2017 New York Regional

new-york-regional-2017DREAM CREATIONS: FILM, ART & POETRY

Regional Conference of the IASD in New York City
May 13, 2017


In the film, Dreams, Kurosawa has van Gogh tell the young artist to take in a scene from nature and let it paint itself, like in a dream. The unconscious can also, write itself, film itself, and create a new reality. Bion says the therapist dreams the patient. Come dream with us and create a conference.


National Psychological Association for Psychoanalysis (NPAP)
40 West 13th Street
New York, NY 10011.

NPAP is located on West 13th Street, between 5th Avenue and 6th Avenue (Avenue of the Americas), in the Greenwich Village section of Manhattan.

Nearby parking facilities:

13th Street, between 5th & 6th Ave (garage)
13th Street, between 6th & 7th Ave (garage)

Subway stops:

L, F (14th Street & 6th Avenue station)
L, N, Q, R, W, 4, 5, 6 (14th Street – Union Square station)
1, 2, 3 (14th Street & 7th Avenue station)
A, C, E (14th Street & 8th Avenue station)
A, C, E, F, V, S (West 4th St – Washington Square station)

HOST:  Lou Hagood.

Registration is now over, thank you. 

Member Non-member Student / Low Income (Member) Student / Low Income (Non-Member
$85 $95 $60 $70

Full conference fees include coffee breaks and exclude lunch and dinner.

Refunds for conference fees will be subject to a $20 processing fee. No refunds are offered after May 1.


Dali, Dreams, and Double Images:  The Paranoic-Critical Method in Art and Film. Michael Vannoy Adams

“The only difference between me and the surrealists,” Dali says, “is that I am a surrealist.” In a paroxysm of grandiosity Dali declares: “I am surrealism.” Dali privileges paranoia as a paradigm as important as dreams. In art and film Dali employs the “paranoiac-critical method” to induce a delirium of double images – or multiple images: not just one image or even two images but, as Dali says, “a third image and a fourth, or indeed thirty images.” The paranoiac-critical method enables Dali simultaneously to superimpose images one upon another or sequentially to juxtapose images one after another. These images are a proliferation of paradoxes that Dali projects to transmogrify the ordinary.

Michael Vannoy Adams is a Jungian psychoanalyst in private practice in New York City. He is a clinical associate professor at the NYU Postdoctoral Program in Psychotherapy and Psychoanalysis. He is the author of four important books – most recently, For Love of the Imagination: Interdisciplinary Applications of Jungian Psychoanalysis (Routlege 2014). He is also an artist who paints images from the unconscious, including images from dreams. He has a special interest in Dada and Surrealism, Duchamp and Dali.

Dreams in Visual Art, Deirdre Barrett. Ph.D.

Dreams have played a role in visual art since humans began to draw the world. The more fantastic images in cave art are thought to probably represent dreams. Since recorded history, artists have described work inspired by dreams—either as an individual initiative or, with the surrealists, as an explicit movement to utilize the dream world. This talk will describe the range of ways in which dreams have aided the visual arts, including inspiration for techniques as well as for specific content.

Deirdre Barrett, Ph.D. is a clinical psychologist and Clinical Assistant Professor of Psychology at Harvard Medical School. She is Past President of the Association for the Study of Dreams and of the American Psychological Association’s Div. 30, The Society for Psychological Hypnosis. She’s the author of four books including The Committee of Sleep (Random House, 2001) and editor of four academic volumes including Trauma and Dreams (Harvard University Press, 1996). She is Editor in Chief of the journal Dreaming and a Consulting Editor for Imagination, Cognition, and Personality and The International Journal for Clinical and Experimental Hypnosis. Dr. Barrett has published dozens of academic articles and chapters on dreaming, imagery, and hypnosis. Dr. Barrett’s commentary on dreams has been featured on Good Morning America, The Today Show, CNN, Fox, The Discovery Channel, and Voice of America. She has been interviewed for dream articles in The Washington Post, The New York Times, Life, Time, and Newsweek. Her own articles have appeared in Psychology Today and Scientific American, and her film review column, ‘The Dream Videophile’ is published in the magazine DreamTime. Dr. Barrett has lectured on dreams at Esalen, the Smithsonian, and at universities across the U.S., and in Russia, Kuwait, Israel, England, and Holland.

Epistemic Uncertainty and Dream Creation Methods, Fariba Bogzaran, PhD.

Beyond hermeneutic of dream interpretation lies Epistemic Uncertainty-knowing that within unknowing there is a knowing. To unfold a dream through the arts and staying authentic within the creative process connects the creative mind to the dreaming mind. The presentation discusses the surrealist method of automatism, inspired by the Free Association of Sigmund Freud, and the use of this method with dreams, visual art and poetry. This non-interpretive approach allows one to bracket presuppositions, and to open to new insights about the dream. The method will be fully discussed with case example.

Fariba Bogzaran, PhD. founded and directed the Dream Studies program at John F. Kennedy University and is the co-founder of the Lucid Art Foundation, with the surrealist painter Gordon Onslow Ford. She is an artist, scientist and scholar and co-author of two major academic books on dreams: Extraordinary Dreams (2002) and Integral Dreaming (2012) both published by SUNY Press. In 1990 she founded Dream Creations Method using multi-media in addressing non- interpretive approach to dreams. The method has developed into Integral Dream Practice. She has taught her method internationally since 1984.

To Dream the Filmmaker’s Dream, Caroline Hagood

Hagood’s talk will cover the intersection of gender with dream, poetry, and film. She will explore female poets responding to, and revising, the work of male filmmakers, throughout the 20th century. The poets provide a fresh take on feminism, revising ideas about spectatorship and the gaze.Their poetry involves a complex transaction—a problematizing and response against objectification, but also a desire to be seen and, more radical still, to stare back. In Adrienne Rich’s poem “Images for Godard,” Rich, “the poet is at the movies / dreaming the film-maker’s dream but differently.” As Rich told David Montenegro in an interview, in the 1960s she was “going to the movies more than I ever have in my life, and seeing a vast number of filmic images; I was very must struck by [French filmmaker Jean-Luc] Godard’s use of language and image in films.” But how did she want to make Godard’s images work for her poetry and politics? What can film do that poetry cannot and vice versa? What does it mean for a poet to dream the filmmaker’s dream?

Caroline Hagood earned her English PhD at Fordham University, where she wrote a dissertation on how female poets revise the work of male filmmakers called Women Who Like to Watch: 20th Century American Cinepoetry. Hagood’s first book of poetry, Lunatic Speaks, was published in 2012 by FutureCycle Press, and her second poetry book, Making Maxine’s Baby, an SPD Bestseller, came out in May 2015 from Hanging Loose Press. Her poetry and essays have also appeared, or are forthcoming, in The Kenyon Review, Drunken Boat, Hanging Loose, La Petite Zine, the Huffington Post, the Guardian, Salon, and the Economist.

Unauthorized Freud: Secrets of a Soul and the Origin of Psychoanalytic Cinema, Bernard Welt

Secrets of a Soul (Die Geheimnisse einer Seele, G. W. Pabst, 1926) represents an historic attempt to explain psychoanalysis to the masses through the cinematic equivalent of Freud’s celebrated case histories, which made him and his ideas about the Unconscious, repression, and dreams an international sensation. The public doesn’t have much patience with theory, but loves a good story—especially one with a happy ending, as when the therapeutic work of dream interpretation resolves and dispels a paralyzing neurotic symptom, as in the plot of this fictional film narrative. Despite Freud’s disdain for cinema and his (wholly justified) fears that film form would dilute his message, Secrets of a Soul proved to be enormously effective propaganda in establishing a myth of psychoanalytic treatment, and dream analysis in particular, as the royal road to knowledge of the mysteries of mind, and set the model for many Freudian film plots to come.

Bernard Welt, Professor Emeritus, The George Washington University, is the author of Mythomania: Fantasies, Fables, and Sheer Lies in Contemporary American Popular Art. His talks on dreaming and film are a regular feature of the annual conferences of the International Association for the Study of Dreams, and he is a contributing editor to its quarterly publication, Dream Time. With Phil King and Kelly Bulkeley, he is co-author of Dreaming in the Classroom (SUNY Press, 2011), the first major academic survey of the study and use of dreams and dreaming in contemporary education.His reviews and articles, reviews, fiction, and poetry, have appeared in many journals and art catalogues. He has received a National Endowment for the Arts Creative Writers Fellowship.

Saturday, May 13, 2017

9:00-9:45 – Epistemic Uncertainty and Dream Creation Methods, Fariba Bogzaran, PhD

9:45- 10:00 Coffee Break

10:00- 10:45 – Dali, Dreams, and Double Images:  The Paranoic-Critical Method in Art and Film. Michael Vannoy Adams

10:45- 11:00 Coffee Break

11:00- 12:00- To Dream the Filmmaker’s Dream, Caroline Hagood

12:00-2:00 Lunch

2:00- 2:45 – Unauthorized Freud: Secrets of a Soul and the Origin of Psychoanalytic Cinema, Bernard Welt

2:45- 3:00 Coffee Break

3:00-3:45- Deirdre Barrett,Ph.D.

3:45-4:00 Coffee Break


Lou Hagood

Artwork in Masthead courtesy of Fariba Bogzaran