­i­cal abil­i­ty — an abil­i­ty you can sense even if you don’t under­stand French. For­tu­nate­ly, sub­ti­tles have been pro­vid­ed, offer­ing Anglo­phones a chance to under­stand what con­nec­tions the man saw between the uncon­scious, lan­guage, Freud, sex­u­al rela­tions, and com­e­dy.

“There are, inso­far as the uncon­scious is impli­cat­ed, two sides pre­sent­ed by the struc­ture, the struc­ture which is lan­guage,” Lacan begins. “The side of mean­ing, the first side, the side we would iden­ti­fy as that of analy­sis, which pours out a flood of mean­ing to float the sex­u­al boat.” These remarks come pre-writ­ten in the script of Tele­vi­sion, some­thing between a con­ver­sa­tion and a play that grew out of Jacques-Alain Miller’s failed attempt to film a tra­di­tion­al inter­view of the psy­cho­an­a­lyt­ic lumi­nary. “After every cut, when it was time to start up again, Lacan shift­ed a bit in his dis­course,” Miller wrote in Micro­scopia: An Intro­duc­tion to the Read­ing of Tele­vi­sion. “Each time he gave an addi­tion­al twist to his reflec­tions which were unfold­ing there, under the spot­lights, thwart­ing any chance of bridge-build­ing. We stopped after two hours; I gave him in writ­ing a list of ques­tions; and he wrote [Tele­vi­sion] in about two weeks’ time. I saw him every evening and he gave me the day’s man­u­script pages; then he read or act­ed out — with a few impro­vised vari­a­tions — the writ­ten text. He made a spring-board of this false start.”

Relat­ed con­tent:

Jacques Lacan Speaks; Zizek Pro­vides Free Cliffs Notes

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. Fol­low him on Twit­ter at @colinmarshall.

The Power of “Outrospection” — A Way of Life, A Force for Social Change — Explained with Animation

Here at Open Cul­ture, we can’t resist the RSA Ani­mate video series, cre­at­ed by the Roy­al Soci­ety for the Encour­age­ment of Arts, Man­u­fac­tures, and Com­merce. Its twitchy but super­nat­u­ral­ly pre­cise hand has illus­trat­ed talks by Daniel Pink, Sir Ken Robin­son, Bar­bara Ehren­re­ichSlavoj Žižek, Steven Pinker, and Dan Ariely. This newest RSA Ani­mate pro­duc­tion may pro­vide you an intro­duc­tion not just to a ris­ing thinker, but to a new con­cept. “Writer on the art of liv­ing” Roman Krz­nar­ic, accom­pa­nied by the quick draw­ing of Andrew Park, wants to tell you about some­thing called “out­ro­spec­tion.” Con­sid­er it less an entire­ly new prac­tice than a fresh way of think­ing about how to devel­op an old human capac­i­ty: empa­thy. He finds empa­thy not a “nice, soft, fluffy social con­cept,” but some­thing pow­er­ful and poten­tial­ly dan­ger­ous, a fuel for rev­o­lu­tions of all kinds.

For an exam­ple of empa­thy that looks to him pro­to-out­ro­spec­tive, Krz­nar­ic cites George Orwell, author of 1984 and Ani­mal Farm. His plunge into the world of urban pover­ty — the deep­est kind of first-hand research — to write Down and Out in Paris and Lon­don, com­ing to know, befriend, and work along­side the down-and-out them­selves, makes him “one of the great empath­ic adven­tur­ers of the 20th cen­tu­ry.” This line of thought con­nects Orwell’s active social curios­i­ty to empa­thy as a poten­tial­ly col­lec­tive force; we even hear a call for new, empa­thy-ori­ent­ed social insti­tu­tions like a “human library” with actu­al peo­ple avail­able for illu­mi­nat­ing con­ver­sa­tions. Empa­thy, to Krz­nar­ic’s mind, will only become more impor­tant in the 21st cen­tu­ry, and those of us who can mas­ter out­ro­spec­tion, the skill of “dis­cov­er­ing who we are by step­ping out­side our­selves and explor­ing the lives of oth­er peo­ple and cul­tures,” will fare best there. If after the video you still find your­self con­fused about how best to engage in out­ro­spec­tion, don’t wor­ry: Krz­nar­ic writes an entire blog on the sub­ject.

via Sci­ence Dump

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

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