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A Conceptual Analysis of the Oceanic Feeling with a Special Note on Painterly Aesthetics JYVÄSKYLÄ STUDIES in EDUCATION, PSYCHOLOGY and SOCIAL RESEARCH 518

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A Conceptual Analysis of the Oceanic Feeling with a Special Note on Painterly Aesthetics JYVÄSKYLÄ STUDIES in EDUCATION, PSYCHOLOGY and SOCIAL RESEARCH 518 JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 518 Jussi A. Saarinen A Conceptual Analysis of the Oceanic Feeling With a Special Note on Painterly Aesthetics JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 518 Jussi A. Saarinen A Conceptual Analysis of the Oceanic Feeling With a Special Note on Painterly Aesthetics Esitetään Jyväskylän yliopiston yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston vanhassa juhlasalissa S212 maaliskuun 7. päivänä 2015 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Social Sciences of the University of Jyväskylä, in building Seminarium, auditorium S212, on March 7, 2015 at 12 o’clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2015 A Conceptual Analysis of the Oceanic Feeling With a Special Note on Painterly Aesthetics JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 518 Jussi A. Saarinen A Conceptual Analysis of the Oceanic Feeling With a Special Note on Painterly Aesthetics UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2015 Editors Jussi Kotkavirta Department of Social Sciences and Philosophy, University of Jyväskylä Pekka Olsbo, Ville Korkiakangas Publishing Unit, University Library of Jyväskylä Cover picture by Jussi Saarinen. URN:ISBN:978-951-39-6078-0 ISBN 978-951-39-6078-0 (PDF) ISBN 978-951-39-6077-3 (nid.) ISSN 0075-4625 Copyright © 2015, by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2015 ABSTRACT Saarinen, Jussi A. A Conceptual Analysis of the Oceanic Feeling – With a Special Note on Painterly Aesthetics Jyväskylä: University of Jyväskylä, 2015, 34 p. (+ included articles) (Jyväskylä Studies in Education, Psychology and Social Research ISSN 0075-4625; 518) ISBN 978-951-39-6077-3 (nid.) ISBN 978-951-39-6078-0 (PDF) The present study focuses on the concept of the oceanic feeling. It consists of four individual articles and an introduction. The introduction lays out the theoretical background for current debate on the topic, specifies the scope and aims of the thesis, and introduces its main ideas and arguments. The first article provides a comparative analysis of three primary accounts of the oceanic feeling, namely those of Romain Rolland, Sigmund Freud, and Anton Ehrenzweig. It is argued that these accounts share a basic theoretical structure that establishes as the necessary criterion for all oceanic states the loosening of ego boundaries and sufficient modal contact between differentiated and undifferentiated modalities of the mind. The implications of this notion are critically discussed. The second article examines Ehrenzweig’s theory of oceanic states within painterly aesthetics. It calls into question two particular claims: first, that utilizing the undifferentiated mode of oceanic depth perception is a necessary precondition for authentic creativity, and second, that it projects into the artwork an unconscious substructure that lies beyond the reach of conscious perception. To sidestep some of the problems that these claims entail, a modification to Ehrenzweig’s theorization is put forward. The third article introduces a novel taxonomical account of the oceanic feeling. It holds that oceanic feelings come in two distinct forms: (1) as transient episodes that consist in a feeling of dissolution of the psychological and sensory boundaries of the self, and (2) as relatively permanent feelings of unity, embracement, immanence, and openness that do not involve occurrent experiences of boundary dissolution. Based on the work of philosopher Matthew Ratcliffe, it is argued that both forms of oceanic feeling are existential feelings, i.e. pre-intentional bodily feelings that structure overall self-world experience. The fourth article elaborates on the aforementioned novel view within the context of painterly creativity. It is suggested that existential feelings may become the actual object of creative work. Oceanic changes in existential feeling may thus lead to a wider process of artistic self-transformation and to a restructuring of one’s fundamental relations with oneself, others, and the world. Keywords: oceanic feeling, Romain Rolland, Sigmund Freud, Anton Ehrenzweig, psychoanalysis, philosophy of emotion, Matthew Ratcliffe, existential feeling, artistic creativity, painterly aesthetics Author’s address Jussi A. Saarinen Department of Social Sciences and Philosophy P.O. Box 35, Ylistönmäentie 33 FI-40014, University of Jyväskylä [email protected] Supervisors Professor Jussi Kotkavirta Department of Social Sciences and Philosophy University of Jyväskylä Professor Pauline von Bonsdorff Department of Art and Culture Studies University of Jyväskylä Professor Annika Waenerberg Department of Art and Culture Studies University of Jyväskylä Reviewers Professor Gunnar Karlsson Department of Education Stockholm University Professor Michael Krausz Department of Philosophy Bryn Mawr College Opponent Dr. Joona Taipale (Docent) Department of Media, Cognition and Communication Center for Subjectivity Research University of Copenhagen ACKNOWLEDGMENTS My research has benefited immensely from the comments, insight, and support of numerous people from various different disciplines. My eclectic group of su- pervisors serves as first-hand evidence of this. I would like to thank Jussi Kotkavirta for his unwavering practical assistance and years (and years) of mu- tual discussions, whether in private supervision sessions, jointly taught philoso- phy of psychology seminars, or psychoanalysis reading groups. I thank Annika Waenerberg for providing a lively entry point into the world of art history, and Pauline von Bonsdorff for her invaluable tips on publishing in aesthetics journals. I also wish to express my gratitude to Michael Lacewing for supervising my re- search visit to Heythrop College in London, and for being demanding and en- couraging in equal measure. The positive reviews I received from Gunnar Karls- son and Michael Krausz instilled in me the belief that I got something right. I have received plenty of helpful advice and “stuff to think about” from my colleagues and friends. Many have contributed to the process in their own, often subtle, ways. The following acknowledgments cannot do justice to every- one. That said, I would like to thank Pessi Lyyra, Vili Lähteenmäki, Manu Vesterinen, and Mikael Melan for discussing all sorts of matters related to phi- losophy, psychology, and academia with me. I am likewise grateful to the Finn- ish and Spanish participants of the AATE research project, to the regulars of the postgraduate seminars at JYU and Heythrop College, and to the members of the Consortium of Psychoanalytic Research in Helsinki. Towards the end of my project I have also been fortunate to discuss my work with Sara Heinämaa and the members of the Subjectivity, Historicity, and Communality network at the University of Helsinki. Finally, I wish to thank all of the people who have played futsal and basketball with me – your importance in maintaining my san- ity has been immeasurable. My research would not have been possible without the generosity of the Signe and Ane Gyllenberg Foundation, the Ellen and Artturi Nyyssönen Foun- dation, the Rector of the University of Jyväskylä, the Department of Social Sci- ences and Philosophy at the University of Jyväskylä, and the Finnish Cultural Foundation and its Central Finland Regional Fund. Moreover, the Finnish Doc- toral Program of Philosophy has given me the opportunity to travel to several important conferences. Finally, I wish to thank my immediate and extended families: my parents, Jorma and Sirpa, for their unfailing support and belief; Ossi, Ayshe, and the boys for providing me with a fantastic base in London; and the Juntunen, Lehtonen, and Tolppila folk (and Nuppu and Touho) for nourishing me in so many ways. My greatest gratitude, however, is reserved for my spouse Nina Reiman, who in times of doubt has always reassured me: “Sä oot kaikkein paras oseaanikko”. In Jyväskylä, 13.1.2015 Jussi A. Saarinen CONTENTS ABSTRACT ACKNOWLEDGMENTS LIST OF ORIGINAL PAPERS 1 INTRODUCTION ................................................................................................ 9 1.1 Background and four key points of debate ............................................. 9 1.2 The scope, aims, and composition of the thesis ................................... 23 1.3 Discussion of main ideas and arguments .............................................. 25 YHTEENVETO ............................................................................................................. 29 REFERENCES ............................................................................................................... 31 ORIGINAL PAPERS LIST OF ORIGINAL PAPERS I Saarinen, J. A. (2012). The Oceanic State: A Conceptual Elucidation in Terms of Modal Contact. International Journal of Psychoanalysis, 93 (4), 939–961. II Saarinen, J. A. (forthcoming). The Concept of the Oceanic Feeling in Artistic Creativity and in the Analysis of Visual Artworks. Journal of Aesthetic Education, 49 (3). III Saarinen, J. A. (2014). The Oceanic Feeling: A Case Study in Existen- tial Feeling. Journal of Consciousness Studies, 21 (5–6), 196–217. IV Saarinen, J. A. (2014). The Oceanic Feeling in Painterly Creativity. Contemporary Aesthetics, vol. 12. Available online at http://www.contempaesthetics.org. 1 INTRODUCTION The topic of this thesis is the concept of the oceanic feeling. Since its emergence into academic discussion, the concept has attracted the
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