To Be Continued?...
Philosophy and Psychoanalysis Today

Part III
15–16 April 2025

Live Session (Zoom)

Boštjan Nedoh
Marisa Žele
Holden M. Rasmussen
Amanda Holmes
Aleš Bunta
Alenka Zupančič
Alejandro Cerda-Rueda
Arka Chattopadhyay
Lorenzo Chiesa
Mladen Dolar
Justin Clemens
Alexi Kukuljevic
Peter Klepec
Stephen Overy
Tadej Troha
Sigi Jöttkandt
Richard Boothby


Part II

16–18 April 2024

Holden M. Rasmussen
Marisa Žele
Aleš Mendiževec
Voranc Kumar
Alejandro Cerda-Rueda
Arka Chattopadhyay
Boštjan Nedoh
Tadej Troha
Adrian Johnston
Mladen Dolar
Henrik Jøker Bjerre
Aleš Bunta
Adam Potts
Alenka Zupančič
Lorenzo Chiesa
Joan Copjec
Emily Laurent-Monaghan
Moritz Herrmann
Arsalan Reihanzadeh
Paris Lavidis
Nadia Bou Ali
Peter Klepec
Mohamed Tal
Frank Ruda
Ray Brassier


Part I
15–17 November 2023

Holden M. Rasmussen
Emily Laurent-Monaghan
Moritz Herrmann
Paris Lavidis
Vesna Liponik
Arsalan Reihanzadeh
Adrian Johnston
Jelica Šumič Riha
Tadej Troha
Boštjan Nedoh
Marisa Žele
Aleš Bunta
Peter Klepec
Alenka Zupančič
Lorenzo Chiesa


To Be Continued? ... 
Info
  • We can certainly say that the dialogue between philosophy and psychoanalysis, however prolix, has so far proved very difficult, ever since the latter’s inception. Is there such thing as a philosophy-psychoanalysis relationship? Or has it always been only empty speech? In that case, should it be continued?
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Stephen Overy (Newcastle University) 
(w/ Kenneth Smith, University of Liverpool)



Pop Music as Another Road to the Unconscious


Our aims in this paper are threefold. Firstly, we will trace the history of the (non)engagement with music in Freud's work. Secondly, we make a distinction between the classical forms of music which were prevalent within Freud's lifetime and the contemporary mode of pop music that emerges in the 1960s. What is it, we ask, about pop music that makes it amenable to psychoanalytic application? Thirdly, we will compare pop music to five other modes through which Freud claims the unconscious’ work can be seen: jokes, parapraxes, dreams, sublimation, and the analytic experience. After this comparison, we ask if we may be able to think of pop music as a sixth ‘road to the unconscious’. We conclude by examining some musical examples, particularly from the works of Conor Oberst.