Adam Blum
Biographic Data
| ID | 3940935 |
|---|---|
| NAME | Adam Blum |
| GIVEN NAMES | Adam |
| FAMILY NAME | Blum |
| SIGNATURE | BLUM A |
| AFFILIATIONS | Private Practice, San Francisco, California, USA |
| ORCID | 0000-0002-6781-707X |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Potential Time
This paper introduces potential time as a psychoanalytic concept that extends and complements Winnicott’s potential space. Revisiting Freud’s principle of constancy, Winnicott’s theory of transitional phenomena, and Peter Goldberg’s contemporary insights on framing, transitionality, and duration, it develops potential time as both a theoretical framework and a clinical necessity. In an era increasingly hostile to sustained temporal experience, th…
Fucking Free
A Case of You
This discussion contemplates theoretical incantation as a convergence of auto-theory and music. The relevance of this mode of expression to the history and future of psychoanalytic writing is reviewed and extended. A comparison to the form that psychotherapy-informed auto-theory has emerged in pop and hip-hop music in recent years is presented. These various considerations are reconciled with the psychoanalytic project of negotiating freedom
Shaka Waves
The author follows the discussants directly to the ocean as they infuse the initial essay with the sensory richness and material placeness accessible only to the genuine participant-observer. The concept of timelessness is dimensionalized to incorporate the swell of history. The reply culminates in a brief amplification of two themes which might otherwise be drowned out by other waves: the sexuality of homo dyadics, and the muses that inspired th…
How to Surf the Oceanic Feeling
This paper affords a central place to musical experience in our psychoanalytic understanding of identification. Attending to the “oceanic feeling” as it appeared in Freud’s writing, as well as the oceanic writing of the journalist William Finnegan and musical works by John Luther Adams and Frank Ocean, a rich and vital function of identification is presented and developed. This identification is not a reaction to differentiation or loss, but rath…
Getting Home
Situating his current paper (this issue) within the developing dialogue between psychoanalysis and music, as well as within the evolution of Markman’s own definitive contributions to that dialogue, this discussion identifies Markman’s inspired, embodied musicality as the primary force animating Markman’s writing and clinical work. Markman’s remarkable taxonomy of rhythmic styles of psychoanalytic accompaniment, formed entirely by his clinical exp…
This must be the place
Rhythm Nation
Bion’s remarks about music were few but fascinating. This paper provides a close reading of Kendrick Lamar’s To Pimp a Butterfly (2015), an album that has been embraced as the musical centerpiece of the Black Lives Matter movement in terms of Bion’s profound comments on the power of rhythmic speech to engage other minds and bodies in otherwise noncommunicable aspects of experience. Bion’s observations about rhythm are elaborated with respect to t…
Each Night in Rapture
Illustrating a point of intersection between music (as represented in a film soundtrack) and psychoanalytic theory, the author contrasts two uses of silence: the silence of a deadening, collapsing “no thing” (Bion, 1962) and that of an unformulated, experiential “boredom” in which desire crystallizes (Phillips, 1993). The silences and sounds of Steve McQueen’s (2011) film Shame are described with respect to the development of these musical and ps…
Each Night in Rapture
Illustrating a point of intersection between music (as represented in a film soundtrack) and psychoanalytic theory, the author contrasts two uses of silence: the silence of a deadening, collapsing “no thing” (Bion, 1962) and that of an unformulated, experiential “boredom” in which desire crystallizes (Phillips, 1993). The silences and sounds of Steve McQueen’s (2011) film Shame are described with respect to the development of these musical and ps…
This must be the place
Rhythm Nation
Bion’s remarks about music were few but fascinating. This paper provides a close reading of Kendrick Lamar’s To Pimp a Butterfly (2015), an album that has been embraced as the musical centerpiece of the Black Lives Matter movement in terms of Bion’s profound comments on the power of rhythmic speech to engage other minds and bodies in otherwise noncommunicable aspects of experience. Bion’s observations about rhythm are elaborated with respect to t…
Getting Home
Situating his current paper (this issue) within the developing dialogue between psychoanalysis and music, as well as within the evolution of Markman’s own definitive contributions to that dialogue, this discussion identifies Markman’s inspired, embodied musicality as the primary force animating Markman’s writing and clinical work. Markman’s remarkable taxonomy of rhythmic styles of psychoanalytic accompaniment, formed entirely by his clinical exp…
Shaka Waves
The author follows the discussants directly to the ocean as they infuse the initial essay with the sensory richness and material placeness accessible only to the genuine participant-observer. The concept of timelessness is dimensionalized to incorporate the swell of history. The reply culminates in a brief amplification of two themes which might otherwise be drowned out by other waves: the sexuality of homo dyadics, and the muses that inspired th…
How to Surf the Oceanic Feeling
This paper affords a central place to musical experience in our psychoanalytic understanding of identification. Attending to the “oceanic feeling” as it appeared in Freud’s writing, as well as the oceanic writing of the journalist William Finnegan and musical works by John Luther Adams and Frank Ocean, a rich and vital function of identification is presented and developed. This identification is not a reaction to differentiation or loss, but rath…
A Case of You
This discussion contemplates theoretical incantation as a convergence of auto-theory and music. The relevance of this mode of expression to the history and future of psychoanalytic writing is reviewed and extended. A comparison to the form that psychotherapy-informed auto-theory has emerged in pop and hip-hop music in recent years is presented. These various considerations are reconciled with the psychoanalytic project of negotiating freedom
Fucking Free
Potential Time
This paper introduces potential time as a psychoanalytic concept that extends and complements Winnicott’s potential space. Revisiting Freud’s principle of constancy, Winnicott’s theory of transitional phenomena, and Peter Goldberg’s contemporary insights on framing, transitionality, and duration, it develops potential time as both a theoretical framework and a clinical necessity. In an era increasingly hostile to sustained temporal experience, th…
Psychoanalysis (6 works) · Psychology (6 works) · Art (5 works) · Aesthetics (4 works) · Musical (4 works) · Psychoanalytic theory (4 works) · Literature (3 works) · Music History and Culture (3 works) · Musicology and Musical Analysis (3 works) · Philosophy (3 works)