Assortment of colored boards to serve as backgrounds on which to make collages. Below, the wax machine for applying an even coat of re-positionable adhesive to pictures or other paper collage-elements.

“Color seizes the eye, but the eye grasps form.”
— Ernst Schachtel
Experiential Foundations of Rorschach’s Test, 1966

“…input is never into a quiescent or static system, but always into a system which is already actively excited and organized. In the intact organism behavior is the result of interaction of this background of excitation with input from any designated stimulus.”

— K.S. Lashley
“The Problem of Serial Order in Behavior,” 1951

“…while we may agree that there is an inner need for movement in a physical sense from infancy onwards, it is not equally clear there is inner need that it be matched literally by movement considered as change in the objects of connectedness. Why could the need for movement not be more fully recognized as being met at the psychic level in the act of seeing new significances in established forms of temporal connectedness, in the activity of developing new forms of symbolic layering in relation to objects of connectedness? Such recognition would reduce protean man’s inner need to have the circumstances of his life change, and allow the quest for integrity to contribute to new forms of connectedness while satisfying through increasing depth the need for movement.”

—W. Stoesz

“Death and the Affirmation of Life: Robert Lifton’s ‘Sense of Immortality’,” 1979

“The distinction between horizontal and vertical in language corresponds to Lacan’s use of Jakobson’s alignment of metonymy with the horizontal dimension of language (the line of Western writing, the syntamatic) and metaphor with the vertical dimension (the paradigmatic stack of possible selections for any point along the line).

…the oppostion between horizontal and vertical in Lacan’s text is not value-free in Lacan’s text, …horizontality is linked to insufficiency.…

The analyst‘s intervention frees the patient from his suffering by allowing him to metaphorize.”

—Jane Gallop

Reading Lacan, 1985

“As I struggled each week to compose my lecture for the coming Monday afternoon … there was the constant delight of the great Ruysdael exhibition.… From Ruysdael I was learning that juxtaposition is also a mode of composition.”

—Richard Wollheim

The Thread of Life, 1984

“…it is the affixing of the collage piece, one plane set down on another, that is the center of collage as a signifying system. That plane, glued to its support, enters the work as the literalization of depth, actually resting ‘in front of’ or ‘on top of’ the field or element it now partially obscures.”

— Rosalind Krauss
“In the Name of Picasso,” 1981

“…nowhere in art have I encountered a more accurately pointed description of man’s yearning to achieve the restoration of his crumbling self than that contained in these three terse sentences in O’Neill’s play ‘The Great God Brown’… ‘Man is born broken. He lives by mending. The grace of God is glue’.”

—Heinz Kohut
The Restoration of the Self, 1977

“The term juxtaposition, which has served till now, finally breaks down. The ‘nextness’ which it connotes reveals itself as an inaccurate descripption of the structure of the arts. Juxtaposition implies succession, even if it is at rendom or provoked by conflict. Exactly here one can go astray. Had the montage form of art been concerned with a real succession of events, transitions would have been included rather than suppressed, for transitions supply the guided tour, an order of events. But since instead of transition we have contrast and conflict, the successive nature of these compositions cannot sustain itself. Ultimately it becomes apparent that the mutually conflicting elements of montage — be it movie or poem or painting — are to be conceived not successively but simultaneously, to converge in our minds as contemporaneous events. The conflict between them prevents us from fitting them smoothly end to end; what appeared an arbitrary juxtaposition of parts can now take its true shape of enforced superposition. The diversity of Apollinaire’s ‘calligrams,’ the associations of Le rêve by Rousseau, and the assortments of Satie’s ballets should reach us as co-incidence. The aspiration of simultanism is to grasp the moment in its total significance or, more ambitiously, to manufacture a moment which suprasses our usual perception of time and space.…

In contrast to the ambitious arts of progress and development, the paintings, poems and compositions of the Banquet Years turn back upon themselves and lie quiet. They imply that by being sufficiently still, by becoming for an instant exactly identical with ourselves, nothing more nor less, we can allow the universe to move around us. This is the meaning in art of relativity. An object in motion has difficulty taking into account other motions. Only by achieving rest, arrest, can we we perceive what is happening outside ourselves. Simultanism, the third voice of life, signifies an approach to immobility and thus an extremely sensitive attunement to the infinite universe.…

Since Jarry many minds have understood the aptness of the gyroscope to represent the elusive form of art in the twentieth century. Like a gyroscope, it sustains itself by a concentration of forces in self-reflexiveness, art turning upon itself. This inwardness reveals itself in a posture of total arrest — the juxtaposition of parts around a moment of profound awareness . . . ”

—Roger Shattuck

“The Art of Stillness,”
n The Banquet Years: The Origins of the Avant-Garde in France, 1885 — World War I, 1958

Psychotherapeutic supplies are accordingly assumed to consist of two persons, the relationship they form, the language which mediates this relationship and the theory that informs interpretations of it. The latter component, psychotherapeutic theory, does, of course, comprise an extremely heavy (even if non-physical) investment. But the analytic tools in which this theory is embodied are wielded by the professional member of the dyad: wide dissemination of psychoanalytic theory has, in fact, presented a challenge to technique. The asymmetry of the dyad — skilled professional theory-holder on one side; confused patient on the other — then serves to legitimize the fee schedule even as its implicit epistemology suggests that a lengthy period of time will be required for the treatment.