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"Intuition" is probably the most frequently used term in all Bion's writings. However, in order to understand its role in his thought it is essential to give it the clearest possible definition. The thesis of this article is that by intuition Bion means a "specific" psychoanalytic concept. It is thus possible to extract intuition from the vague and mystifying reading of it by some authors, whic runs the risk of falling into an empty "intuitionism". For Bion, intuition is a psychoanalytic function of the analyst, the principal factors of which are the various expressions of dream-thought and insight. Furthermore, within the frame of the post-Bionian theory of the analytic field, the author suggests adding to these factors the use of the "we" vertex (or we-ness ), i.e. to regard virtually every fact of analysis as co-created. The aim is to make the very concept of "field" more accessible. Compared with the metaphor of the analytic field, the concept of we-ness has both greater clinical versatility and greater pregnancy on the metapsychological plane. Indeed, it more directly reflects a radically social conception of human subjectivity: what is known in contemporary speculative thought - in J-L. Nancy, for example - as the "ontology of we".

This paper explores the intricate nexus of writing and psychoanalysis by addressing a key question: In what and how many directions should analytic writing be ethical? The author structures the argument across three axes. First, in an introduction, writing's role as a psychoanalytic invariant is emphasized. Then, an exploration ensues, delving into writing as praxis, navigating complex technical choices, from micro- to macro-perspectives in clinical vignettes, their autobiographical essence, their relevance as models for theory, self-revelation, etc. Lastly, a succinct epilogue considers the relationship between aesthetics and ethics in psychoanalytic writing.

Writing Attacks on Linking, it is as if Bion had listened to his former analyst. In a lecture on technique given the year before, Klein expressed the wish that someone would write "a book about linking [...] one of the essential points in analysis". Later taken up and commented on in Second Thoughts, Attacks on Linking, has become perhaps Bion's most famous paper and, Freud aside, the fourth most cited article in the whole of psychoanalytic literature. In the short and scintillating essay Bion presents the enigmatic and fascinating concept of invisible-visual hallucinations, which subsequently seems never to have been taken up and discussed as such by other scholars. The author's proposal is therefore to reread Bion's text starting from this concept. To try to give a definition that is as clear and distinct as possible, a comparison is made with those of negative hallucination (Freud), dream screen (Lewin), and primitive agony (Winnicott). Finally, the hypothesis is formulated that IVH could give us the model of what stays at the origin of any representation; i.e. a micro-traumatic inscription of the trace of stimuli (but which may come to be actually traumatic) in the psychic fabric.

The Covid pandemic has forced analysts around the world, some more than others, to work using Zoom and Skype. The technical innovation is here to stay and raises questions on a theoretical level. Is online analysis 'real' analysis or not? What is lost from the analytical experience? What, if anything, is gained? The global health emergency, on the one hand, has made these questions inescapable; on the other, it has provided a kind of huge experimental field to deal with them. Here, the author argues that when viewed from the perspective of the concepts of intercorporeity (Merleau-Ponty), un-distancing (Heidegger), and aura (Benjamin), some of the issues of 'presence' in teleanalysis become clearer.

The pandemic has been such a dramatic experience that it has newly illuminated the factors that can transform Hegel's necessary "infection"-a permeability to the other and the intersubjective foundation of the ego-into a contagion that alienates the subject. The dialectic between these two kinds of otherness represents what is truly at stake in any encounter-i.e., mutual recognition. Therefore, despite the terrible load of concreteness and suffering that bears directly on psychoanalysis, the theater of analysis still stands, so that the "tales of COVID-19" should also be listened to as fictional, that is, as unconscious communications in the here and now.

In order to understand the 'late' Bion, i.e. his production from Learning from Experience onwards, the most difficult and controversial, it is worth re-reading not only the essays in Second Thoughts, but also Experiences in Groups. The hypothesis of this work is that Bion spent his life as a scholar - probably without even being fully aware of it, since he never talks about it - to transpose his theory of groups into his theory of individual psycho-analysis. To illustrate this thesis, the author systematically compares some of the principles of both. Going back to Experiences in Groups, then, is also useful for another reason. Bion revolutionises theory but still works as a Kleinian. Despite brilliant suggestions, he does not fully develop a new technique. To have a tool box that anyone can use, we have to wait the analytic field theory, which is an original development of his thought. In this model the analyst sees in the analytical pair not two isolated subjects that interact, but a group. There is no 'fact' of analysis that cannot be heard as unconsciously co-created. Here then, highlighting the group inspiration of late Bion's helps us to grasp the meaning of this technical principle, so easily misunderstood, and vice versa.

When re-read today, "On arrogance", a very brief paper Bion wrote in 1958, reveals its extraordinary topicality. We can think of it both as a commentary on Sophocles' Oedipus Rex and as an essay on the "disease" of psychoanalysis. In both cases, lying at its centre is the triad of curiosity-stupidity-arrogance that drives us to know the truth "at any cost". In this paper Bion redefines the crime of Oedipus (and therefore of psychoanalysis) around epistemic instinct and no longer around sexuality; he unveils the objectifying attitude of the analyst he revolutionizes the understanding of negative therapeutic reactions. The analyst's "psychosis" (or that of psychoanalysis) finds expression in the phenomena of wanting to become a psychoanalyst, of aspiring to be "scientific" (as opposed to gaining a hermeneutical understanding), of wanting to tell the patient what he believes to be the truth, and finally of looking "down upon" his patients and colleagues. Anticipating the themes of Transformations and A Memory of the Future , "On arrogance" lays the groundwork for a cogent criticism of the ideology of psychoanalysis and an effective ethical re-foundation of the discipline.

A complex and subtle theory of time is at the heart of Bion's 1962 text "A Theory of Thinking." The central point is the differentiation of "conception" and "thought," psychic elements that in the infant are born respectively from experiences of satisfaction and frustration. These mnestic inscriptions should be understood as in dialectic relation with each other. From this matrix, within which originary temporality is established, lived time derives, but only when it is inserted in the symbolic order through the function of language, which gives access to the "concept." Our feeling of time is therefore based on the rhythm of presentation of the breast and thus on the primary relationship with the object, as well as on a broader symbolic network. The meeting of a preconception of the breast with the mere absence of the breast is not able to generate a "thought" and establish time. That is why Bion distinguishes between absence of breast or non-breast and nothing (noughtness), a state of nameless dread. Bion's concept of time provides an empirical idea, i.e. based on clinical cases where the destruction of time is observed, both of the origin of time and of what Heidegger called-as opposed to "linear" or objective conceptions of time-the ontological structure of temporality. An accurate and orderly critical reading of Bion's article is essential to reach these conclusions.

Although it encapsulates the Freudian theory of art, the theory of sublimation has become outmoded. What is more, since its inception there has always been something ill-defined about it. Does it use sexualized or de-sexualized drive energy? Is it a defence or an alternative to defence? Does it serve Eros or Thanatos? Is it useful in clinical work or is it unusable? The only, albeit uncertain, aid to a definition relies on the extrinsic criterion of concrete artistic realization. My aim here to revisit and possibly 'reinvent' sublimation in the light of certain principles of the pre-Romantic aesthetics of the sublime. Both are theories of spiritual elevation, in other words, elevation that moves towards abstract thinking, and of man's 'moral' achievement; and both attempt to explain the mystery of aesthetic experience. On the one hand, the aesthetics of the sublime offers a modern myth that helps us articulate a series of factors occasionally referred to by various authors as constitutive of sublimation but which have not been incorporated into a single organic framework: loss and early mourning work; the earlier existence of a catastrophic factor - to be regarded, depending on the situation, as either traumatic or simply 'negative'; the correspondence with a process of somatopsychic categorization which coincides with subjectivity. On the other hand, it also helps us grasp the experience of negative pleasure empathically, living it 'from the inside'., (Copyright © 2016 Institute of Psychoanalysis.)

Bion describes transformation in hallucinosis (TH) as a psychic defence present in elusive psychotic scenarios in which there is a total adherence to concrete reality: as the hallucinatory activity which physiologically infiltrates perception and allows us to know reality, setting it off against a background of familiarity; and then, surprisingly, as the ideal state of mind towards which the analyst has to move in order to intuit the facts of the analysis. When hallucinosis is followed by 'awakening', the analyst gains understanding from the experience and goes through a transformation that will inevitably be transmitted to the analytic field and to the patient. In this paper I illustrate Bion's concept and underline its eminently intersubjective nature. Then I differentiate it from two other technical devices: reverie, which unlike hallucinosis does not imply the persistence of a feeling of the real, and Ferro's transformation in dreaming, i.e., purposeful listening to everything that is said in the analysis as if it were the telling of a dream. Finally, I try to demonstrate the practical utility of the concept of transformation in hallucinosis in order to read the complex dynamics of a clinical vignette. Though not well known (only two references in English in the PEP archive), TH proves to be remarkably versatile and productive for thinking about psychoanalytic theory, technique and clinical work., (Copyright © 2014 Institute of Psychoanalysis.)

In constructing his theory Bion drew on a number of symbolic matrices: psychoanalysis, philosophy, mathematics, literature, aesthetics. The least investigated of these is the last. True, we know that Bion cites many authors of the Romantic period, such as Coleridge, Keats, Blake and Wordsworth, as well as others who were held in high esteem in the Romantic period, such as Milton. However, less is known about the influence exerted on him by the aesthetics of the sublime, which while chronologically preceding Romanticism is in fact one of its components. My working hypothesis is that tracing a number of Bion's concepts back to this secret model can serve several purposes: firstly, it contributes to the study of the sources, and, secondly, it makes these concepts appear much less occasional and idiosyncratic than we might believe, being as they are mostly those less immediately understandable but not less important (O, negative capability, nameless dread, the infinite, the language of achievement, unison etc.). Finally, connecting these notions to a matrix, that is, disclosing the meaning of elements that are not simply juxtaposed but dynamically interrelated, in my view significantly increases not only their theoretical intelligibility but also their usefulness in clinical practice. In conclusion, one could legitimately argue that Bion gradually subsumed all the other paradigms he drew on within the aesthetic paradigm., (Copyright © 2014 Institute of Psychoanalysis.)

The author discusses "Evidence" (1976), a brief but very intense and fascinating paper in which Bion provides a unique opportunity to see him at work in his clinical practice. In the story of a patient, Bion reconstructs two sessions that are all the more true for being imaginary-i.e., narrated ("dreamed"). The matter of language and style in psychoanalysis is of the utmost importance, according to Bion-one could say, literally, a matter of life or death. In Bion's discourse, writing, reading, and analysis converge in the same place, the author notes; all are significant if they involve an experience of truth and the ability to learn from experience., (© 2013 The Psychoanalytic Quarterly, Inc.)

Losing oneself in a story, a film or a picture is nothing but another step in the suspension of disbelief that permits one to become immersed in the 'novel' of reality. It is not by chance that the text-world metaphor informs classical aesthetics that, more than anything else, emphasizes emotional involvement. On the contrary, as in much of modern art, self-reflexivity and metafictional attention to the rhetoric of the real, to the framework, to the conventions and to the processes of meaning production, all involve a disenchanted, detached and sceptic vision--in short, an aesthetics of the text as game. By analogy, any analytic style or model that aims to produce a transformative experience must satisfactorily resolve the conflict between immersion (the analyst's emotional participation and sticking to the dreamlike or fictional climate of the session, dreaming knowing it's a dream) and interactivity (for the most part, interpretation as an anti-immersive device that 'wakes' one from fiction and demystifies consciousness). In analytic field theory the setting can be defined--because of the weight given to performativity of language, to the sensory matrix of the transference and the transparency of the medium--the place where an ideal balance is sought between immersion and interaction.

Dreams in which the analyst appears undisguised almost always depict violations of the setting. Often experienced as special, epiphanic moments, they give a glimpse of an intense, emotional reaction to traumatogenic or otherwise significant events that have occurred during the session or in the most recent previous ones. Probably, the essential aspect of these dreams can be found in the 'form of their content'. This may be paralleled by the narrative technique of mise en abyme or mirror-text. The dream appears as a story within the main story and the scene of the analysis is reflected anti-illusionistically. The fictional structure of the setting is emphasized. Its theatrical self-consciousness quality is revealed at its best. The author postulates that the transformative therapeutic value of these dreams derives from denouncing the referential illusion of 'concrete reality' and of 'what really happened'. For the analysand, they are an effective (i.e. emotionally intense) opportunity to discover the spatial articulations and the staggering refractions of the inside/outside, the textual/extra-textual, the psychic reality/material reality. In the continual comings and goings from one term to another, the work of symbolization is reactivated and the subject is constructed. Dreams that mirror the session, from this point of view, provide a model for conceptualizing the analytic work, and their significance goes beyond the specific phenomena referred to. A clinical case is given, in which some of one patient's dreams are considered as they occurred over a short period. In one of them, the dream-within-a-dream phenomenon is present.

Only in Bion's extended idea of 'waking dream thought' is the oneiric paradigm of the cure (already an obvious Freudian principle) completely applicable. The author's basic hypothesis is that, by adopting this paradigm thoroughly, one can combine the radical anti-realism which is expressed in the postulate by which all the patient's communications are transference-connected (here meaning 'false connection'--i.e. as projection/displacement of elements of the patient's inner psychic world) with the 'reality' of the transference, that is to say with the conviction that the facts of the analysis are co-determined by the patient's analyst dyad and actually rooted in how they interact. The Freudian metaphor of the fire at the theatre is reintroduced here to suggest the crisis of the therapist's internal setting and capacity for reverie, which occurs when the irreducible ambiguity of the transference is resolved defensively, either in the patient's external reality or in his unconscious fantasy constellation. The author gives three clinical examples. The first shows some of the not necessarily negative effects of this temporary crisis. The other two vignettes show a way of listening to the traumatic events of the patient's life from a perspective (that of the 'analytic field') which is thought to be potentially the most transformative and vital to the analytical relationship.