1.1 Freud’s representation of the civilization takes into account the complexity of society that has translated into the creation of multiple perspectives and notions which aim to expound upon the existence of human beings with respect to their socio-cultural and historical environment…
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Consequently, this action is undertaken as a means combating the temptation of unfulfilled wishes which need to be attained through the selection of a particular path, whether negative or positive (Freud 11). Analyzing, the selection made by Aphex Twin one can comprehend that the individual’s desire for the realization of pleasure was attained by the means of a positive outlet in the diverse form of art such as music. This notion is termed as Substitutive escapism where an individual may choose to explore the services that are provided by the mode of expression that is art (“Overview of Freud’s Civilization and its Discourse”). Within this context, Freud’s description of Aphex Twin’s life can viewed through the lens of the pleasure principle and the coping mechanisms that are favored by an individual to escape these pleasures. 1.2 According to the abundant literature which has aimed to unravel the mysteries of madness and its vivid association with the minds of poets, artists and musicians, the whims of such creations are understood to be the products of deranged souls whose yearnings often mask under the temperance of art (Foucault 29). Foucault’s theories on discourse, knowledge and power examine the evolution of mankind from the middle ages to modernity, the ramification of which has been a comprehensive understanding of madness and what the concept essentially implies. Within the context of western modernity, Aphex Twin’s life and career are marked by significant progress during the course of which the artist has been able to redefine music, represent a generation and utilize his capabilities to create an illusion that emerges from profound reflection (“Historical And Sociocultural Contexts For Foucault’s Madness And Civilization”). If Foucault’s views on madness and its gradual development with the progress of humanity are to be applied, then Aphex Twin’s artistic creation can be viewed from the concept of creativity which is characterized by social transgression and a transcendence of socially accepted boundaries (“Foucault on Art and Madness”). This observation postulates that art and its forms can be comprehended as a means of liberation where an individual can only seek solace through expression that may appear abstract to those who have not dared to cross the borders of sanity. This notion essentially assesses the work of Aphex Twin in the light of madness, ingenuity and audacity. 1.3 An example of the dimensions of the pleasure principle that has been provided by Freud in his work encompasses the notion of pleasure in the form of intellectual effort and the role of the external environment in fulfilling an individual’s desires. Freud asserts that the pleasure derived by a human being is a notion which is dependent upon several factors, therefore, if an individual’s external environment is not able to assist the attainment of his/her desires then it is likely that such a person would resort to the selection of substitute-gratifications and fall in the trap of a mental illness (11). For Foucault, the foundations of madness reside in the special bond that is shared by an artist and his work. In this context, Foucault refers to personalities such as Van Gogh and Nietzsche in describing their relentless commitment to the
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(“Psychology Anthropology Analysis Term Paper Example | Topics and Well Written Essays - 2000 words”, n.d.)
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(Psychology Anthropology Analysis Term Paper Example | Topics and Well Written Essays - 2000 Words)
“Psychology Anthropology Analysis Term Paper Example | Topics and Well Written Essays - 2000 Words”, n.d. https://studentshare.org/anthropology/1483620-psychology-anthropology-analysis.
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