The blog

We have asked Claire Fouquet, a SPEAP student, to imagine how she could "make visible" what she calls "the dance of the unconscious". In this video, she proposes a way to outline the work necessary to "have a psyche".

You can access the document by clicking here (in Chapter 8. Reinstituting the Beings of Metamorphosis)
http://www.modesofexistence.org/ime/fr/doc/19460

Also available below (video in French)

La Danse des inconscients from AIME team on Vimeo.

English subtitles can be activated below the following video: http://entre.poser.online.fr/DanseDinconscients.html

Find below a description of the work by Claire Fouquet:

The “Dance of the unconscious,” found in every Ericksonian hypnosis session, supposes that the unconscious of the hypnotherapist leads a dance that is equally by her partner: the unconscious of the patient (the trance is also equally experienced by the hypnotherapist). 

Verbal guidance follows the movements of this dance of the unconscious, which makes the "true" source of the narration that is produced doubly indeterminable: is it from the patient or from the hypnotherapist? From consciousness or the unconscious? (and if there is an unconscious, where do its ideas come from?)

Emmanuelle Ohniguian and Claire Fouquet describe, a posteriori, the mental experience during the hypnosis session in order to capture what shapes us on the frontier of consciousness. You can almost see this invisible dance from one unconscious to the other emerge implicitly in their back and forth account. 

The Participants

Emmanuelle Ohniguian: Psychologist trained in Ethnopsychiatry and Eriksonian Hypnosis, she is also a screenwriter and film director. 

Claire Fouquet: Visual artist with a diploma from Beaux-Arts de Paris in 2007. She is pursuing a Masters in “Art and Politics” (SPEAP) under the direction of Bruno Latour at Sciences-Po.

Organisation: 

The Eriksonian hypnosis session is filmed by two cameras and the sound is recorded. After the session, a quick debriefing is also recorded which allows Emmanuelle Ohniguian and Claire Fouquet to talk about their impressions, the sensations that they felt, and their respective timing. This exchange can eventually serve as a memory aid. 

Both Emmanuelle Ohniguian and Clair Fouquet write their own account of what crossed their mind during the session as well as what caught their attention, what broke their concentration, what they saw, heard, touched... physically as well as mentally. To do this, they can rely on images from the session and/or their retranscription. 

The two texts are recut into a single account. The cuts are made chronologically and according to the echos of each version in the other. 

This interspersed account is read and recorded in two voices, each narrating their part of the account. These recordings serve as the soundtrack to a video montage, which also uses some “direct” sound clips recorded during the hypnosis session. 

Certain passages have been deleted from the final montage for perceptual reasons: the video seemed too long.