Thinking as a partner

An indelible quotient.

In the above photo, a detail taken from ‘Portrait of a young man’ (1474) by Antonello Da Messina/ oil on walnut 26,7 x 31,5cm and shown during the exhibition ‘Antonello Da Messina’ (2019) – at the ‘Palazzo Reale’ in Milan; now at the ‘Philadelphia Museum of Art’ – ‘The John G. Johnson Collection’.

To benefit from one’s calling [1] / 55.

“to keep perceptual orientation the neuron needs the economic orientation.” [2]

“…therefore three are my concluding chapters Law Science Faith.” [3].

Ap-prehends, Giacomo B. Contri, the certain observation by Freud that memory is started by ‘mnestic remnants’ among which, those captured first and foremost, are the auditory ones: even evident is Freud’ intention – maybe a little vaporization in the translations – to refer to that ‘quotient’ (or ‘quot’ in Latin language) which remains indelible because it makes sense, literally.

For this reason we refer as ‘mnestic quotient’.

One’s orientation is then only ‘economic’ to allow the perceptual: in this immediately constituting the ‘juridical’.

Marina Bilotta Membretti/ Cernusco sul Naviglio – June 28, 2025

TutorSalus.net - Freudian journalism

[1] www.tutorsalus.net/index.php/en/pensare-da-partner-2/358-psychoanalyst-and-profession-1

[2] Citaz. da THINK! di Giacomo B. Contri, 10 ottobre 2014

[3] Citaz. da ‘Contributo 7 gennaio 2022’ di Giacomo B. Contri al Simposio ‘Amore’ 2021 – 2022, organizzato da ‘Società Amici del pensiero – Sigmund Freud’, Milano.

‘cruelty’ and ‘inexperience’.

To benefit from one’s calling [1] / 54.

Beyond the technical explanations which anyone will be able to deepen, about on popular pubblications, a recent sentence has opened a new very risky watershed between ‘cruelty’ in the unfortunately not last murder by love, and ‘inexperience’ - as it was judged - of the murderer himself, moreover a self-confessed and young man.

We owe to Jacques Lacan – even Freudian psychoanalyst in his beginnings – having thoroughly examined the origin of the attribution of in-justice, and the production of damage until its absurd repetition, and until the crime: un-reasonable yes, but very comforting…[2]

Is thinkable the reiteration of an already committed crime being then more experienced ?

It’s ‘justice’ to fear the question. 

Marina Bilotta Membretti/ Cernusco sul Naviglio – June 19, 2025

TutorSalus.net - Freudian journalism

Original painting by Gianni Russomando.[3]

[1] www.tutorsalus.net/index.php/en/pensare-da-partner-2/358-psychoanalyst-and-profession-1

[2] “ ‘Encore’ is the proper name of the fault from which, in the Other, the demand for love begins.” Cited p. 6 from ‘Jacques Lacan. Il seminario Libro XX. Ancora 1972 – 1973’. Testo stabilito da Jacques-Alain Miller. Edizione italiana a cura di Antonio Di Ciaccia.

[3] Gianni Russomando: “born in Vercelli (1956), graduated at the ‘Istituto di Belle Arti di Vercelli’, I can describe me as an ‘amanuense’ (medieval hand-painter), so then far from expositions and competitions.”

Delegation and disinvestment.

In the photo: a beacon in North New Zealand.

To benefit from one’s calling [1] / 53.

“There’s no centrum, neither phisical nor human nor divine, as at least from Copernicus we should have started to think: the idea of a centrum is signed by a demented already called Narcissus.”[2] 

The idea of a centrum underlies a poorly concealed delegation, that is, disinvestment from work: nothing to do with partnership, which does not give up work.

Marina Bilotta Membretti/ Cernusco sul Naviglio – May 23, 2025.

TutorSalus.net - Freudian journalism

[1] www.tutorsalus.net/index.php/en/pensare-da-partner-2/358-psychoanalyst-and-profession-1

[2] Cited from THINK! by Giacomo B. Contri / December 10, 2014.

Beyond the 'eyeable'.

Original painting by Gianni Russomando.[1]

To benefit from one’s calling [2] / 52.

The dictionary distinguishes ‘camouflage’ from ‘mimicry’ on the basis of a characteristic : ‘camouflage’ would be easier to unmask, unlike ‘mimicry’ which gets to deceive. Speaking of film acting, the good actor Michael Caine[3] admits : “The close-up of the screen manages to uncover even the most insignificant uncertainty, amplifying it.”

That is, you can’t fool the camera : so close that a minimal crease of the face would reveal contradictory feelings.

On the other side unconscious cannot be tamed and to move – unlike conscience – must have valid reasons. Even cinema introduces – as photography already did – a third other which is, and however is not, the true spectator.

In fact mimicry goes beyond the ‘eyeable’, even if ‘in primis’ – or seemingly ‘in primis’ – this concerns only the visual function: to identify reality the epidermis sensitive primitive property is indispensable, to which - if we admit it – hearing travels abreast detecting percussions on the auditory membrane – the eardrum infact, or ‘tympanum’ – from which those mnemic remnants that establish memory come.

So that it is the skin that is applied – or not – to reality to ap-prehend it, a communication that is immediately transmittable even before words, and that remains indelible beyond any will: and this is what the night dreams and lapsus reveal with certainty.

“Before a film actor can claim a part is his, or hers, he – or she – has to be able to dream the night dreams of the character.”[4]

Marina Bilotta Membretti / Cernusco sul Naviglio – May 14, 2025.

TutorSalus.net - Freudian journalism

[1] Gianni Russomando : “born in Vercelli (1956), graduated at the ‘Istituto di Belle Arti di Vercelli’, I can describe me as an ‘amanuense’ (medieval hand-painter), so then far from expositions and competitions.”

[2] www.tutorsalus.net/index.php/en/pensare-da-partner-2/358-psychoanalyst-and-profession-1

[3] ‘Recitare davanti alla macchina da presa’, Preface by Laura Muccino - Dino Audino Editore (2023) p.20. Michael Caine (London, 1933) doesn’t like to talk about his difficult childhood: around the age of eighteen he left school definitively, between 1952 and 1954 he fought in the Korean War among the Royal Fusiliers: when he returned home, he enrolled in an acting school, he began to work at theater and soon to go to the movies. He received two Academy Awards for ‘Best Supporting Actor’ (1986 and 1999) and a Golden Globe in 1983. For his artistic merits Sir Michael Caine was awarded in 1992 the title of Commander, and in 2000 the title of Knight Commander of the ‘Order of the British Empire’ by the Queen Elizabeth II.

[4] ‘Recitare davanti alla macchina da presa’, Preface by Laura Muccino - Dino Audino Editore (2023) p.17.