Sigmund Freud-Museum | Newsletter - Sigmund Freud Museum Wien

Newsletter des Sigmund Freud-Museums
Newsletter of the Sigmund Freud-Museum
ISSN 1726-1937 (Internet)
01|2002
06–19 | Sherry Turkle: Whither Psychoanalysis in a Computer Culture? | 20–24 |
Ausstellung / Exhibition / Joseph Kosuth: ‚Ansicht der Erinnerung‘ – ‘A View to Memory’ | 25–26 |
Verein der Freunde des Sigmund Freud-Museums Wien / The Society of Friends of the Sigmund
Freud Museum Vienna | 28–35 | Bibliothek & Archiv / Library & Archive
| 36–37 | Veranstaltungskalender / Calendar of Events
inhalt / table of contents
D
E
01|2002
03–05| Editorial / Inge Scholz-Strasser
06–19| Text / Sherry Turkle: Whither Psychoanalysis
in a Computer Culture?
20–24| Ausstellung / Joseph Kosuth:
‚ Ansicht der Erinnerung‘ – ‘A View to Memory’
25–26| Verein der Freunde des
Sigmund Freud-Museums Wien
27| Aktuelles / Architektur des
Sigmund Freud-Museums
28–35| Bibliothek, Archiv & Neuzugänge
36–37| Veranstaltungskalender
38–39| Mitgliedschaft & Allgemeine Informationen
40| Impressum & Abbildungsnachweise
03–05| Editorial / Inge Scholz-Strasser
06–19| Text / Sherry Turkle: Whither Psychoanalysis
in a Computer Culture?
20–24| Exhibition / Joseph Kosuth:
‚ Ansicht der Erinnerung‘ – ‘A View to Memory’
25–26| The Society of Friends of the
Sigmund Freud Museum Vienna
27| News / The Architecture of
the Sigmund Freud Museum
28–35| Library, Archive & New Accessions
36–37| Calendar of Events
38–39| Membership & General Information
40| Imprint & Illustration Credits

editorial
Werte Leserinnen und Leser!
In den letzten zehn Jahren hat das Sigmund Freud-Museum in mehreren Etappen die
Ausstellungsfläche des Museums nahezu verdoppeln können und die entsprechende Infrastruktur für
die Einrichtung einer wissenschaftlichen Forschungsbibliothek geschaffen. Mit der Anmietung eines
gassenseitig gelegenen Lokals ist seit diesem Jahr eine Schaufläche an der Außenfront des Hauses
hinzugekommen, die es ermöglicht, nun auch im öffentlichen Raum durch Installationen verstärkt die
Tätigkeit des Museums sichtbar zu machen. Diese neuen Infrastrukturen bieten die Gelegenheit, auf
die vielfältigen Funktionen des Ortes Berggasse 19 und die räumlichen Konzepte, die hier umgesetzt
wurden, zu verweisen.
Dokumentiert sind die von Architekt Wolfgang Tschapeller umgesetzten räumlichen Veränderungen in
einem Architekturfolder, der in diesem Jahr von Lydia Marinelli und Georg Traska zusammengestellt
wurde.
Im Sigmund Freud-Museum konnte in der letztjährigen Umbauphase die Sanierung der
Originalparketten im Bibliotheksbereich sowie die komplette Renovierung der Verwaltungsräume im
Parterre des Hauses Berggasse 19 fertig gestellt werden. In den heutigen Verwaltungsräumen befand
sich von 1895 bis 1908 Sigmund Freuds erste Praxis, seit 2001 werden sie auch als Präsentationsfläche
für die Kunstsammlung „Foundation for the Arts, Sigmund Freud Museum Vienna“ genützt, die auf
Anfrage zu besichtigen ist. Diese Sanierung wurde von den Österreichischen Lotterien, einem Förderer
des Sigmund Freud- Museums, mitfinanziert.
Neben der üblichen hohen internationalen Besucherfrequenz hat das Sigmund Freud-Museum mit
Veranstaltungen, die psychoanalytische Ansätze in ihren Überschneidungen mit darstellender Kunst,
Literatur und neuen Medien präsentieren, besonders in Wien neue, vor allem jüngere
Publikumsschichten gewinnen können, die die Berggasse 19 als aktuelles Forum für wissenschaftliche
und kulturelle Debatten wahrnehmen. In diesem Kontext ist auch die hier abgedruckte, diesjährige
Sigmund Freud-Vorlesung „Whither Psychoanalysis in a Computer Culture?“ von Sherry Turkle zu
sehen, die die Auswirkungen der neuen Medien auf die individuellen Kommunikationsformen
aufzeigt.
Die Ausstellung „Sigmund Freud: Conflict and Culture“, eine Kooperation der Library of Congress,
des Sigmund Freud-Museums Wien und des Freud Museum London, wurde in Brasilien im Museu de
Arte Moderna São Paulo von 10. Oktober 2000 bis 8. Jänner 2001 und im Museu de Arte Moderna in
Rio de Janeiro von 6. Februar bis 19. März 2001 gezeigt. Im Anschluss daran übernahm als letzte
Station in den USA das Field Museum in Chicago die Ausstellung vom 3. Oktober bis 9. Dezember
2001. „Sigmund Freud: Conflict and Culture“ ist derzeit in Israel am Beth Hatefutsoth Tel Aviv in
einer Faksimile-Version zu sehen, wobei das Sigmund Freud-Museum für diese Präsentation
Erstausgaben der Schriften Freuds zur Verfügung stellte und das Sigmund-Freud-Gymnasium Wien
das Protokoll der Reifeprüfung Sigmund Freuds beisteuerte.
Im letzten Jahr wurden mehrere Ausstellungsprojekte präsentiert, die die Wechselwirkung von
Psychoanalyse und Kunst in den Bereichen Literatur und neue Medien thematisierten. Julius
Deutschbauer war mit der „Bibliothek ungelesener Bücher im Sigmund Freud-Museum“ von 6. April
bis 10. Juni 2001 im Ausstellungs- und Vortragssaal in der Berggasse 19 zu Gast. Im Rahmen seiner
„Bibliothek“ fanden Lesungen und Veranstaltungen für die jährlich vom ORF initiierte „Lange Nacht
der Museen“ statt. Im Anschluss daran wurde eine Installation aus Couchen gezeigt, die das Depot der
Bundestheaterverwaltung zur Verfügung stellte. Die Arbeit „public seduction“ von Kiki Seror, eine
Kooperation von zürich kosmos laser art und dem Sigmund Freud-Museum, sowie die Ausstellung
„Diesseits und jenseits des Traums. 100 Jahre Jacques Lacan“, eine Kooperation der Neuen Wiener
Gruppe/Lacan Schule, dem Sigmund Freud-Museum und der Galerie Charim, kuratiert von Brigitte
Huck und August Ruhs (siehe Newsletter 2/2001), setzten den Schwerpunkt zeitgenössische Kunst in
der Berggasse 19 fort.
Das Sigmund Freud-Museum betreute im Rahmen von „Unternehmen Capricorn – Eine Expedition
durch Museen, Karmelitermarkt Wien“ eine Installation in einem ehemaligen Gassenlokal im zweiten
Bezirk, die von Alexandre Métraux kuratiert wurde; sein Beitrag dazu wurde im Newsletter 1/2001
publiziert.

Seit Mai 2002 präsentiert das Sigmund Freud-Museum eine neue Installation von Joseph Kosuth mit
dem Titel ‚Ansicht der Erinnerung‘ – ‘A View to Memory’ an der Außenfront des Hauses Berggasse
19. Das neben dem Hauseingang gelegene Lokal, in dem bis 1938 Siegmund Kornmehl eine koschere
Fleischerei geführt hat, bietet mit seinem großen Schaufenster den Schauplatz von Kosuths
Installation.
Die Projekte des Museums konnten in den letzten Jahren nur durch die grundlegende finanzielle
Unterstützung des Vereins der Freunde des Sigmund Freud-Museums Wien realisiert werden. Dieser
Verein blickte 2001 auf eine zehnjährige Tätigkeit zurück und hat zu diesem Anlass seine
Programmatik neu formuliert, die er in diesem Newsletter vorstellt.
Die verstärkte Öffnung des Museums für neue Wiener Publikumsschichten wird auch in den
kommenden Jahren im Zusammenspiel mit internationalen wissenschaftlichen Kooperationen und
Ausstellungen im Mittelpunkt der Zielsetzung stehen.
Inge Scholz-Strasser
Direktorin
Dear Readers,
In several building phases over the past ten years, the Sigmund Freud Museum has been able to nearly
double its exhibition space and has made the infrastructural improvements necessary for the
establishment of a scientific research library. Now that it has rented a street-level storefront that
provides a display surface on the building’s exterior, the Museum is able as of this year to draw
attention to its activities through installations in public space. These new developments offer an
opportunity to consider the manifold functions of the location Berggasse 19 and the spatial concepts
that have been realized there. The Museum’s spatial planning and its realization by architect Wolfgang
Tschapeller are documented in an architecture folder that was compiled this year by Lydia Marinelli
and Georg Traska.
In last year’s phase of the remodeling of all the facilities at Berggasse 19, the renovation of the original
parquet flooring in the library area and the complete renovation of the administrative rooms on the
house’s ground floor have been completed. From 1895 to 1908, Sigmund Freud had his first office in
what are now the administrative rooms. Today these rooms are also used as space for presenting the art
collection of the “Foundation for the Arts, Sigmund Freud Museum Vienna” which can be viewed on
request. The renovation was co-funded by Austrian Lotteries, one of the Sigmund Freud Museum’s
sponsors.
In addition to maintaining its usual high frequency of international visitors the Sigmund Freud
Museum has been able to reach a new, mainly young public in Vienna in particular by organizing
events in which psychoanalytic approaches overlap with the performing arts, literature and new media.
Berggasse 19 is now seen as a contemporary forum for scientific and cultural discourse. In this context
we are also printing the text of this year’s Sigmund Freud Lecture, given by Sherry Turkle and entitled
“Whither Psychoanalysis in a Computer Culture?” This lecture elaborated on the effects of the new
media on individual forms of communication.
The exhibition “Sigmund Freud: Conflict and Culture,” a cooperative effort of the Library of
Congress, the Sigmund Freud Museum Vienna and the Freud Museum London was shown in Brazil at
the Museu de Arte Moderna São Paulo from 10 October 2000 through 8 January 2001 and at the
Museu de Arte Moderna in Rio de Janeiro from 6 February through 19 March 2001. Thereafter the
show was on view for the last time in the USA at the Field Museum in Chicago from 3 October
through 9 December 2001. Currently the exhibition can be seen in a facsimile version at Beth
Hatefutsoth Tel Aviv. For this show in Israel, the Sigmund Freud Museum has made available first
editions of Freud writings and the Sigmund Freud Gymnasium in Vienna has lent the protocol of
Sigmund Freud’s final examination.
The Sigmund Freud Museum has realized numerous exhibition projects at Berggasse 19 during the last
year. The exhibitions explored the interaction between psychoanalysis and art in the areas of literature
and new media. Julius Deutschbauer’s “Library of Unread Books at the Sigmund Freud Museum” was
on view in the exhibition and lecture room from 6 April to 10 June 2001. Readings were held in this
context and events were also hosted within the framework of the citywide “Long Night at the

Museums,” an annual event initiated by ORF, the Austrian television company. An exhibition of
couches borrowed from the depot of the Federal Theater Administration followed. Kiki Seror’s
installation “public seduction,” a cooperation between the Sigmund Freud Museum and zurich kosmos
laser art and the exhibition “On the Near and the Far Side of the Dream: The Jacques Lacan
Centenary,” a cooperation between the Neue Wiener Gruppe/Lacan Schule, the Sigmund Freud
Museum and Galerie Charim that was curated by Brigitte Huck and August Ruhs (see Newsletter
2/2001) continued to focus on contemporary art at Berggasse 19.
In the framework of “Operation Capricorn – An Expedition Through Museums, Karmelitermarkt,
Vienna,” the Sigmund Freud Museum presented an installation curated by Alexandre Métraux in a
former storefront. His contribution was published in Newsletter 1/2001.
Since May 2002 the Sigmund Freud Museum has been presenting ‚Ansicht der Erinnerung‘ – ‘A View
to Memory,’ a new installation by Joseph Kosuth on the old storefront at Berggasse 19. The store
located next to the entrance of the building, where Siegmund Kornmehl ran a kosher butcher’s shop up
until 1938, offers, with its huge store windows, a backdrop for Kosuth’s installation.
In recent years it has only been possible to realize the Museum’s projects with the massive financial
support of the Society of Friends of the Sigmund Freud Museum Vienna. Last year this association
looked back on ten years of activity and on this occasion undertook a reorganization of its program
structure, which we present in this Newsletter.
In coming years, the opening of the Museum to new segments of the Viennese public will be at the
center of the Museum’s efforts in combination with international scientific cooperations and
exhibitions.
Inge Scholz-Strasser
Director

sherry turkle
Sherry Turkle | Whither Psychoanalysis in a Computer Culture?*
I. Psychoanalytic Culture and Computer Culture
Over twenty years ago, as a new faculty member at MIT, I taught an introductory class on
psychoanalytic theory. For one meeting, early in the semester, I had assigned Freud’s chapters on slips
of the tongue from The Psychopathology of Everyday Life. I began class by reviewing Freud’s first
example: the chairman of a parliamentary session begins the meeting by declaring it closed.1 Freud’s
analysis centered on the possible reasons behind the chairman’s slip: he might be anxious about what
the parliamentarians had on their agenda. Freud’s analysis turned on trying to uncover the hidden
meaning behind the chairman’s remark. The theoretical effort was to understand his mixed emotions,
his unconscious ambivalence.
As I was talking to my class about the Freudian notions of the unconscious and of ambivalence, one of
the students, an undergraduate majoring in computer science, raised her hand to object. She was
studying at the MIT Artificial Intelligence Laboratory, which was (and is) a place whose goal, in the
words of one of its founders, Marvin Minsky, is to create “machines that did things that would be
considered intelligent if done by people.” Work in the AI Lab began with the assumption that the
mind, in Minsky’s terms, “was a meat machine,” best understood by analogizing its working to that of
a computer program. It was from this perspective that my student objected to what she considered a
tortured explanation for slips of the tongue. “In a Freudian dictionary,” she began, “closed and open
are far apart. In a Webster’s dictionary,” she continued, “they are as far apart as the listings for C and
the listings for O. But in a computational dictionary – such as we have in the human mind – closed and
open are designated by the same symbol, separated by a sign of opposition. Closed equals ‘minus’
open. To substitute closed for open does not require the notion of ambivalence or conflict. When the
substitution is made, a bit has been dropped. A minus sign has been lost. There has been a power
surge. No problem.”
With this brief comment, a Freudian slip had been transformed into an information processing error.
An explanation in terms of meaning had been replaced by a narrative of mechanistic causation. At the
time, that transition from meaning to mechanism struck me as emblematic of a larger movement that
might be taking place in psychological culture. Were we moving from a psychoanalytic to a computer
culture, one that would not need such notions as ambivalence when it modeled the mind as a digital
machine?2
For me, that 1981 class was a turning point. The story of the relationship between the psychoanalytic
and computer cultures moved to the center of my intellectual concerns. But the story of their
relationship has been far more complex than the narrative of simple transition that suggested itself to
me during the early 1980s. Here I shall argue the renewed relevance of a psychoanalytic discourse in
digital culture. Indeed, I shall argue that this relevance is so profound as to suggest an occasion for a
revitalization and renewal of psychoanalytic thinking.
In my view, this contemporary relevance does not follow, as some might expect, from efforts to link
psychoanalysis and computationally inspired neuroscience. Nor does it follow, as I once believed it
would, from artificial intelligence and psychoanalysis finding structural or behavioral analogies in
their respective objects of study.
In my 1988 “Psychoanalysis and Artificial Intelligence: A New Alliance,”3 I suggested an opening for
dialogue between these two traditions that had previously eyed each other with suspicion if not
contempt. In my view, the opening occurred because of the ascendance of “connectionist” models of
artificial intelligence. Connectionist descriptions of how mind was “emergent” from the interactions of
agents had significant resonance with the way psychoanalytic object-relations theory talked about
objects in a dynamic inner landscape. Both seemed to be describing what Minsky would have called a
“society of mind.” Today, however, the elements within the computer culture that speak most directly
to psychoanalysis are concrete rather than theoretical. Novel and evocative computational objects
demand a depth psychology of our relationships with them. The computer culture needs
psychoanalytic understandings to adequately confront our evolving relationships with a new world of

objects. Psychoanalysis needs to understand the influence of computational objects on the terrain it
knows best: the experience and specificity of the human subject.
II. Evocative Objects and Psychoanalytic Theory
The designers of computational objects have traditionally focused on how these objects might extend
and/or perfect human cognitive powers. As an ethnographer/psychologist of computer culture, I hear
another narrative as well: that of the users. Designers have traditionally focused on the instrumental
computer, the computer that does things for us. Computer users are frequently more in touch with the
subjective computer, the computer that does things to us, to our ways of seeing the world, to the way
we think, to the nature of our relationships with each other. Technologies are never “just tools.” They
are evocative objects. They cause us to see ourselves and our world differently.
While designers have focused on how computational devices such as personal digital assistants will
help people better manage their complex lives, users have seen devices such as a Palm Pilot as
extensions of self. The designer says: “People haven’t evolved to keep up with complexity. Computers
will help.” The user says: “When my Palm crashed it was like a death. More than I could handle. I had
lost my mind.” Wearable computers are devices that enable the user to have computer and online
access all the time, connected to the Web by a small radio transmitter and using specially designed
eyeglasses as a computer monitor. Designers of wearable computing talk about new and indeed,
superhuman access to information. For example, with a wearable computer, you can be in a
conversation with a faculty colleague and accessing his or her most recent papers at the same time. But
when people actually wear computers all the time (and in this case, this sometimes happens when the
designers begin to use and live with the technology) they testify to impacts on a very different register:
wearable computers change one’s sense of self. One user says, “I become my computer. It’s not just
that I remember people or know more about them. I feel invincible, sociable, better prepared. I am
naked without it. With it, I’m a better person.” A wearable computer is lived as a glass through which
we see, however darkly, our cyborg future.4 Indeed, the group of students at MIT who have pioneered
the use of wearable computing call themselves cyborgs.
Computer research proceeds through a discourse of rationality. Computer culture grows familiar with
the experiences of passion, dependency, and profound connection with artifact. Contemporary
computational objects are increasingly intimate machines; they demand that we focus our attention on
the significance of our increasingly intimate relationships with them. This is where psychoanalytic
studies are called for. We need a developmental and psychodynamic approach to technology that
focuses on our new object relations.
There is a certain irony in this suggestion, for of course psychoanalysis has its own “object-relations”
tradition.5 Freud’s “Mourning and Melancholia” opened psychoanalysis to thinking about how people
take lost objects and internalize them, creating new psychic structure along with new facets of
personality and capacity.6 But for psychoanalysis, the “objects” in question were people. A small
number of psychoanalytic thinkers explored the power of the inanimate (for example, D. W. Winnicott
and Erik Erikson, child analysts who wrote about the experience of objects in children’s play), but, in
general, the story of “object relations” in psychoanalysis has cast people in the role of “objects.”7
Today, the new objects of our lives call upon psychoanalytic theory to create an object relations theory
that really is about objects in the everyday sense of the word.
What are these new objects? When in the early 1980s I first called the computer a “second self” or a
Rorschach, an object for the projection of personhood, relationships with the computer were usually
one-to-one, a person alone with a machine. This is no longer the case. A rapidly expanding system of
networks, collectively known as the Internet, links millions of people together in new spaces that are
changing the way we think, the nature of our sexuality, the form of our communities, our very
identities. A network of relationships on the Internet challenges what we have traditionally called
“identity.”8
Most recently, a new kind of computational object has appeared on the scene. “Relational artifacts,”
such as robotic pets and digital creatures, are explicitly designed to have emotive, affect-laden
connections with people. Today’s computational objects do not wait for children to “animate” them in
the spirit of a Raggedy Anne doll or the Velveteen Rabbit, the toy who finally became alive because so

many children had loved him. They present themselves as already animated and ready for relationship.
People are not imagined as their “users” but as their companions.
At MIT, a research group on “affective computing” works on the assumption that machines will not be
able to develop humanlike intelligence without sociability and affect. The mission of the affective
computing group is to develop computers that are programmed to assess their users’ emotional states
and respond with emotional states of their own. In the case of the robotic doll and the affective
computer, we are confronted with relational artifacts that demand that the human users attend to the
psychology of a machine.
Today’s relational artifacts include robot dogs and cats, some specially designed and marketed to
lonely elders. There is also a robot infant doll that makes baby sounds and even baby facial
expressions, shaped by mechanical musculature under artificial skin. This computationally complex
doll has baby “states of mind.” Bounce the doll when it is happy, and it gets happier. Bounce it when it
is grumpy and it gets grumpier.
These relational artifacts provide good examples of how psychoanalysis might productively revisit old
“object” theories in light of new “object” relations. Consider whether relational artifacts could ever be
“transitional objects” in the spirit of a baby blanket or rag doll. For Winnicott, such objects (to which
children remain attached even as they embark on the exploration of the world beyond the nursery) are
mediators between the child’s earliest bonds with the mother, who the infant experiences as
inseparable from the self, and the child’s growing capacity to develop relationships with other people
who will be experienced as separate beings. The infant knows transitional objects as both almost
inseparable parts of the self and, at the same time, as the first not-me possessions. As the child grows,
the actual objects are left behind. The abiding effects of early encounters with them, however, are
manifest in the experience of a highly charged intermediate space between the self and certain objects
in later life. This experience has traditionally been associated with religion, spirituality, the perception
of beauty, sexual intimacy, and the sense of connection with nature. In recent years, the power of the
transitional object is commonly seen in experiences with computers.
Just as musical instruments can be extensions of the mind’s construction of sound, computers can be
extensions of the mind’s construction of thought. A novelist refers to “my ESP with the machine. The
words float out. I share the screen with my words.”
An architect who uses the computer to design goes even further: “I don’t see the building in my mind
until I start to play with shapes and forms on the machine. It comes to life in the space between my
eyes and the screen.” Musicians often hear the music in their minds before they play it, experiencing
the music from within before they experience it from without. The computer similarly can be
experienced as an object on the border between self and not-self.
Traditionally, the power of objects to play this transitional role has been tied to the ways in which they
enabled the child to project meanings onto them. The doll or the teddy bear presented an unchanging
and passive presence. In the past, computers were also targets of projection; the machine functioned as
a Rorschach or “second self.” But today’s relational artifacts take a decidedly more active stance. With
them, children’s expectations that their dolls want to be hugged, dressed, or lulled to sleep don’t only
come from the child’s projection of fantasy or desire onto inert playthings, but from such things as the
digital dolls’ crying inconsolably or even saying: “Hug me!” or “It’s time for me to get dressed for
school!”
In a similar vein, consider how these objects look from the perspective of self psychology. Heinz
Kohut describes how some people may shore up their fragile sense of self by turning another person
into a “self object.”9 In the role of self object, the other is experienced as part of the self, thus in
perfect tune with the fragile individual’s inner state. Disappointments inevitably follow. Relational
artifacts (not as they exist now but as their designers promise they will soon be) clearly present
themselves as candidates for such a role. If they can give the appearance of aliveness and yet not
disappoint, they may even have a comparative advantage over people, opening new possibilities for
narcissistic experience with machines. One might even say that when people turn other people into
self-objects, they are making an effort to turn a person into a kind of “spare part.” From this point of
view, relational artifacts make a certain amount of sense as successors to the always resistant human
material.
Just as television today is a background actor in family relationships and a “stabilizer” of mood and
affect for individuals in their homes, in the near future a range of robotic companions and a web of

pervasive computational objects will mediate a new generation’s psychological and social lives. We
will be living in a relational soup of computation that offers itself as a self-ether if not as a self-object.
Your home network and the computational “agents” programmed into it, indeed the computing
embedded in your furniture and your clothing, will know your actions, your preferences, your habits,
and your physiological responses to emotional stimuli. A new generation of psychoanalytic self
psychology is called upon to explore the human response and the human vulnerability to these objects.
III. Personal Computing:
One-on-One with the Machine
Each modality of being with a computer, one-on-one with the machine, using the computer as a
gateway to other people, and being presented with it as a relational artifact, implies a distinct mode of
object relations. Each challenges psychoanalytic thinking in a somewhat different way. And all of
these challenges face us at the same time. The development of relational artifacts does not mean that
we don’t also continue to spend a great deal of time alone, one-on-one with our personal computers.
Being alone with a computer can be compelling for many different reasons. For some, computation
offers the promise of perfection, the fantasy that “If you do it right, it will do it right, and right away.”
Writers can become obsessed with fonts, layout, spelling and grammar checks. What was once a
typographical error can be, like Hester Prynne’s Scarlet Letter, a sign of shame. As one writer put it:
“A typographical error is the sign not of carelessness but of sloth and disregard for others, the sign that
you couldn’t take the one extra second, the one keystroke, to make it right.” Like the anorexic
projecting self-worth onto his or her body and calorie consumption, and who endeavors to eat ten
calories less each day, game players or programmers may try to get to one more screen or play ten
minutes more each day when dealing with the perfectible computational material.
Thus, the promise of perfection is at the heart of the computer’s holding power for some. Others are
drawn by different sirens. As we have seen, there is much seduction in the sense that on the computer,
mind is building mind or even merging with the mind of another being. The machine can seem to be a
second self, a metaphor first suggested to me by a thirteen-year-old girl who said, “When you program
a computer there is a little piece of your mind, and now it’s a little piece of the computer’s mind. And
now you can see it.” An investment counselor in her mid-forties echoes the child’s sentiment when she
says of her laptop computer: “I love the way it has my whole life on it.” If one is afraid of intimacy yet
afraid of being alone, a computer offers an apparent solution: the illusion of companionship without
the demands of friendship. In the mirror of the machine, one can be a loner yet never be alone.
IV. Lives on the Screen: Relating Person-to-Person via Computer
From the mid-1980s, the cultural image of computer use expanded from an individual alone with a
computer to an individual engaged in a network of relationships via the computer. The Internet became
a powerful evocative object for rethinking identity, one that encourages people to recast their sense of
self in terms of multiple windows and parallel lives.
Virtual personae. In cyberspace, as is well known, the body is represented by one’s own textual
description, so the obese can be slender, the beautiful plain. The fact that self-presentation is written in
text means that there is time to reflect upon and edit one’s “composition” which makes it easier for the
shy to be outgoing, the “nerdy” sophisticated. The relative anonymity of life on the screen – one has
the choice of being known only by one’s chosen “handle” or online name – gives people the chance to
express oft unexplored aspects of the self. Additionally, multiple aspects of self can be explored in
parallel. Online services offer their users the opportunity to be known by several different names. For
example, it is not unusual for someone to be BroncoBill in one online context, ArmaniBoy in another,
and MrSensitive in a third.
The online exercise of playing with identity and trying out new ones is perhaps most explicit in “role
playing” virtual communities and online gaming where participation literally begins with the creation
of a persona (or several), but it is by no means confined to these somewhat exotic locales. In bulletin
boards, newsgroups and chatrooms, the creation of personae may be less explicit than in virtual worlds
or games, but it is no less psychologically real. One IRC (Internet Relay Chat) participant describes her
experience of online talk: “I go from channel to channel depending on my mood. ... I actually feel a

part of several of the channels, several conversations. ... I’m different in the different chats. They bring
out different things in me.” Identity play can happen by changing names and by changing places.
Even the computer interface encourages rethinking complex identity issues. The development of the
windows metaphor for computer interfaces was a technical innovation motivated by the desire to get
people working more efficiently by “cycling through” different applications much as time-sharing
computers cycled through the computing needs of different people. But in practice, windows have
become a potent metaphor for thinking about the self as a multiple, distributed, “time-sharing” system.
The self is no longer simply playing different roles in different settings, something that people
experience when, for example, one wakes up as a lover, makes breakfast as a mother, and drives to
work as a lawyer. The windows metaphor perhaps merely suggests a distributed self that exists in
many worlds and plays many roles at the same time. Cyberspace, however, translates that metaphor
into a lived experience of “cycling through.”
Identity, moratoria and play. For some people, cyberspace is a place to “act out” unresolved conflicts,
to play and replay characterological difficulties on a new and exotic stage. For others, it provides an
opportunity to “work through” significant personal issues, to use the new materials of cybersociality to
reach for new resolutions. These more positive identity-effects follow from the fact that for some,
cyberspace provides what Erik Erikson would have called a “psychosocial moratorium,” a central
element in how Erikson thought about identity development in adolescence. Although the term
“moratorium” implies a “time out,” what Erikson had in mind was not withdrawal. On the contrary,
the adolescent moratorium is a time of intense interaction with people and ideas. It is a time of
passionate friendships and experimentation.
The adolescent falls in and out of love with people and ideas. Erikson’s notion of the moratorium was
not a “hold” on significant experiences but on their consequences. It is a time during which one’s
actions are, in a certain sense, not counted as they will be later in life. They are not given as much
weight, not given the force of full judgment. In this context, experimentation can become the norm
rather than a brave departure. Relatively consequence-free experimentation facilitates the development
of a “core self,” a personal sense of what gives life meaning that Erikson called “identity.”
Erikson developed these ideas about the importance of a moratorium during the late 1950s and early
1960s. At that time, the notion corresponded to a common understanding of what “the college years”
were about. Today, thirty years later, the idea of the college years as a consequence-free “time out”
seems of another era. College is pre-professional and AIDS has made consequence-free sexual
experimentation an impossibility. The years associated with adolescence no longer seem a “time out.”
But if our culture no longer offers an adolescent moratorium, virtual communities often do. It is part of
what makes them seem so attractive.
Erikson’s ideas about stages did not suggest rigid sequences. His stages describe what people need to
achieve before they can easily move ahead to another developmental task. For example, Erikson
pointed out that successful intimacy in young adulthood is difficult if one does not come to it with a
sense of who one is, the challenge of adolescent identity building. In real life, however, people
frequently move on with serious deficits. With incompletely resolved “stages,” they simply do the best
they can. They use whatever materials they have at hand to get as much as they can of what they have
missed. Now virtual social life can play a role in these dramas of self-reparation. Time in cyberspace
reworks the notion of the moratorium because it may now exist on an always available “window.”
Analysts need to note, respect and interpret their patients’ “life on the screen.”
Having literally written our online personae into existence, they can be a kind of Rorschach. We can
use them to become more aware of what we project into everyday life. We can use the virtual to reflect
constructively on the real. Cyberspace opens the possibility for identity play, but it is very serious play.
People who cultivate an awareness of what stands behind their screen personae are the ones most
likely to succeed in using virtual experience for personal and social transformation. And the people
who make the most of their lives on the screen are those who are capable of approaching it in a spirit
of self-reflection. What does my behavior in cyberspace tell me about what I want, who I am, what I
may not be getting in the rest of my life?
“Case” is a 34-year-old industrial designer happily married to a female co-worker. Case describes his
real life persona as a “nice guy,” a “Jimmy Stewart type like my father.” He describes his outgoing,
assertive mother as a “Katherine Hepburn type.”

For Case, who views assertiveness through the prism of this Jimmy Stewart/Katherine Hepburn
dichotomy, an assertive man is quickly perceived as “being a bastard.” An assertive woman, in
contrast, is perceived as being “modern and together.” Case says that although he is comfortable with
his temperament and loves and respects his father, he feels he pays a high price for his low-key ways.
In particular, he feels at a loss when it comes to confrontation, both at home and at work. Online, in a
wide range of virtual communities, Case presents himself as females to whom he refers as his
“Katherine Hepburn types.” These are strong, dynamic, “out there” women. They remind Case of his
mother who “says exactly what’s on her mind.” He tells me that presenting himself as a woman online
has brought him to a point where he is more comfortable with confrontation in his real life as a man.
Additionally, Case has used cyberspace to develop a new model for thinking about his mind. He thinks
of his Katherine Hepburn personae as various “aspects of the self.” His online life reminds him of how
Hindu gods could have different aspects or sub-personalities, or avatars, all the while being a whole
self.
Case’s inner landscape is very different from those of a person with multiple personality disorder.
Case’s inner actors are not split off from each other or his sense of “himself.” He experiences himself
very much as a collective whole, not feeling that he must goad or repress this or that aspect of himself
into conformity.
He is at ease, cycling through from Katherine Hepburn to Jimmy Stewart. To use the psychoanalyst
Philip Bromberg’s language, online life has helped Case learn how to “stand in the spaces between
selves and still feel one, to see the multiplicity and still feel a unity.” To use the computer scientist
Marvin Minsky’s language, Case feels at ease cycling through his “society of mind,” a notion of
identity as distributed and heterogeneous.10 Identity, from the Latin idem, has been typically used to
refer to the sameness between two qualities. On the Internet, however, one can be many and usually is.
Most recently, Ray Kurzweil, inventor of the Kurzweil reading machine and AI researcher, has created
a virtual alter ego: a female rock star named Ramona. Kurzweil is physically linked to Ramona. She
moves when he moves; she speaks when he speaks (his voice is electronically transformed into that of
a woman); she sings when he sings. What Case experienced in the relative privacy of an online virtual
community, Kurzweil suggests will be standard identity play for all of us. Ramona can be expressed
“live” on a computer screen as Kurzweil performs “her” and as an artificial intelligence on Kurzweil’s
web site.
Theory and objects-to-think-with. The notions of identity and multiplicity to which I was exposed in
the late 1960s and early 1970s originated within the continental psychoanalytic tradition. These
notions, most notably that there is no such thing as “the ego” – that each of us is a multiplicity of parts,
fragments, and desiring connections – grew in the intellectual hothouse of Paris; they presented the
world according to such authors as Jacques Lacan, Gilles Deleuze, and Félix Guattari. I met these
ideas and their authors as a student in Paris, but despite such ideal conditions for absorbing theory, my
“French lessons” remained abstract exercises. These theorists of poststructuralism spoke words that
addressed the relationship between mind and body, but from my point of view had little to do with my
own.
In my lack of personal connection with these ideas, I was not alone.
To take one example, for many people it is hard to accept any challenge to the idea of an autonomous
ego. While in recent years, many psychologists, social theorists, psychoanalysts, and philosophers
have argued that the self should be thought of as essentially decentered, the normal requirements of
everyday life exert strong pressure on people to take responsibility for their actions and to see
themselves as unitary actors. This disjuncture between theory (the unitary self is an illusion) and lived
experience (the unitary self is the most basic reality) is one of the main reasons why multiple and
decentered theories have been slow to catch on – or when they do, why we tend to settle back quickly
into older, centralized ways of looking at things.
When twenty years later, I first used my personal computer and modem to join online communities,
I had an experience of this theoretical perspective that brought it shockingly down to earth. I used
language to create several characters. My actions were textual – my words made things happen. I
created selves that were made of and transformed by language. And in each of these different
personae, I was exploring different aspects of my self. The notion of a decentered identity was
concretized by experiences on a computer screen. In this way, cyberspace became an object to think
with for thinking about identity. In cyberspace, identity was fluid and multiple, a signifier no longer

clearly points to a thing that is signified, and understanding is less likely to proceed through analysis
than by navigation through virtual space.
Appropriable theories, ideas that capture the imagination of the culture at large, tend to be those with
which people can become actively involved. They tend to be theories that can be “played” with. So
one way to think about the social appropriability of a given theory is to ask whether it is accompanied
by its own objects-to-think-with that can help it move out beyond intellectual circles.
For example, the popular appropriation of Freudian theory had little to do with scientific
demonstrations of its validity. Freudian theory passed into the popular culture because it offered robust
and down-to-earth objects-to-think-with. The objects were not physical but almost tangible ideas such
as dreams and slips of the tongue. People were able to play with such Freudian “objects.” They
became used to looking for them and manipulating them, both seriously and not so seriously. And as
they did so, the idea that slips and dreams betray an unconscious started to feel natural.
In Freud’s work, dreams and slips of the tongue carried the theory. Today, life on the computer screen
carries theory. People decide that they want to interact with others on a computer network. They get an
account on a commercial service. They think that this will provide them with new access to people and
information and of course it does. But it does more. When they log on, they may find themselves
playing multiple roles; they may find themselves playing characters of the opposite sex. In this way
they are swept up by experiences that enable them to explore previously unexamined aspects of their
sexuality or that challenge their ideas about a unitary self. The instrumental computer, the computer
that does things for us has another side. It is also a subjective computer that does things to us – to our
view of our relationships, to our ways of looking at our minds and ourselves.
Within the psychoanalytic tradition, many “schools” have departed from a unitary view of identity,
among these the Jungian, object-relations, and Lacanian. In different ways, each of these groups of
analysts was banished from the ranks of orthodox Freudians for making such suggestions, or somehow
relegated to the margins. As America became the center of psychoanalytic politics in the mid-twentieth
century, ideas about a robust executive ego moved into the psychoanalytic mainstream.
These days, the pendulum has swung away from any complacent view of a unitary self. Through the
fragmented selves presented by patients and through theories that stress the decentered subject,
contemporary social and psychological thinkers are confronting what has been left out of theories of
the unitary self. Online experiences with “parallel lives” are part of the significant cultural context that
supports new ways of theorizing about nonpathological, indeed healthy, multiple selves.
V. Relational Artifacts:
A Companion Species?
In Steven Spielberg’s movie, AI: Artificial Intelligence, scientists build a humanoid robot boy, David,
who is programmed to love. David expresses this love to a woman who has adopted him as her child.
In the discussion that followed the release of the film, emphasis usually fell on the question whether
such a robot could really be developed. People thereby passed over a deeper question, one that
historically has contributed to our fascination with the computer’s burgeoning capabilities. That
question concerns not what computers can do or what computers will be like in the future, but rather,
what we will be like. What kinds of people are we becoming as we develop more and more intimate
relationships with machines?
In this context, the pressing issue in A.I. is not the potential “reality” of a non-biological son, but rather
that faced by his adoptive mother – a biological woman whose response to a machine that asks for her
nurturance is the desire to nurture it; whose response to a non-biological creature who reaches out to
her is to feel attachment, horror, love, and confusion.
The questions faced by the mother in A.I. include “What kind of relationship is it appropriate,
desirable, imaginable to have with a machine?” and “What is a relationship?” Although artificial
intelligence research has not come close to creating a robot such as Spielberg’s David, these
questions have become current, even urgent.
Today, we are faced with relational artifacts to which people respond in ways that have much in
common with the mother in A.I. These artifacts are not perfect human replicas as was David, but they
are able to push certain emotional buttons (think of them perhaps as evolutionary buttons). When a
robotic creature makes eye contact, follows your gaze, and gestures towards you, you are provoked to

espond to that creature as a sentient and even caring other. Psychoanalytic thought offers materials
that can deepen our understanding of what we feel when we confront a robot child who asks us for
love. It can help us explore what moral stance we might take if we choose to pursue such relationships.
There is every indication that the future of computational technology will include relational artifacts
that have feelings, life cycles and moods, that reminisce and have a sense of humor – that say they love
us, and expect us to love them back. What will it mean to a person when their primary daily
companion is a robotic dog? Or their health care “attendant” is built in the form of a robot cat?
Or their software program attends to their emotional states and, in turn, has affective states of its own?
In order to study these questions I have embarked on a research project that includes fieldwork in
robotics laboratories, among children playing with virtual pets and digital dolls, and among the elderly
to whom robotic companions are starting to be aggressively marketed.
I have noted that in the over two decades in which I have explored people’s relationships with
computers, I have used the metaphor of the Rorschach, the computer as a screen on which people
projected their thoughts and feelings, their very different cognitive styles. With relational artifacts, the
Rorschach model of a computer/human relationship breaks down. People are learning to interact with
computers through conversation and gesture; people are learning that to relate successfully to a
computer you have to assess its emotional “state.”
In my previous research on children and computer toys, children described the lifelike status of
machines in terms of their cognitive capacities (the toys could “know” things, “solve” puzzles). In my
studies on children and Furbies, I found that children describe these new toys as “sort of alive” because
of the quality of their emotional attachments to the objects and because of the idea that the Furby
might be emotionally attached to them. So, for example, when I ask the question, “Do you think the
Furby is alive?” children answer not in terms of what the Furby can do, but how they feel about the
Furby and how the Furby might feel about them.
Ron (6): “Well, the Furby is alive for a Furby. And you know, something this smart should have arms.
It might want to pick up something or to hug me.”
Katherine (5): “Is it alive? Well, I love it. It’s more alive than a Tamagotchi because it sleeps with me.
It likes to sleep with me.”
Jen (9): “I really like to take care of it. So, I guess it is alive, but it doesn’t need to really eat, so it is as
alive as you can be if you don’t eat.
A Furby is like an owl. But it is more alive than an owl because it knows more and you can talk to it.
But it needs batteries, so it is not an animal. It’s not like an animal kind of alive.”
Although we are just at the early stages of studying children and relational artifacts, several things
seem clear. Today’s children are learning to distinguish between an “animal kind of alive” and a
“Furby kind of alive.” The category of “sort of alive” becomes used with increasing frequency. And
quite often, the boundaries between an animal kind of alive and a Furby kind of alive blur as the
children attribute more and more lifelike properties to the emotive toy robot. So, for example, eightyear-old
Laurie thinks that Furbies are alive, but die when their batteries are removed. People are alive
because they have hearts, bodies, lungs, “and a big battery inside. If somebody kills you – maybe it’s
sort of like taking the batteries out of the Furby.”
Furthermore, today’s children are learning to have expectations of emotional attachments to
computers, not in the way we have expectations of emotional attachment to our cars and stereos, but in
the way we have expectations about our emotional attachments to people. In the process, the very
meaning of the word “emotional” may change. Children talk about an “animal kind of alive and a
Furby kind of alive.” Will they also talk about a “people kind of love” and a “computer kind of love?”
We are in a different world from the old “AI debates” of the 1960s to 1980s in which researchers
argued about whether machines could be “really” intelligent. The old debate was essentialist; the new
objects sidestep such arguments about what is inherent in them and play instead on what they evoke in
us: When we are asked to care for an object, when the cared-for object thrives and offers us its
attention and concern, we experience that object as intelligent, but more important, we feel a
connection to it. The question here is not to enter a debate about whether objects “really” have
emotions, but to reflect on what relational artifacts evoke in the user.
How will interacting with relational artifacts affect people’s way of thinking about themselves, their
sense of human identity, of what makes people special? Children have traditionally defined what
makes people special in terms of a theory of “nearest neighbors.” When the nearest neighbors (in

children’s eyes) were their pet dogs and cats, people were special because they had reason. The
Aristotelian definition of man as a rational animal made sense even for the youngest children. But
when, in the 1980s, it seemed to be the computers who were the nearest neighbors, children’s approach
to the problem changed. Now, people were special not because they were rational animals but because
they were emotional machines. So, in 1983, a ten-year-old told me: “When there are the robots that are
as smart as the people, the people will still run the restaurants, cook the food, have the families; I guess
they’ll still be the only ones who’ll go to Church.”
Now in a world in which machines present themselves as emotional, what is left for us?
One woman’s comment on AIBO, Sony’s household entertainment robot, startles in what it might
augur for the future of person-machine relationships: “[AIBO] is better than a real dog. ... It won’t do
dangerous things, and it won’t betray you. ... Also, it won’t die suddenly and make you feel very sad.”
In Ray Bradbury’s story, “I sing the body electric,” a robotic, electronic grandmother is unable to win
the trust of the girl in the family, Agatha, until the girl learns that the grandmother, unlike her recently
deceased mother, cannot die. In many ways throughout the story we learn that the grandmother is
actually better than a human caretaker – more able to attend to each family member’s needs, less
needy, with perfect memory and inscrutable skills – and most importantly – not mortal.
Mortality has traditionally defined the human condition; a shared sense of mortality has been the basis
for feeling a commonality with other human beings, a sense of going through the same life cycle, a
sense of the preciousness of time and life, of its fragility. Loss (of parents, of friends, of family) is part
of the way we understand how human beings grow and develop and bring the qualities of other people
within themselves.
The possibilities of engaging emotionally with creatures that will not die, whose loss we will never
need to face, presents dramatic questions that are based on current technology – not issues of whether
the technology depicted in A.I. could really be developed.
The question, “What kinds of relationships is it appropriate to have with machines?” has been explored
in science fiction and in technophilosophy. But the sight of children and the elderly exchanging
tenderness with robotic pets brings science fiction into everyday life and technophilosophy down to
earth. In the end, the question is not just whether our children will come to love their toy robots more
than their parents, but what will loving itself come to mean?
Conclusion: Toward the Future
of the Computer Culture
Relational artifacts are being presented to us as companionate species at the same time that other
technologies are carrying the message that mind is mechanism, most notably psychopharmacology. In
my studies of attitudes toward artificial intelligence and robotics, people more and more are
responding to a question about computers with an answer about psychopharmacology. Once Prozac
has made someone see his or her mind as a biochemical machine it seems a far smaller step to see the
mind as reducible to a computational one. Twenty years ago, when my student turned a Freudian slip
into an information-processing error, it was computational models that seemed most likely to spread
mechanistic thinking about mind. Today, psychopharmacology is the more significant backdrop to the
rather casual introduction of relational artifacts as companions, particularly for the elderly and for
children.
The introduction of these objects is presented as good for business and (in the case of children) good
for “learning” and “socialization.” It is also presented as realistic social policy. This is the “robot or
nothing” argument. (If the old people don’t get the robots, they certainly aren’t going to get a pet.)
Many people do find the idea of robot companions unproblematic. Their only question about them is,
“Does it work?” By this, they usually mean, “Does it keep the elderly people/children quiet?” There
are, of course, many other questions. To begin with, (even considering) putting artificial creatures in
the role of companions to our children and parents raises the question of their moral status.
Already, there are strong voices that argue the moral equivalence of robots as a companion species.
Kurzweil talks of an imminent age of “spiritual machines,” by which he means machines with enough
self-consciousness that they will deserve moral and spiritual recognition (if not parity) with their
human inventors.11 Computer “humor,” which so recently played on anxieties about whether or not
people could “pull the plug” on machines, now portrays the machines confronting their human users

with specific challenges. One New Yorker cartoon has the screen of a desktop computer asking: “I can
be upgraded. Can you?” Another cartoon makes an ironic reference to Kurzweil’s own vision of
“downloading” his mind onto a computer chip. In this cartoon, a doctor, speaking to his surgical
patient hooked up to an IV drip, says: “You caught a virus from your computer and we had to erase
your brain. I hope you kept a back-up copy.”
Kurzweil’s argument for the moral (indeed spiritual) status of machines is intellectual, theoretical.
Cynthia Breazeal’s comes from her experience of connection with a robot. Breazeal was leader on the
design team for Kismet, the robotic head that was designed to learn from human tutoring, much as a
young child would. She also was its chief programmer, tutor, and companion. Kismet needed her to
become as “intelligent” as it did. Breazeal experienced what might be called a maternal connection to
Kismet; she certainly describes a sense of connection with it as more than “mere” machine. When she
graduated from MIT and left the AI Laboratory where she had done her doctoral research, the tradition
of academic property rights demanded that Kismet be left behind in the laboratory that had paid for its
development. What she left behind was the robot “head” and its attendant software. Breazeal describes
a sharp sense of loss. Building a new Kismet would not be the same.
It would be facile to analogize Breazeal’s situation to that of the mother in Spielberg’s A.I. but she is,
in fact, one of the first people in the world to have one of the signal experiences in that story. The issue
is not Kismet’s achieved level of intelligence, but Breazeal’s human experience as a caretaker.
Breazeal “brought up” Kismet, taught it through example, inflection, and gesture. What we need today
is a new object relations psychology that will help us to understand such relationships and indeed, to
navigate them responsibly. Breazeal’s concerns have been for being responsible to the robots,
acknowledging their moral status. My concern is centered on the humans in the equation. In concrete
terms: first we need to understand Cynthia Breazeal’s relationship to Kismet; second, we need to find a
language for achieving some critical distance on it. Caring deeply for a machine that presents itself as a
relational partner changes who we are as people. Presenting a machine to an aging parent as a
companion changes who we are as well. Walt Whitman said, “A child goes forth every day/And the
first object he look’ed upon/That object he became.” We make our technologies, and our technologies
make and shape us. We are not going to be the same people we are today on the day we are faced with
machines with which we feel a relationship of mutual affection.
Even when the concrete achievements in the field of artificial intelligence were very primitive, the
mandate of AI has always been controversial, in large part because it challenged ideas about human
“specialness” and specificity. In the earliest days of AI, what seemed threatened was the idea that
people were special because of their intelligence. There was much debate about whether machines
could ever play chess; the advent of a program that could beat its creator in a game of checkers was
considered a moment of high intellectual and religious drama. By the mid-1980s, anxiety about what
AI challenged about human specialness had gone beyond whether machines would be “smart” and had
moved to emotional and religious terrain. At MIT, Marvin Minsky’s students used to say that he
wanted to build a computer “complex enough that a soul would want to live in it.” Most recently, AI
scientists are emboldened in their claims. They suggest the moral equivalence of people and machines.
Ray Kurzweil argues that machines will be spiritual; Rodney Brooks argues that the “us and them”
problem of distinguishing ourselves from the robots will disappear because we are becoming more
robotic (with chips and implants) and the robots are becoming more like us (biological parts instead of
silicon-based ones).12
The question of human specificity and the related question of the moral equivalence of people and
machines have moved from the periphery to the center of discussions about artificial intelligence. One
element of “populist” resistance to the idea of moral equivalence finds expression in a number of
narratives. Among these is the idea that humans are special because of their imperfections. A ten-yearold
who has just played with Breazeal’s Kismet says, “I would love to have a robot at home. It would
be such a good friend. But it couldn’t be a best friend. It might know everything, but I don’t. So it
wouldn’t be a best friend.” There is resistance from the experience of the life cycle.
An adult confronting an “affective” computer program designed to function as a psychotherapist says,
“Why would I want to talk about sibling rivalry to something that was never born and never had a
mother?” In the early days of the Internet, a New Yorker cartoon captured the essential psychological
question: paw on keyboard, one dog says to another, “On the Internet, nobody knows you’re a dog.”
This year, a very different cartoon summed up more recent anxieties. Two grownups face a child in a

wall of solidarity, explaining: “We’re neither software nor hardware. We’re your parents.” The issue is
the irreducibility of human beings and human meaning. We are back to the family, to the life cycle, to
human fragility and experience.13 We are back to the elements of psychoanalytic culture.
With the turn of the millennium, we came to the end of the Freudian century. It is fashionable to argue
that we have moved from a psychoanalytic to a computer culture, that there is no need to talk about
Freudian slips now that we can talk about information processing errors. In my view, however, the
very opposite is true.
We must cultivate the richest possible language and methodologies for talking about our increasingly
emotional relationships with artifacts.
We need far closer examination of how artifacts enter the development of self and mediate between
self and other. Psychoanalysis provides a rich language for distinguishing between need (something
that artifacts may have) and desire (which resides in the conjunction of language and flesh). It provides
a rich language for exploring the possibility of the irreducibility of human meanings. Finally, to come
full circle, with the reinterpretation of Freudian slips in computational terms – with the general shift
from meaning to mechanism – there is a loss of the notion of ambivalence. Immersion in programmed
worlds and relationships with digital creatures and robotic pets puts us in reassuring microworlds
where the rules are clear. But never have we so needed the ability to think, so to speak,
“ambivalently,” to consider life in shades of gray, to consider moral dilemmas that aren’t battles for
“infinite justice” between Good and Evil. Never have we so needed to be able to hold many different
and contradictory thoughts and feelings at the same time. People may be comforted by the notion that
we are moving from a psychoanalytic to a computer culture, but what the times demand is a passionate
quest for joint citizenship.
Sherry Turkle |
Sherry Turkle is a clinical psychologist and professor for the sociology of science at the Massachusetts
Institute of Technology. She received her doctorate at Harvard for a work on Jacques Lacan’s role in
the history of French psychoanalysis, which was published in 1978 under the title Psychoanalytic
Politics: Freud’s French Revolution (New York: Basic Books). In the ’80s she began her exploration
of the interaction between people and computers. With the books The Second Self: Computers and the
Human Spirit (New York: Simon and Schuster, 1984) and Life on the Screen: Identity in the Age of
the Internet (New York: Simon and Schuster, 1995; in German: Leben im Netz. Identität im Zeichen
des Internet, Reinbek bei Hamburg: Rowohlt, 1998) she contributed influential studies on the
psychical effects of new technologies.
* Sherry Turkle presented this text as the Sigmund Freud Lecture on 6 May 2002 at the
University of Vienna.
1 Sigmund Freud, “Slips of the Tongue,” in The Psychopathology of Everyday Life, in The
Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 6, ed. and trans.
James Strachey, London: Hogarth Press, 1960, pp. 53–105.
2 I came into that class as a student of psychoanalytic culture in terms of the sociology of
sciences of mind. I went on to study how computers carry ideas about mind, how the computer
becomes an evocative object for thinking about the self.
See Sherry Turkle, Psychoanalytic Politics: Jacques Lacan and Freud’s French Revolution,
New York: Guilford Press, 2nd revised edition, 1992, and The Second Self: Computers
and the Human Spirit, Cambridge, MA: MIT Press, 2nd revised edition, forthcoming.
3 Sherry Turkle, “Psychoanalysis and Artificial Intelligence: A New Alliance,” Daedalus, 117/1
(Winter 1988).
4 Donna Haraway, “A Cyborg Manifesto,” in Simians, Cyborgs and Women, New York:
Routledge, 1991.

5 Jay R. Greenberg and Stephen A. Mitchell, Object Relations in Psychoanalytic Theory,
Cambridge: Harvard University Press, 1983.
6 Sigmund Freud, “Mourning and Melancholia,” in The Standard Edition of the Complete
Psychological Works of Sigmund Freud, vol. 14, ed. and trans.
James Strachey, London: Hogarth Press, 1963, pp. 243–258.
7 See D. W. Winnicott, Playing and Reality, New York: Basic Books, 1971; Erik Erikson,
“Toys and Reasons,” in Childhood and Society, New York: Norton, 2nd revised edition, 1963.
8 See Sherry Turkle, Life on the Screen: Identity in the Age of the Internet, New York:
Simon and Schuster, 1995.
9 Paul H. Ornstein, ed., The Search for the Self: Selected Writings of Heinz Kohut: 1950–1978,
vol. 2, New York: International Universities Press, Inc., 1978.
10 Philip Bromberg, “Speak That I May See You: Some Reflections on Dissociation, Reality, and
Psychoanalytic Listening,” Psychoanalytic Dialogues 4/4 (1994), pp. 517–547; Marvin
Minsky, Society of Mind, New York: Simon and Schuster, 1987.
11 Ray Kurzweil, The Age of Spiritual Machines: When Computers Exceed Human Intelligence,
New York: Viking, 1999.
12 Rodney Brooks, Flesh and Machines: How Robots Will Change Us, New York: Pantheon,
2002.
13 Norbert Wiener, God and Golem, Inc.: A Comment on Certain Points Where Cybernetics
Impinges on Religion, Cambridge, MA: MIT Press, 1964.
Illustrations for baby: http://www.irobot.com/toys/default.asp (16.07.2002)
Illustrations for Ramona: http://www.kurzweilai.net/meme/frame.html?m=9 (16.07.2002)
Illustrations for Furbies: http://www.furby.com/ (16.07.2002)
Illustrations for AIBO: http://www.aibo.com/ (16.07.2002)
Illustrations for Kismet:
http://www.ai.mit.edu/projects/humanoid-robotics-group/kismet/kismet.html (16.07.2002)

ausstellung / exhibition
Joseph Kosuth | ‚ Ansicht der Erinnerung‘ – ‘A View to Memory’
In the former storefront of the Kornmehl Butcher Shop, the Sigmund Freud Museum together with the
Society of Friends of the Fine Arts is presenting an installation by the American conceptual artist
Joseph Kosuth starting on 1 May 2002.
,Ansicht der Erinnerung‘ – ‘A View to Memory’ shows a fleeting moment in the history of the house
at Berggasse 19. What is seen is a historical photo of the kosher butcher shop taken by Edmund
Engelman in May 1938. A passerby stands with his back toward the camera looking into the display
window filled with meat products. Above the photo is a quote from Sigmund Freud’s Psychopathology
of Everyday Life.
What is not overtly related by the photo is the historical and political context in which it was created.
This is clarified by a small photo that is also mounted on the facade of Berggasse 19: A swastika flag
hangs above the house’s entryway – as it did at the time on many other Viennese residential houses.
German troops had marched into Austria two months previously.
The detail view selected by the artist from the entire photo could also derive from a time other than
that of National Socialism. It is not until one sees the historical full view including the house’s
entryway that the installation’s meaning becomes transparent. This brings to mind the memories of the
events of those days: Shortly thereafter, in June 1938, Sigmund Freud succeeded in emigrating with
his family to London via Paris. Siegmund Kornmehl fled together with his wife Helene to Palestine
in 1939.
The documentary, neutral perspective that the photograph seems to carry is displaced by an awareness
of its historical context. The observer in the photo’s foreground disappears, for instance, while the
pieces of meat in the little shop’s display window take on an eerie life of their own. Or the passerby
viewing the wares becomes an observer whose passivity is paradigmatic. Historical photographs give
rise to problems in the present. In them the question is posed: What do we see when we look at an old
image; what does it remind us of?
Below we present the original text of the address given by the artist on April 30, 2002 on the occasion
of the presentation of his installation at the Sigmund Freud Museum.
Joseph Kosuth | The Text Between Memory and the Photograph
I.
“The part played by word-presentations now becomes perfectly clear. By their interposition internal
thought-processes are made into perceptions. It is like a demonstration of the theorem that all
knowledge has its origin in external perception. When a hypercathexis of the process of thinking takes
place, thoughts are actually perceived – as if they came from without – and are consequently held to be
true” (Sigmund Freud, The Ego and the Id, in The Standard Edition of the Complete Psychological
Works of Sigmund Freud, vol. XIX, p. 23).
We begin with an understanding that every photograph is also a text. It is information, as Roland
Barthes once pointed out, and its structure is not an isolated structure. Attached to every image is a
linguistic, textual component. With photography the past becomes anchored in the present. But here
the ‘present’ survives only as a kind of theoretical object. It is really an interface between the past and
desire. Language, that always present if internalized text, remains just that: a presence of the present.
And the present is a flood of practical need compromised by desire. The photograph is a reduction
caught in its own institutionalization, which, itself, is a screen for reality. A photograph exhausts
reality, however, being a kind of self-contradiction which is itself central to its own ontological
statement. Our very epistemology of seeing is very much now comprised of all of the photographs that
depict our cultural reality. Few of these need to call themselves ‘art.’ Indeed art is increasingly located
in the viewer, not in the viewed.

The photograph itself becomes memory by representing it within a cultural process which we
continually internalize. A photograph would seem to show us the world. But, no less, the photograph
constitutes two sides of the subject: its maker and its (delayed) viewer. The play of the work is how
these two faces, the represented world and its subject within, mirror each other and become one thing.
Both sides of this mirror must reflect the world, as it is with any mirror, or there would be nothing
there to reflect, yet they are reflecting each other as the world, even if one experiences only the
reflection and not the ‘actual’ world. In this war, the work shows itself while being about more than
just itself.
So, the power of the photograph – as an analogy which cites its own command – speaks from the
religion of our society, which, in its cupidity, it calls science. Our photographic view of the once
butcher shop downstairs is something we experience as a ‘document.’ Why is it, though, that the man
with the umbrella seems more transitory, even forgettable, than the meat in the window? What locates
the moment? The passing window shopper with an umbrella or the Nazi bunting over the entrance to
Berggasse 19?
As every sign determines a code, we are facing a text, a text we write by reading. All of our ‘noises’
are language, and we really no longer distinguish between our ears and eyes. Meaning swims within a
pot of images and words, all ‘linguistic’ in the last examination. However, there is an experienced final
analysis, a contingent space in which only the present attempts to grasp and glance at its fleeting
moment and then celebrate a fixed event as a form of restful and irrefutable charm. With photographs
the conflict is between a conceit of ‘reality’ and the flux of its linguistic play – one that must reflect,
not accommodate, its political life as a producer of consciousness. There is formed both our
responsibility and our defining pleasure of self.
Finally there is no relationship between what a photograph shows and what it means without a
nominated social reality. That is, its aesthetic space is one and same as its ethical space. To wit, our
triumph now would be to view the dead meat in the window as pretty much the same as the swastika
over the door. Our memory has its own context and it forms a moral space (that which is given seems
‘natural’) just as our view of history is also corrective along the lines of desire. And rightly so. An old
photograph locates the past as it problematizes the present. What really are we looking at? Our visual
experience is one and same as a kind of moral horror. The culture industry eventually must know that
looking and making have become the same – the ethical space and the aesthetic space are swimming in
self-recognition. And, can we say that we then drown in denial, and there we find our pleasure?
Can we approach our memory?
It seems we can only define our memories, that is give them a shape, by articulating meaningfully how
we target. We may want them available for use, but we are very much defined by which of our
memories we permit our consciousness to participate in practical life.
An artist’s work means nothing – neither for society nor for the artists themselves – unless the process
of the artist is one towards self-knowledge. I mean this as a result of the process, not as a subject
within the work. The artistic process is a reflection of the effort toward self-knowledge; at its core it is
the attempt to overcome an inauthenticity which is at the root of the cultural life of modernity. What
makes a work of art inauthentic is that it becomes a disguised substitute for something other than what
it is. The location of subjective commitment which is part of the defining process of a work’s
authenticity is at heart at odds with a market dynamic which must provide its own meaning. Its
meaning becomes the value added, which exists, ultimately, independently of those elements of which
it is comprised and should be the producer of a work’s meaning.
II.
“In order that you should have a language which can express or say everything that can be said, this
language must have certain properties; and when this is the case, that it has them can no longer be said
in that language or any language” (Ludwig Wittgenstein, dictated to G. E. Moore in Norway).
Can art ‘express or say everything that can be said?’ The answer is, of course, yes, but what is sayable
within art defines, at a given moment, art itself. That is its ‘certain property.’ When we succeed in
saying what those properties are, we change art. When it is said, however, it is said within art, that is,
as an alteration of art’s ‘language game’ through new games and rules. “That it has them can no longer

e said in that language or any language” does not apply to art. It is the reflexive aspect of art, as a
process, in which it can see itself before it proceeds, which limits the analogy of art with language.
The location of the process (or how it comes to be manifested) is that shifting interface where art is
both like and unlike language. The ways in which it is like language is what makes sense to you, now,
hearing this, as one that knows and can identify language. Yet art, because of the agency of the artist
and his or her subjective role, has properties which language – pragmatic, and potentially usable by
anyone – does not and cannot have. One could say that art is like a language comprised only of
language games, from which other language games are constructed. What it ‘says’ can only be said
elliptically. Art as a language game, in this analogy, can be comprised of anything – like that of
language, its presence as sound, or ink on a page, or photography, is arbitrary – as long as it becomes
perceived as an additional game, introducing additional rules. One ‘speaks’ through the addition and
elimination of games and rules, even if seemingly speaking of the world, but what one ‘says’ in the
short term only seems to alter our view of that historicized compilation of language games (which is
experienced, at any given moment, as one game). This is art’s elliptical quality, and what its slow
circling makes visible is the mechanism of culture itself. Seen another way, we have consciousness
itself made external and functioning as a concrete event (not unlike a language being made visible
without loosing its transparency).
In this ‘external’ state of visibility it can then become accountable. It is this aspect of accountability
which gives art its political life. What I have called elsewhere ‘the questioning of the nature of art’ is
precisely that act of accountability. It is a part of the creative process, when it is truly creative. Such a
questioning process can only, it seems to me, manifest itself in a meaningful war within the
construction of the new language game itself, and this through the comparison implicit in the alteration
of something like paradigm models which a new game with new rules can potentially provide. Thus,
political ‘content’ has really no effect within the slow circling of game and rule construction. Its only
political effect is equivalent to a kind of message which could be cloned, essentially, without being
staged as art. What its presentation as art adds to such a message is a form of institutional authority
within culture. This is why art as propaganda has always looked, and functioned, the same on the
political left and right. As a result, such work is doomed to be conservative because it cannot be truly
critically reflexive, either externally, of its own institutional dimensions, or internally, of its own
signifying operations qua art. Art is simply turned into a ‘delivery system’ of the political message.
There must be a real political life to art on the deeper level of the signifying process itself: exactly
those meanings produced by its own process and which tell us much about culture and ourselves,
without which the activity has no social value. Alternatively we are left with the specter of art as an
idealist category, one which reduces us all to passive receivers of a message, and then only the
message of a short-term goal, be it for ‘politics’ or for a market. Such an activity does exist, in fact,
and it is called advertising. It is pragmatic and is neither self-critical nor reflexive beyond what its
pragmatism demands. It neither questions its own nature nor is it accountable. The comparison of art
with advertising itself reveals the difference of a critical and even philosophical space, and that is the
difference which suggests art’s real political life. Art, as a process of game-making and rule-adding,
does not seem to produce knowledge in the conventional sense (as a ‘language’ it is, as I said, without
a pragmatic dimension), yet the process itself shows, and in so showing it tells us something important
about the world which culture constructs. As it sees itself, art sees the world, and changes it.
| Joseph Kosuth
Joseph Kosuth, born 1945 in Toledo, Ohio, was one of the pioneers of conceptual art, first becoming
widely known through his indoor and outdoor installations at the New York Guggenheim Museum and
the National Museum of Modern Art in Tokyo, among others. Currently he is working on projects for
the German Bundestag in Berlin and the Hiroshima Municipal High School in Hiroshima. Joseph
Kosuth lives and works in New York and Rome.
Since the 1980s Joseph Kosuth has devoted much attention to the theories of Sigmund Freud. At his
initiative, international artists were invited to put their work at the Sigmund Freud Museum’s disposal
– later the “Foundation for the Arts, Sigmund Freud Museum Vienna” was created to further this
purpose. Kosuth’s contribution, the installation “Zero & Not,” was removed at the time of the
Museum’s renovation in 1996 and processed into multiples by the artist.

Bildunterschriften:
‚Ansicht der Erinnerung‘ – ‘A View to Memory’: Installation von Joseph Kosuth im Gassenlokal
Berggasse 19 / Shopfront installation by Joseph Kosuth Berggasse 19 (Photo: Gerald Zugmann)
Eingang Berggasse 19, 1938 / Entrance Berggasse 19, 1938 (Photo: Edmund Engelman)

verein der freunde des sigmund freud-museums wien
Der Verein der Freunde des Sigmund Freud-Museums Wien trägt seit 1991 grundlegend dazu bei, dass
sich das Sigmund-Freud-Museum zu einer lebendigen Schnittstelle zwischen historischem
Bewusstsein, Wissenschaft und Gegenwartskunst entwickeln konnte.
Mit seiner Unterstützung wurden die ehemalige Ordination und die Privatwohnung von Sigmund
Freud neu adaptiert und mit den Ansprüchen eines modernen Museums verbunden. Nach mehreren
Etappen der Renovierung und baulichen Erweiterung stehen nun den Besuchern ein Saal für
Wechselausstellungen, Symposien, Diskussionen, Vorträge, Film- und Videovorführungen sowie eine
Bibliothek, ein Medienraum und ein Museumsshop zur Verfügung.
Durch gezielte Ankäufe hat der Verein der Freunde des Sigmund Freud-Museums Wien die
bestehende Sammlung des Sigmund Freud- Museums in den letzten Jahren als Ort der Forschung
entscheidend aufgewertet. Sowohl wissenschaftlich als auch museal bedeutende Neuerwerbungen
wurden durch seine Tätigkeit ermöglicht.
Mit seinem Text- und Bildarchiv zählt das Sigmund Freud-Museum weltweit zu den größten und
bedeutendsten Einrichtungen, die sich der Geschichte und Gegenwart der Psychoanalyse widmen. Für
die mit mehr als 30.000 Büchern und mehr als 70 internationalen Fachzeitschriften ausgestattete
Bibliothek und das über 50.000 Dokumente, Manuskripte, Kunstwerke und audiovisuelle Medien
verfügende Archiv erwirbt der Verein der Freunde des Sigmund Freud-Museums Wien regelmäßig
Neuerscheinungen und Raritäten und sorgt für deren fachgemäße Bearbeitung und Aufbewahrung.
Jedes Jahr rettet der Verein der Freunde des Sigmund Freud-Museums Wien diese oft vom Verfall
bedrohten Bestände durch ein vom Sigmund Freud-Museum erarbeitetes Restaurierungsprogramm.
Durch die Mitfinanzierung der Fulbright/Freud Visiting Scholarship, einer Kooperation mit der
Austrian Fulbright Commission, fördert der Verein der Freunde des Sigmund Freud-Museums Wien
aktuelle interdisziplinäre Forschungen zur Psychoanalyse.
Ziel und Aufgaben des Vereins der Freunde des Sigmund Freud-Museums Wien sind die
Unterstützung und Förderung des Sigmund Freud-Museums in den Bereichen:
* Erhaltung und Erweiterung der räumlichen und technischen Infrastruktur
* Realisierung von Wechselausstellungen, Symposien, Diskussionen, Vorträgen, Medienprojekten
* Ankauf und Restaurierung seltener Bücher, Dokumente und Objekte der Sammlung
* Intensivierung und weiterer Ausbau der wissenschaftlichen Infrastruktur
* Durchführung von Forschungsprojekten, Herausgabe von wissenschaftlichen Dokumentationen,
Publikationen und Vergabe von Forschungsstipendien
Der Verein der Freunde des Sigmund Freud-Museums Wien hat derzeit 17 Mitglieder, 3 Förderer und
1 Partner.
Verein der Freunde des Sigmund Freud-Museums Wien
Berggasse 19, A-1090 Wien
Kontakt: Monika Zottl
Tel.: +43-1-319 15 96
Fax: +43-1-317 02 79
E-Mail: sekretariat@freud-museum.at
www.freud-museum.at
the society of friends of the sigmund freud museum vienna
Since 1991 the Society of Friends of the Sigmund Freud Museum Vienna has contributed in a major
way to making the Sigmund Freud Museum Vienna a vital interface between historical awareness,
scholarship and contemporary art.

With its support, both Sigmund Freud’s former office and private residence have been adapted to meet
the demands of a modern museum. Following several phases of renovation and expansion, visitors
now have at their disposal a room that is used for temporary exhibitions, symposia, discussions,
lectures and film and video screenings as well as a library, a media room and a museum shop.
Through targeted acquisitions, the Society of Friends of the Sigmund Freud Museum Vienna has
substantially increased the value of the Sigmund Freud Museum’s collection as a resource for research.
Its activities have made possible purchases having both scientific and historical significance.
With its archive of texts and images, the Sigmund Freud Museum numbers among the most important
institutions dedicated to the history and present of psychoanalysis worldwide. For the library, which
comprises more than 30,000 books and over 70 international journals, and the archive, with an
inventory of more than 50,000 documents, manuscripts, works of art and audiovisual material, the
Society of Friends of the Sigmund Freud Museum Vienna regularly acquires new publications and
rarities and ensures that they are properly processed and stored. Every year the Society of Friends of
the Sigmund Freud Museum Vienna rescues these items, which are often in danger of disintegrating, in
a restoration program designed by the Sigmund Freud Museum.
By co-funding the Fulbright/Freud Visiting Scholarship, a cooperation with the Austrian Fulbright
Commission, the Society of Friends of the Sigmund Freud Museum Vienna supports ongoing
interdisciplinary research in psychoanalysis.
The goal of the Society of Friends of the Sigmund Freud Museum Vienna is to support and promote
the following activities of the Sigmund Freud Museum:
* Preservation and expansion of the spatial and technical infrastructure
* Realization of temporary exhibitions, symposia, discussions, lectures and media projects
* Acquisition and restoration of rare books, documents and objects for the collection
* Preservation and further development of the scientific infrastructure
* Conducting research projects, the publication of scientific literature and documentation, and the
awarding of research fellowships
The Society of Friends of the Sigmund Freud Museum Vienna presently has seventeen members, three
sponsors and one partner.
The Society of Friends of the Sigmund Freud Museum Vienna
Berggasse 19, 1090 Vienna, Austria
Contact: Monika Zottl
Phone: +43-1-319 15 96
Fax: +43-1-317 02 79
E-mail: sekretariat@freud-museum.at
www.freud-museum.at

aktuelles / news
Architektur des Sigmund Freud-Museums | The Architecture of the Sigmund Freud Museum
Das Sigmund Freud-Museum wurde seit Ende der 80er Jahre in mehreren Phasen aus- und umgebaut.
Zunächst auf die wenigen Räume der ehemaligen Praxis Sigmund Freuds und einer für die Verwaltung
genutzten Parterrewohnung beschränkt, vergrößerte sich die Fläche im Lauf der 80er und 90er Jahre
um ein Vielfaches. Auf den Einbau einer neuen Bibliothek folgte ein Museumsshop, ein Bücherlager
und ein Vortrags- und Ausstellungssaal in der neu hinzugekommenen Privatwohnung der Familie
Freud. Nach mehr als zehn Jahren des schrittweisen Umbaus, der unter der Leitung von Wolfgang
Tschapeller stand, gibt nun eine von Lydia Marinelli und Georg Traska zusammengestellte Broschüre
eine erste Auskunft über die gestalterischen und architektonischen Veränderungen, aber auch die
inhaltliche Neufassung, an der sich die formalen Kriterien orientierten.
Architektur des Sigmund Freud-Museums, hg. v. Sigmund Freud-Museum, Wien:
Eigenverlag 2002, Euro 2,–
Since the late 1980s, the Sigmund Freud Museum has been expanded and remodeled in several phases.
Initially limited to the few rooms of Sigmund Freud’s former office and an apartment on the ground
floor used for administration, the facility grew dramatically in the ’80s and ’90s. The construction of a
new library was followed by the addition of a museum shop, a book storage room and a lecture and
exhibition room in the newly acquired private apartment of the Freud family. After more than ten years
of gradual renovation overseen by Wolfgang Tschapeller, a new brochure put together by Lydia
Marinelli and Georg Traska provides information about the changes in the museum’s architecture and
design and also about the revisions in the facility’s content around which the formal criteria were
oriented.
The Architecture of the Sigmund Freud Museum, published by the Sigmund Freud Museum, Vienna,
2002, available in German for Euro 2.00

ibliothek & archiv
Bearbeitung des Nachlasses | Eva & Valentin Rosenfeld
Der im Jahr 2001 vom Sigmund Freud-Museum erworbene Nachlass von Eva und Valentin Rosenfeld
konnte in einem von der Oesterreichischen Nationalbank finanzierten Projekt vollständig aufgearbeitet
und katalogisiert werden. Er umfasst 239 Konvolute mit Autographen und Typoskripten, wobei die
Briefe Anna Freuds an Eva Rosenfeld sowie die Korrespondenz zwischen Peter Heller und Victor
Ross über die Edition dieser Briefe den Hauptteil ausmachen. Die Briefe Anna Freuds an Eva
Rosenfeld sind nicht nur wertvolle Zeugnisse der Freundschaft zwischen den beiden Frauen, sondern
reflektieren auch die reformpädagogischen Bestrebungen, die die beiden in der gemeinsam geführten
Hietzinger Schule verfolgten, und bieten darüber hinaus auch momenthafte Einblicke in das
Privatleben von Anna und Sigmund Freud.
Von Sigmund Freud selbst sind neben Briefen an Eva Rosenfeld einige Fotografien mit Widmungen
sowie Briefe an Yvette Guilbert vorhanden.
Eine weitere wichtige Quelle zur Biographie Eva Rosenfelds ist ihre Korrespondenz mit dem
Orientalisten Julian Obermann, die sich von 1917 bis 1956 erstreckt und die neben den äußeren
Stationen der Lebensgeschichten die intensive, leidenschaftliche und nicht unkomplizierte
Freundschaft der beiden Briefpartner widerspiegelt.
Impressionen aus dem Alltagsleben der Familie Rosenfeld und ihrer Freunde, aus der Schule in der
Wattmanngasse und den Sommeraufenthalten in Grundlsee vermitteln eigenhändig von Eva Rosenfeld
angelegte Fotoalben. Ein interessantes, großformatiges Album, betitelt „Unserem Evchen“, das Eva
Rosenfeld von ihrer Familie anlässlich der Hochzeit mit ihrem Cousin Valentin überreicht wurde,
bietet in gestellten Tableaus Szenen aus dem großbürgerlichen Alltagsleben der Familie Rosenfeld in
Berlin, die an Filmstills erinnern und neben der privaten Familiengeschichte auch soziologisch
bedeutsame Einblicke in die bürgerliche Lebens- und Wohnkultur um 1900 zeigen.
Neben einigen anderen Fotografien, einer Mappe mit Radierungen des in jungen Jahren durch
Selbstmord zu Tode gekommenen Malers Maurycy Gottlieb, der mit Evas Tante Laura verlobt war,
befindet sich noch eine wertvolle Lithographie von Oskar Kokoschka, die Kreuzabnahme Christi
darstellend, im Nachlass.
189 Bücher, die meisten von ihnen Erstausgaben und Widmungsexemplare, zeigen die weit
verzweigten Verbindungen der Rosenfelds zur Literatur- und Theaterwelt: Unter den Autoren sind
unter anderem Gerhart Hauptmann, Noël Coward, Arthur Schnitzler oder Heimito von Doderer zu
finden. Manche der Bücher tragen die Spuren der Zeit buchstäblich auf ihren Körper geschrieben: Das
Exlibris des Besitzers Valentin Rosenfeld wird flankiert vom Besitzstempel der Nationalbibliothek, die
sich das beschlagnahmte Exemplar 1938 einverleibte, um auf der letzten Seite einen Stempeleintrag zu
zeigen, der die offizielle Ausscheidung des Buches und die rechtmäßige Rückgabe an seinen früheren
Besitzer dokumentiert.
Von den Schriften Eva Rosenfelds selbst befindet sich neben einigen Separatdrucken von
Zeitschriftenartikeln das Typoskript ihres Aufsatzes „Some Comments on Klein and Freud“ im
Nachlass, ein Dokument aus ihrer Londoner Zeit, als sie zwischen den gegensätzlichen
Theoriekonzepten von Melanie Klein und Anna Freud zu vermitteln suchte.
Bildunterschriften:
Lucian Freud in der Pose einer Henry-Moore-Skulptur / Lucian Freud posing as a Henry Moore
(Photo: Bruce Bernard)
Albumblatt mit Foto der Hietzinger Schule / Page from an album with a photograph of the Hietzinger
Schule
library & archive
Processing of the Papers and Collections of | Eva & Valentin Rosenfeld

The papers and collections of Eva and Valentin Rosenfeld, acquired by the Sigmund Freud Museum in
2001, have been fully processed and cataloged in a project financed by the Oesterreichische
Nationalbank. The material consists of 239 bundles of autographs and typescripts, whereby the letters
from Anna Freud to Eva Rosenfeld and the correspondence between Peter Heller and Victor Ross
concerning the publication of these letters make up the principal part. Anna Freud’s letters to Eva
Rosenfeld are not only a valuable testament to the two women’s friendship; they also reflect the reform
pedagogical ambitions that both of them pursued in their cooperation in leading the Hietzinger Schule.
Additionally, the letters provide glimpses into the private lives of Anna and Sigmund Freud.
From Sigmund Freud himself the collection includes letters to Eva Rosenfeld and several photographs
with dedications as well as letters to Yvette Guilbert.
Another important source of biographical information on Eva Rosenfeld is formed by her
correspondence with the orientalist Julian Obermann, which stretches from 1917 to 1956. In addition
to detailing the various stations of their life histories, the letters also depict the intensive, passionate
and complex friendship between the two.
Photo albums assembled by Eva Rosenfeld provide impressions from the daily lives of the Rosenfeld
family and their friends, from the school in Wattmanngasse and from the summers spent on Grundl
Lake. An interesting large-format album entitled “Unserem Evchen” (quasi “To Our Wee Eva”),
which Eva Rosenfeld was given by her family on the occasion of her marriage to her cousin Valentin,
presents scenes in staged tableaux from the haute bourgeois daily life of the Rosenfeld family in
Berlin. The photos are reminiscent of film stills and provide both glimpses into private family history
and sociologically significant insights into bourgeois lifestyles around the turn of the century.
The collection also contains a number of other photographs and a portfolio with etchings by the painter
Maurycy Gottlieb, who was engaged to Eva’s aunt Laura but committed suicide at an early age. Also
of interest is a valuable lithograph by Oskar Kokoschka depicting the Descent of Christ from the
Cross.
189 books, most of them first editions and signed copies, show the Rosenfeld’s widespread
connections in the literary and theater worlds. Their authors include Gerhart Hauptmann, Noël
Coward, Arthur Schnitzler and Heimito von Doderer. Some of the books carry the traces of history in
their very substance: the bookplate of owner Valentin Rosenfeld is flanked by a stamp of ownership
from the National Library, which added the confiscated volume to its collection in 1938. On the last
page a stamp documents that the book was officially removed from the library and rightfully returned
to its former owner.
The writings of Eva Rosenfeld herself include several offprints and the typescript of her essay “Some
Comments on Klein and Freud,” a document from her London years in which she attempted to achieve
a synthesis of the contrasting theoretical positions of Melanie Klein and Anna Freud.
neuzugänge der bibliothek / new accessions to the library
A|
Adler, Alfred
Über den nervösen Charakter. Grundzüge einer vergleichenden Individualpsychologie und
Psychotherapie.
J. F. Bergmann, Wiesbaden 1912
Agamben, Giorgio
Homo sacer.
Die souveräne Macht und das nackte Leben.
Suhrkamp Verlag, Frankfurt am Main 2002
Andersen, Wayne
Freud, Leonardo da Vinci, and the Vulture’s Tail. A Refreshing Look at Leonardo’s Sexuality.
Other Press, New York 2001 (Geschenk)

Antze, Paul (Hg.);
Lambek, Michael (Hg.)
Tense Past. Cultural Essays in Trauma and Memory.
Routledge, New York/London 1996
Arendt, Hannah
Eichmann in Jerusalem. Ein Bericht von der Banalität des Bösen.
Piper, München 2001
Asmuss, Burkhard (Hg.)
Holocaust.
Der nationalsozialistische Völkermord und die Motive seiner Erinnerung.
Deutsches Historisches Museum, Berlin 2002
Augé, Marc
La guerre des reves.
Exercises d’ethno-fiction.
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Dankowtsewa, Anna
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A Compendium of Lacanian Terms.
Free Association Books,
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Goßens, Peter (Hg.); Patka, Marcus G. (Hg.)
“Displaced”.
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Das Vermächtnis annehmen.
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Jackson, Murray
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Psychotherapy for Psychosis.
Karnac Books, London/New York 2001
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Speaking the Unspeakable. Religion, Misogyny, and the Uncanny Mother in Freud’s Cultural Texts.
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Kabakov, Ilya; Kosuth, Joseph
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The Corridor of Two Banalities.
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Traum, Logik, Geld.
Freud, Husserl und Simmel zum Denken der Moderne.
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Kächele, Horst; Thomä, Helmut
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Psychosozial Verlag, Gießen 2001

Kernberg, Otto F.
Affekt, Objekt und Übertragung.
Aktuelle Entwicklungen der psychoanalytischen Theorie und Technik.
Psychosozial Verlag, Gießen 2001 (Geschenk)
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Handbuch der Borderline-Störungen.
Schattauer, Stuttgart/New York 2000
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Kete, Kathleen
The Beast in the Boudoir. Petkeeping in Nineteenth-Century Paris.
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Psychosozial Verlag, Gießen 2002
Kiersky, Sandra (Hg.)
Sexualities Lost and Found.
Psychoanalytic Perspectives on Lesbian Experience.
International Universities Press, Madison 2001
Kindlon, Dan;
Thompson, Michael
Raising Cain.
Protecting the Emotional Life of Boys.
Ballantine, New York 2000 (Geschenk)
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Carl-Auer-Systeme Verlag, Heidelberg 2001
Kosuth, Joseph
“Guests and Foreigners: Corporal Histories”.
An Installation for the American Foundation for Aids Research.

Berlin Press, Berlin 2001 (Geschenk)
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Lacan, Jacques;
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Facultas Universitätsverlag,Wien 2002
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Hysterien um 1900.
Wilhelm Fink Verlag, München 2001
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Happiness, Death, and the Remainder of Life.
Harvard University Press, Cambridge/Mass./London 2001
Leclaire, Serge
Psychoanalysieren.
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Turia + Kant, Wien 2001
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Das Schweigen der Seele.
Das Sprechen des Körpers.
Neue Entwicklungen in der Psychoanalyse.
Turia + Kant, Wien 2002 (Geschenk)
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Psychosozial Verlag, Gießen 2001
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Psychosozial Verlag, Gießen 2001
Ludewig-Kedmi, Revital (Hg.);
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Marchitello, Howard (Hg.)
What Happens to History.
The Renewal of Ethics in Contemporary Thought.
Routledge, New York/London 2001
Marinelli, Lydia; Mayer, Andreas
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Vandenhoeck & Ruprecht, Göttingen 2002
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Brandes & Apsel, Frankfurt am Main 2001
Mentzos, Stavros

Der Krieg und seine psychosozialen Funktionen.
Vandenhoeck & Ruprecht, Göttingen 2002
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Borderline-Störung und Psychose.
Vandenhoeck & Ruprecht, Göttingen 2001
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Traumatic Pasts.
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Michels, André (Hg.);
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Dictionnaire International de la Psychanalyse.
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Mizunuma, Hirokazu (Hg.); Yoshihara, Mieko (Hg.)
Joseph Kosuth.
Guests and Foreigners: The Years of Isolation.
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Morton, Frederic
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Franz Deuticke, Wien 1994 (Geschenk)
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Institut d’édition Sanofi-Synthélabo, Paris 2000
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Ethnopsy 2. Drogues et remèdes.
Les Empêcheurs de penser en rond/Le Seuil,
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Ethnopsy 3. Suggestion: psychanalyse, hypnose, effet placebo.
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Painting, Psychoanalysis, and Spirituality.
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Trauma und Gesellschaft.
Vergangenheit in der Gegenwart.
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Oliver, Kelly
Witnessing. Beyond Recognition.
University of Minnesota Press, Minneapolis/London 2001
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Überleben am Abgrund. Psychotrauma und Menschenrechte.
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Rabinovici, Doron
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Reich, Günter (Hg.)
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Georg Thieme Verlag, Stuttgart 1997
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Die österreichische Seele.
Zehn Reden über Medizin, Politik, Kunst und Religion.
Europa Verlag, Hamburg/Wien 2001
Rosenfeld, Herbert A.
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Psychosozial Verlag, Gießen 2002
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Samuels, Andrew
Politics on the Couch.
Citizenship and the Internal Life.
Profile Books, London 2001
Sarasin, Philipp
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Suhrkamp Taschenbuch Verlag, Frankfurt am Main 2001

Schlösser, Anne-Marie (Hg.);
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Kreativität und Scheitern.
Psychosozial Verlag, Gießen 2001
Schlösser, Anne-Marie (Hg.); Gerlach, Alf (Hg.)
Gewalt und Zivilisation.
Erklärungsversuche und Deutungen.
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Schneider, Melitta;
Faber, Stephanie
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Searle, Yvonne (Hg.);
Streng, Isabelle (Hg.)
Where Analysis Meets the Arts. The Integration of the Arts Therapies with Psychoanalytic Theory.
Karnac Books, London/New York 2001
Seidler, Günter H. (Hg.)
Hysterie heute. Metamorphosen eines Paradiesvogels.
Psychosozial Verlag, Gießen 2001
Selg, Herbert
Sigmund Freud – Genie oder Scharlatan? Eine kritische Einführung in Leben und Werk.
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Princeton University Press, Princeton/Oxford 2000
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Fischer Taschenbuch Verlag, Frankfurt am Main 2002

Spalding, Julian
The Poetic Museum.
Reviving Historic Collections.
Prestel-Verlag, München/London/New York 2002
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frommann-holzboog, Stuttgart/Bad Cannstatt 2001
Spillius, Elizabeth Bott; Frank, Claudia (Hg.); Weiß, Heinz (Hg.)
Kleinianische Theorie in klinischer Praxis.
Schriften von Elizabeth Bott Spillius.
Klett-Cotta, Stuttgart 2002
Staniszewski, Mary Anne
The Power of Display.
A History of Exhibition Installations at the Museum of Modern Art.
The MIT Press, Cambridge/Mass./London 2001
Stiemerling, Dietmar
Sehnsuchtsprogramm Liebe.
Zur Psychologie der zentralen Beziehungswünsche.
Pfeiffer bei Klett-Cotta, Stuttgart 2002
Stiftung Deutsches Hygiene-Museum (Hg.)
Sex.
Vom Wissen und Wünschen.
Hatje Cantz Verlag, Ostfildern 2001 (Geschenk)
Streeck-Fischer, Annette (Hg.);
Sachsse, Ulrich (Hg.);
Özkan, Ibrahim (Hg.)
Körper, Seele, Trauma.
Biologie, Klinik und Praxis.
Vandenhoeck & Ruprecht, Göttingen 2001
T|
Tamen, Miguel
The Matter of the Facts.
On Invention and Interpretation.
Stanford University Press, Stanford 2000
Tamen, Miguel
Friends of Interpretable Objects.
Harvard University Press, Cambridge/Mass./London 2001
Tebben, Karin (Hg.)
Abschied vom Mythos Mann.
Kulturelle Konzepte der Moderne.
Vandenhoeck & Ruprecht, Göttingen 2002

U|
Uhlig, Stephan (Hg.); Thiele, Monika (Hg.)
Rausch – Sucht – Lust.
Kulturwissenschaftliche Studien an den Grenzen von Kunst und Wissenschaft.
Psychosozial Verlag, Gießen 2002
V|
Vancsa, Eckart; Podbrecky, Inge; Attiatallah, Hazem; Kristan, Markus
Menschen – Schicksale – Monumente. Döblinger Friedhof Wien.
Csöngei und Partner, Wien 1990
Verhaeghe, Paul
Beyond Gender.
From Subject to Drive.
Other Press, New York 2001 (Geschenk)
Vismann, Cornelia (Hg.); Lüdemann, Susanne (Hg.); Schneider, Manfred (Hg.)
Pierre Legendre.
Historiker, Psychoanalytiker, Jurist.
Syndikat, Berlin 2001
Vogel, Loden;
Tas, Louis
Tagebuch aus einem Lager.
Brief an eine Deutsche.
Vandenhoeck & Ruprecht, Göttingen 2002
W|
Wagner, Hans-Josef
Objektive Hermeneutik und Bildung des Subjekts.
Velbrück Wissenschaft, Weilerswist 2001
Walter, Heinz (Hg.)
Männer als Väter. Sozialwissenschaftliche Theorie und Empirie.
Psychosozial Verlag, Gießen 2002
Weiß, Heinz (Hg.);
Frank, Claudia (Hg.)
Pathologische Persönlichkeitsorganisationen als Abwehr psychischer Veränderung.
edition diskord, Tübingen 2002
Welzer, Harald (Hg.)
Das soziale Gedächtnis. Geschichte, Erinnerung, Tradierung.
Hamburger Edition, Hamburg 2001
WestLicht.
Schauplatz für Fotografie (Hg.)
Ferdinand Schmutzer. Das unbekannte fotografische Werk.
Eigenverlag, Wien 2001 (Geschenk)
Dokumentationsarchiv des österreichischen Widerstandes (Hg.);
Roth, Stephan (Red.)

Die österreichischen Opfer des Holocaust.
Eigenverlag, Wien 2001
Willi, Jürg
Psychologie der Liebe.
Persönliche Entwicklungen durch Partnerbeziehungen.
Klett-Cotta, Stuttgart 2002
Wurmser, Léon
Ideen- und Wertewelt des Judentums.
Eine psychoanalytische Sicht.
Vandenhoeck & Ruprecht, Göttingen 2001
Y|
Yalom, Irvin D.
Der Panama-Hut oder Was einen guten Therapeuten ausmacht.
btb Taschenbücher, München 2002
Young, Allan
The Harmony of Illusions.
Inventing Post-Traumatic Stress Disorder.
Princeton University Press, Princeton 1997
Young, James E.
Writing and Rewriting the Holocaust.
Narrative and the Consequences of Interpretation.
Indiana University Press, Bloomington/Indianapolis 1990
Young, James E.
At Memory’s Edge.
After-Images of the Holocaust in Contemporary Art and Architecture.
Yale University Press, New Haven/London 2000
Young-Bruehl, Elisabeth
Hannah Arendt.
Leben, Werk und Zeit.
Fischer Taschenbuch Verlag, Frankfurt am Main 1996
Z|
Zupancic, Alenka
Das Reale einer Illusion.
Kant und Lacan.
Suhrkamp Taschenbuch Verlag, Frankfurt am Main 2001
Wir danken folgenden Personen, Verlagen und Institutionen für ihre Buchgeschenke:
Wayne Andersen, Martina Bick, Dieter Bogner, Bundesdenkmalamt, Calmann-Lévy, Diogenes
Verlag, Edition Ebersbach, Institut Mathildenhöhe Darmstadt, Joseph Kosuth, Milan Krankus, Lydia
Marinelli, Frederic Morton, Viktor Iwanowitsch Owtscharenko, Psychosozial Verlag, Mikhail
Reshetnikov, Inge Scholz-Strasser, Stiftung Deutsches Hygiene-Museum, Turia + Kant,
Paul Verhaeghe, WestLicht.

Ein besonderer Dank gilt Julius Deutschbauer und Gerhard Spring für die Videoarbeit „Sieben
Wochen in Klausur, eine konkrete Intervention, Dora und Sigmund auf Reisen in Nantes“ und eine
Plakatserie, die die Künstler dem Sigmund Freud-Museum geschenkt haben.
Der Nachlass von Eva und Valentin Rosenfeld wurde durch Förderungen seitens des
Bundesministeriums für Bildung, Wissenschaft und Kultur und der Stadt Wien finanziert.
Die Erfassung des Bibliothekskatalogs und das Ankaufsbudget werden vom Bundesministerium
für Bildung, Wissenschaft und Kultur gefördert.

Veranstaltungskalender / calendar of events
Vorschau / Preview
Genaueres entnehmen Sie www.freud-museum.at. / For more detailed information go to www.freudmuseum.at.
27. September 2002
September 27, 2002
10, 14 Uhr (Führungen) | 10 a.m., 2 p.m. (tours)
Architektur von innen
Im Rahmen der „Architekturtage 2002“, einer Initiative der Österreichischen Gesellschaft für
Architektur, bietet das Sigmund Freud-Museum zwei Architekturführungen an.
As part of the “Architecture Days 2002,” an initiative of the Austrian Society for Architecture, the
Sigmund Freud Museum will offer two architectural tours.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
5. Oktober 2002
October 5, 2002
18 Uhr (Spezialführungen) | 6 p.m. (special tours)
Lange Nacht der Museen
Eine Veranstaltung des ORF in Kooperation mit Wiener Museen. Das Sigmund Freud-Museum bietet
von 18 bis 23 Uhr zu jeder vollen Stunde Führungen durch die Kunstsammlung „Foundation for the
Arts, Sigmund Freud Museum Vienna“ an, die in der ersten, sonst nicht öffentlich zugänglichen Praxis
Sigmund Freuds im Parterre des Hauses Berggasse 19 zu sehen ist.
A cooperation between ORF and Viennese Museums. At every full hour from 6 p.m. to 11 p.m., the
Sigmund Freud Museum will offer tours through the art collection of the “Foundation for the Arts,
Sigmund Freud Museum Vienna” which will be on view in Sigmund Freud’s former practice on the
ground floor of the Berggasse 19 house which is normally not open to the public.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
18. Oktober 2002
October 18, 2002
20 Uhr (Vortrag) | 8 p.m. (lecture)
Avi Rybnicki: Die Rückkehr des Verdrängten – Die Psychoanalyse und der israelisch-palästinensische
Konflikt
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
18. November 2002
November 18, 2002
19 Uhr (Buchpräsentation) | 7 p.m. (book presentation)
Der Wallstein Verlag präsentiert die Reihe Wissenschaftsgeschichte, hg. von Michael Hagner und
Hans-Jörg Rheinberger, und deren neuesten Band: Andreas Mayer: Mikroskopie der Psyche. Die
Anfänge der Psychoanalyse im Hypnose-Labor. / The Wallenstein publishing house will be presenting
the series Wissenschaftsgeschichte, ed. Michael Hagner and Hans-Jörg Rheinberger and their most
recent volume: Andreas Mayer: Mikroskopie der Psyche. Die Anfänge der Psychoanalyse im
Hypnose-Labor. Mit / with Michael Hagner, Andreas Mayer, Hans-Jörg Rheinberger, Thedel von
Wallmoden.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
20. Jänner 2003

January 20, 2003
19 Uhr (Vortrag) | 7 p.m. (lecture)
Edgar Pankow: Sigmund Freud und Honoré de Balzac als Leser der letzten Dinge
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
Rückschau / Retrospective
10. Jänner 2002
January 10, 2002
20 Uhr (Vortrag) | 8 p.m. (lecture)
Max Kleiner: Der borromäische Knoten und andere Figuren des Realen
Ein Vortrag im Rahmen der Ausstellung „Diesseits und jenseits des Traums. 100 Jahre Jacques
Lacan“.
Lecture within the exhibition “On the Near and the Far Side of the Dream. The Jacques Lacan
Centenary.”
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
22. Jänner 2002
January 22, 2002
20 Uhr (Vortrag) | 8 p.m. (lecture)
Kurt Rudolf Fischer: Die Freudsche Psychoanalyse und der Wiener Kreis
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
11. Februar – 27. Mai 2002
February 11 – May 27, 2002
19 Uhr (Vortragsreihe) | 7 p.m. (lecture series)
Psychoanalyse nach Freud
Mit / with Josef Shaked, Felix de Mendelssohn, Wilfried Datler, Ulrike Kadi, Christine Diercks,
Walter Parth, Michael Diercks.
Ort | venue: Urania, Uraniastraße 1, 1010 Wien
D
30. April 2002
April 30, 2002
18 Uhr (Vernissage) | 7 p.m. (opening)
Joseph Kosuth: ‚Ansicht der Erinnerung‘ – ‘A View to Memory’
Die Installation ist eine Kooperation des Sigmund Freud-Museums mit dem Verein der Freunde der
bildenden Künste.
The installation is a cooperation between Sigmund Freud Museum and Verein der Freunde der
bildenden Künste.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
E
6. Mai 2002
Mai 6, 2002
19 Uhr (Freud-Vorlesung) | 7 p.m. (Freud-lecture)
Sherry Turkle: Whither Psychoanalysis in a Computer Culture?
Ort | venue: Aula am Unicampus im Alten AKH, Alserstraße 4/Hof 1, 1090 Wien
E
11. Juni 2002
June 11, 2002

19.30 Uhr (Buchpräsentation) | 7.30 p.m. (book presentation)
Lydia Marinelli, Andreas Mayer: Träume nach Freud. Die „Traumdeutung“ und die Geschichte der
psychoanalytischen Bewegung
Eine Kooperation mit Turia + Kant.
A cooperation with Turia + Kant.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
21./22. Juni 2002
June 21/22, 2002
19.30 Uhr (Lesung) | 7.30 p.m. (reading)
Kafka: erLesen
David Bennent liest Franz Kafkas Brief an den Vater. Eine Kooperation des Sigmund Freud-Museums
mit der Kafka Forschungsstelle der Bergischen Universität Wuppertal Kritische Kafkaausgabe.
David Bennent reads Franz Kafka’s Letter to His Father. A cooperation between the Sigmund Freud
Museum and the Kafka Forschungsstelle der Bergischen Universität Wuppertal Kritische
Kafkaausgabe.
Ort | venue: Sigmund Freud-Museum Berggasse 19, 1090 Wien
D
D = Veranstaltung in Deutsch / event in German. E = Veranstaltung in Englisch / event in English.
Neuerscheinung
Lydia Marinelli | Andreas Mayer
Träume nach Freud
Die »Traumdeutung« und die Geschichte der psychoanalytischen Bewegung
ISBN 3-85132-321-1, 217 S., EUR 22,–
Erhältlich im guten Buchhandel
Verlag Turia + Kant
Couch: Franz West
»Freuds ›Traumdeutung‹ ist noch immer einer der für das 20. Jahrhundert exemplarischen Ansätze der
Interpretation, der über den Traum hinaus auch für die Literatur, den Film und Alltagsphänomene
Bedeutung gewonnen hat. Das Buch von Marinelli und Mayer wird sich zu einem neuen Leitfaden für
Freuds Klassiker entwickeln, der die Geschichte der Psychoanalyse mit Wissenschaftsgeschichte,
Sozial- und Literaturwissenschaft verknüpft.«
John Forrester, Department of History and Philosophy of Science, University of Cambridge
Diese Studie verbindet erstmals die gravierenden Veränderungen der »Traumdeutung« in ihren acht
Auflagen mit den sie begleitenden Diskussionen, Kontexten und Konflikten. Sie zeigt, wie die
unterschiedlichen Lektüren des Traumbuches durch Kollegen, Kritiker und Patienten auf den Inhalt
zurückwirkten. Marinelli und Mayer legen anhand zahlreicher unveröffentlichter Dokumente eine
ungewöhnliche Geschichte der Traumtheorie in der Zeit von 1899 bis 1930 vor.

mitgliedschaft / membership
Mitgliedschaft in der Sigmund FreudGesellschaft | Membership in the Sigmund Freud Society
Ich möchte Mitglied der Sigmund Freud-Gesellschaft werden.
Der jährliche Mitgliedsbeitrag beträgt Euro 40,– (Euro 26,– für Studenten und Pensionisten).
I hereby apply for membership of the Sigmund Freud Society.
The annual membership subscription amounts to Euro 40,– (Euro 26,– for students and retired
persons).
Titel / Title
Vorname / First Name
Familienname / Second Name
Beruf / Profession
Adresse / Address
E-mail
Durch die Bekanntgabe meiner E-Mail-Adresse erkläre ich mich einverstanden, weitere Aussendungen
des Sigmund Freud-Museums zu erhalten. / By giving you my e-mail address I agree to receive further
mailings of the Sigmund Freud Museum.
Datum / Date
Unterschrift / Signature
Bitte dieses Formular abtrennen und an folgende Adresse senden
/ Please send to
Sigmund Freud-Gesellschaft, Mitgliederverwaltung
Berggasse 19, A-1090 Wien, Austria
Tel.: +43-1-319 15 96, E-Mail: n.karnel@freud-museum.at
Fax: +43-1-317 02 79
VORTEILE EINER MITGLIEDSCHAFT
Sie erhalten mit Ihrer Begleitung beliebig oft freien Eintritt in das Sigmund Freud-Museum sowie in
die jährlich stattfindenden Sonderausstellungen und können bevorzugt an den Symposien, Vorträgen,
Buchpräsentationen und Diskussionsrunden teilnehmen, die die Sigmund Freud-Gesellschaft
veranstaltet. Die Bibliothek des Sigmund Freud-Museums, die größte Fachbibliothek zur
Psychoanalyse in Europa, ist für Sie während der Öffnungszeiten (jeden Dienstag von 10 bis 18 Uhr)
zugänglich. Die Bücher können von Mitgliedern nicht nur im Lesesaal eingesehen, sondern auch
entlehnt werden. Zweimal jährlich erhalten Sie den Newsletter in deutscher und englischer Sprache
zugesandt, in dem sowohl Vorträge publiziert als auch der aktuelle Veranstaltungskalender und die
Neuzugänge der Bibliothek veröffentlicht werden. Die Publikationen der Sigmund Freud-Gesellschaft
können von Mitgliedern zu einem ermäßigten Preis (–20%) bezogen werden.
Der Mitgliedsbeitrag beträgt Euro 40,– pro Jahr (für Studenten und Pensionisten Euro 26,–).
Mit diesem Beitrag unterstützen Sie unsere Arbeit – wir freuen uns über Ihren Beitritt.

Für weitere Informationen wenden Sie sich bitte an Frau Nadja Karnel: n.karnel@freud-museum.at
oder senden das angefügte Formular an die: Sigmund Freud-Gesellschaft, Berggasse 19, 1090 Wien.
ADVANTAGES OF MEMBERSHIP
You and the persons accompanying you will be entitled to visit the Sigmund Freud Museum and our
annual special exhibitions free of charge for an unlimited number of times. Moreover, you will be
granted privileged access to symposia, lectures, book presentations and discussion rounds organized by
the Sigmund Freud Society. The Library of the Sigmund Freud Museum, Europe’s biggest library
specialized in psychoanalysis, will be accessible to you during opening hours (every Tuesday from 10
a.m. to 6 p.m.). Members may not only study books in the reading room but also borrow them. Twice a
year you will receive the Society’s Newsletter in German and English which includes the texts of
lectures given in the Society, a calendar of events as well as a list of new accessions to the library.
Members of the Sigmund Freud Society will be granted a discount of 20% on publications of the
Sigmund Freud Society.
The annual membership fee is Euro 40,– (for students and retired persons Euro 26,–).
With this contribution you support our work substantially. We would be very pleased to welcome you
as our member.
For further information, please contact Ms. Nadja Karnel: n.karnel@freud-museum.at or fill in the
following form and send it to: Sigmund Freud Society, Berggasse 19, 1090 Vienna.
allgemeine informationen / general information
Allgemeine Informationen zum Museum
Öffnungszeiten des Sigmund Freud-Museums: täglich 9–17 Uhr, Juli–September 9–18 Uhr
Führungsanmeldungen erfolgen über das Sekretariat: Tel.: +43-1-319 15 96
Eintrittspreise: Erwachsene: Euro 5,– / Studenten: Euro 3,– / Schüler:Euro 2,–
General Information on the Museum
Opening hours of the Sigmund Freud Museum: daily 9 a.m. to 5 p.m., July–September: 9 a.m. to 6
p.m.
Registration for guided tours with the secretariat: telephone: +43-1-319 15 96
Admittance fees: adults: Euro 5,– / students:Euro 3,– / pupils: Euro 2,–
Vorstand / Executive Committee
Dr. Dieter Bogner, Primar Dr. Wilhelm Burian, Dipl.-Psych. Michael Diercks, Dr. Rudolf Dirisamer,
Dir. HR Dr. Günter Düriegl, Univ.-Prof. Dr. Alfred Ebenbauer, HR Paul Grosz, Primar Dr. Otto
Hartmann, HR Dr. Eva-Maria Höhle, Dr. Franz Kosyna (kooptiert /co-opted), Dr. Lydia Marinelli
(kooptiert / co-opted), Botschafter Dr. Wolfgang Petritsch, Präsident Hubert Pfoch, Ass.-Prof. Dr.
August Ruhs, Mag. Inge Scholz-Strasser, Univ.-Prof. Dr. Johann August Schülein, Univ.-Prof. Dr.
Marianne Springer-Kremser, Abgeordneter Dr. Hannes Swoboda, emerit. Univ.-Prof. Dr. Erika
Weinzierl
Museum
Direktorin des Sigmund Freud-Museums, wissenschaftliche Geschäftsführerin / Director of the
Sigmund Freud-Museum: Mag. Inge Scholz-Strasser
Kuratorin / Research Director: Dr. Lydia Marinelli
Wissenschaftliche Mitarbeit / Scientific Assistance: Mag. Birgit Johler, Stephan Roth
Bibliothek / Library: Mag. Christian Huber
Bildarchiv / Picture Archives: Mag. Georg Traska
Koordination und Museumsorganisation / Organization: Monika Zottl
Presse- und Öffentlichkeitsarbeit, Veranstaltungskoordination / Public Relations and Organization:
Mag. Martina Stromberger, Mag. Katharina Murschetz, Sylvia Weinzettl
Sekretariat, Buchhaltung / Secretary, Accountancy: Karin Brunner, Nadja Karnel
Bookshop: Dr. Karl Bruckschwaiger

Führungen und Museumsaufsicht / Tours and Custody: Lutz Bielefeld, Klaus Csadek, Mag. Elena
Hartmann, Christian Kobald, Christina Krebs, Claudia Muchitsch
impressum / imprint
01|2002
Newsletter des Sigmund Freud-Museums 1/2002
Newsletter of the Sigmund Freud Museum 1/2002
Impressum / Imprint
Medieninhaber / Media Owner: Sigmund Freud-Gesellschaft
Sigmund Freud Society
Redaktion / Editors: Lydia Marinelli, Inge Scholz-Strasser
Koordination und Lektorat / Coordination and Proofreading: Katharina Murschetz, Martina
Stromberger, Gerhard Unterthurner
Übersetzung / Translation: Christopher Barber, Camilla Nielsen
Grafisches Konzept und Gestaltung / Visual Concept & Graphic Design: 3007, agentur zur kreation
audiovisueller erscheinungsformen (info@3007wien.at) Irene Höth, Eva Dranaz
Schriften / Types: Trade Gothic, Mrs Eaves
Papier / Paper: Munken Lynx, 115 g/m2
Druck / Print: Remaprint
Redaktionsanschrift / Editors’ Address: A-1090 Wien / Vienna, Berggasse 19
Tel. / Telephone: +43-1-319 15 96
Fax: +43-1-317 02 79
E-mail: sekretariat@freud-museum.at
www.freud-museum.at
DVR 0572853
ISSN 1684-1344
Mit Unterstützung des Kulturamts der Stadt Wien, der Wiener Städtischen Versicherung und des
Vereins der Freunde des Sigmund Freud-Museums Wien.
With the support of the City of Vienna Cultural Office, Wiener Städtische Versicherung and the
Society of Friends of the Sigmund Freud Museum Vienna.
Abbildungsnachweise / Illustration Credits:
Cover: Collage unter Verwendung von Fotos von Gerald Zugmann und Jochen Fill (3007) / Collage
based on photographs by Gerald Zugmann and Jochen Fill (3007);
2: Photo: Jochen Fill (3007);
3: Photo: Aleksandra Pawloff;
4: Photo: Jochen Fill (3007);
21: Photos: Gerald Zugmann;
23: Photos: Aleksandra Pawloff;

24: Photos: Gerald Zugmann, Edmund Engelman;
26: Photos 1–3: Gerald Zugmann, Photo 4: Margharita Spiluttini;
27: Photos: Gerald Zugmann;
28: Album-Photo: Jochen Fill (3007); Lucian-Freud-Photo: Bruce Bernard;
38 + 39: Photos: Jochen Fill (3007);
41: Photo: media wien;
42: Photo: Peroutka.
Anzeige
Wiener Vorlesungen
„Alle Dinge, die differenziert nicht abgehandelt werden, kommen später vulgär zurück.“ Werner
Schwab
Seit 15 Jahren: Aufklärung statt Vernebelung | Tiefenschärfe statt Oberflächenpolitur | Differenzierung
statt Vereinfachung | Analyse statt Infotainment | Auseinandersetzung statt Belehrung bei den Wiener
Vorlesungen
Seit dem Frühjahr 1987 laden die Wiener Vorlesungen Persönlichkeiten des intellektuellen Lebens
dazu ein, in den Festsälen des Rathauses ihre Analysen und Befunde zu den großen aktuellen
Problemen der Welt vorzulegen. Seit Beginn der Reihe waren über 1200 ReferentInnen aus allen
Kontinenten bei den Wiener Vorlesungen zu Gast, unter ihnen Marie Albu-Jahoda, Kofi Annan,
Jan Assmann, Jean Baudrillard, Ulrich Beck, Cheryl Benard, Bruno Bettelheim, Pierre Bourdieu,
Elisabeth Bronfen, Luc Ciompi, Carl Djerassi, Marion Dönhoff, Manfred Eigen, Mario Erdheim,
Amitai Etzioni, Valie Export, Marina Fischer-Kowalski, Vilem Flusser, Heinz von Foerster, Viktor
Frankl, Peter Gay, Maurice Godelier, Ernst Gombrich, Michail Gorbatschow, Marianne Gronemeyer,
Boris Groys, Tamara K. Hareven, Jeanne Hersch, Eric J. Hobsbawm, Werner Hofmann, Ivan Illich,
Eva Jaeggi, Verena Kast, Václáv Klaus, Ruth Klüger, Teddy Kollek, György Konrád, Bruno Kreisky,
Eva Kreisky, Peter Kubelka, Gudula Linck, Dagmar C. G. Lorenz, Alfred Lorenzer, Niklas Luhmann,
Adam Michnik, Hans Mommsen, Gérard Mortier, Helga Nowotny, Max F. Perutz, Uta Ranke-
Heinemann, Eva Reich, Marcel Reich-Ranicki, Horst-Eberhard Richter, Sieglinde Rosenberger,
Leopold Rosenmayr, Edith Saurer, Edit Schlaffer, Carl Schorske, Margarete Schütte-Lihotzky,
Richard Sennett, Peter Sloterdijk, Dorothee Sölle, Gerburg Treusch-Dieter, Paul Watzlawick, Erika
Weinzierl, Ernst Ulrich von Weizsäcker, Ruth Wodak, Hilde Zaloscer, Slavoj Zˇizˇek, Harry Zohn.
Planung und Koordination: Hubert Christian Ehalt, MA 7, Wissenschafts- und Forschungsförderung,
Friedrich-Schmidt-Platz 5, 1082 Wien, Tel.: 01/40 00-88741, -88744, E-Mail:
str@m07.magwien.gv.at
Anzeige
Bildunterschrift:
Generaldirektor Dr. Günter Geyer
Wiener Städtische Versicherung
Förderer von Kunst und Kultur
Sigmund Freud und die Wiener Städtische: Auf den ersten Blick gibt es hier keine Gemeinsamkeiten.
Und dennoch fühlt sich die Wiener Städtische mit dem Sigmund Freud-Museum verbunden. Seit
Jahren zählt die Versicherung zu den Förderern des Museums. So wurde 1996 die Errichtung eines
Veranstaltungs- und Ausstellungssaals sowie die Öffnung der Praxis und der Wohnung Sigmund
Freuds für die Öffentlichkeit von der Wiener Städtischen unterstützt.

Dr. Günter Geyer, Generaldirektor der Wiener Städtischen und seit 1991 Mitglied des Vereins der
Freunde des Sigmund Freud-Museums: „Zu Lebzeiten bekam Sigmund Freud nicht die gebührende
Anerkennung. Mit dem Museum in der Berggasse 19 wurde ihm ein würdiges Denkmal gesetzt, das
sich nicht auf die Ausstellung historischer Gegenstände beschränkt, sondern sich auch mit der Person
und der Lehre Sigmund Freuds auseinander setzt.“
Berührungspunkte zwischen der Wiener Städtischen und Sigmund Freud gibt es mehrere. So sind
beide eng mit Wien verwurzelt. Freud studierte Medizin in der Hauptstadt und eröffnete auch hier
seine Praxis. Und auch die über 175-jährige Geschichte der Wiener Städtischen startete in Wien. Seit
1955 hat die Wiener Städtische ihren Hauptsitz im Ringturm im 1. Wiener Gemeindebezirk nur ein
paar Straßen vom Freud-Museum in der Berggasse entfernt.
In dieser ehemaligen Praxis von Freud fand sich auch der so genannte „Wolfsmann“ zu seinen
Analysen ein. Und dieser berühmte Patient bildet einen direkten historischen Bezug zur Wiener
Städtischen. In seiner Fallstudie über den „Wolfsmann“ analysierte Dr. Freud die Kindheit des
russischen Emigranten Dr. Sergej Pankejeff. Dieser war von 1945 bis 1950 in der Schadensabteilung
der Wiener Städtischen tätig. Die Wölfe, die Dr. Pankejeff in seinem Kindheitstraum auf einem Baum
sitzend anstarrten, haben ihm als „Wolfsmann“ über seinen Tod im Jahr 1979 hinaus einen bleibenden
Platz in der Geschichte der Psychologie eingeräumt.
Sigmund Freud beschäftigte sich aber auch mit der ärztlichen Versicherungsdiagnostik, heute besser
als medizinische bzw. berufliche Risikoprüfung bekannt und vor allem in der Lebensversicherung von
Bedeutung. In dem 1887 veröffentlichten Werk Ärztliche Versicherungs-Diagnostik von Dr. Eduard
Buchheim, Chefarzt des Ersten Allgemeinen Beamten-Vereins der österreichisch-ungarischen
Monarchie, verfasste Freud das Kapitel über das Nervensystem.
Als eines der führenden österreichischen Versicherungsunternehmen ist es für die Wiener Städtische
ein besonderes Anliegen, einen Beitrag zur Erhaltung österreichischer Kulturgüter und auch zur
Realisierung neuer Projekte zu leisten.
Die Wiener Städtische fühlt sich für die Gestaltung der Umwelt und Zukunft mitverantwortlich und
sieht es daher als Verpflichtung an, für die Förderung kultureller und sozialer Anliegen einzutreten.
Die Wiener Städtische ist als großes Unternehmen, dessen wirtschaftlicher Erfolg als
Dienstleistungsbetrieb in erster Linie von der Zufriedenheit seiner Kunden abhängt, auch daran
interessiert, mit den geförderten Aktivitäten möglichst viele Kunden anzusprechen.
Aus diesem Grund wird eine Vielzahl von Projekten aus den Bereichen Architektur, Film, (Musik-
)Theater gefördert. Die Wiener Städtische ist aus dem heimischen kulturellen Leben nicht mehr
wegzudenken und unterstützt daher: Theater in der Josefstadt, Volkstheater, Vereinigte Bühnen Wien,
Bregenzer Festspiele, Carinthischer Sommer, Opernfestspiele St. Margarethen, Diagonale, Filmarchiv
Wien, Kino unter Sternen und vieles mehr.
Im Ringturm hat die Wiener Städtische 1998 zudem ein Ausstellungszentrum für
Architekturausstellungen eingerichtet. Bis 27. September 2002 ist die Ausstellung „Neues Bauen in
den Alpen – Großer Preis für alpine Architektur“ zu sehen.
Supporters of Art and Culture
Sigmund Freud and Wiener Städtische: At first glance they seem to have nothing in common. And yet
Wiener Städtische feels itself to be closely linked with the Sigmund Freud Museum. For years, the
insurance company has been a supporter of the Museum. In 1996, for instance, Wiener Städtische
aided the Museum in establishing a room for events and exhibitions and in opening Sigmund Freud’s
former office and living quarters to the public.
Dr. Günter Geyer, chairman of the board of Wiener Städtische and a member of the Society of Friends
of the Sigmund Freud Museum: “Sigmund Freud did not receive the recognition he deserved during
his lifetime. The museum at Berggasse 19 is a fitting monument to him: Its activities are not limited to
exhibiting historical objects, but also include an intense exploration of Sigmund Freud and his
teachings.”

There are numerous points of contact between Wiener Städtische and Sigmund Freud. Both of them
are deeply rooted in Vienna. Freud studied medicine in the capital and also established his practice
here. The 175-year history of Wiener Städtische also began in Vienna. Since 1955, Wiener Städtische
has maintained its headquarters in the first district’s Ringturm, which is only a couple of streets away
from the Freud Museum in Berggasse.
It was to Freud’s former office here that the so-called “Wolf Man” also came for his analysis. This
famous patient forms a direct historical link to the Wiener Städtische. In his case study of the “Wolf
Man,” Dr. Freud analyzed the childhood of the Russian immigrant Dr. Sergei Pankeieff, who worked
in the insurance company’s claims department from 1945 to 1950. The wolves that Dr. Pankeieff saw
staring at him from a tree in his childhood dream have given him a place in the history of psychology
as the “Wolf Man” that has endured beyond his death in 1979.
Sigmund Freud also devoted his attention to medical insurance diagnosis, which today is known more
as medical, or occupational, risk analysis and is primarily of significance for life insurance. In Medical
Insurance Diagnostic, published in 1887 by Dr. Eduard Buchheim, chief physician of the First United
Civil Servants’ Association of the Austro-Hungarian monarchy, Freud wrote the chapter on the
nervous system.
As one of the leading Austrian insurance enterprises, it is especially important to Wiener Städtische
that the company makes a contribution to the maintenance of Austrian cultural heritage and also to the
realization of new projects.
Wiener Städtische has a share in the responsibility for shaping the environment and future, and thus
sees it as its duty to get involved in promoting cultural and social efforts. As a major enterprise whose
economic success as a service provider is primarily dependent on the satisfaction of its customers,
Wiener Städtische also has an interest in reaching as many customers as possible with the activities it
sponsors.
Thus it sponsors a large number of projects in the fields of architecture, film, and (musical) theater.
One can no longer imagine Austrian cultural life without Wiener Städtische, which is a supporter of
the Theater in der Josefstadt, Volkstheater, Vereinigte Bühnen Wien, Bregenzer Festspiele,
Carinthischer Sommer, Opernfestspiele St. Margarethen, Diagonale, Filmarchiv Wien, Kino unter
Sternen and much more.
Additionally, Wiener Städtische opened an exhibition center for architecture exhibitions in the
Ringturm in 1998. The exhibition “New Building in the Alps – Major Prize for Alpine Architecture”
can be seen there through 27 September 2002.
ISSN 1684-1344