Jung’s Collective Unconscious, Participation in Eternity and Becoming a Whole Man | The Cave of Apelles

Öde Nerdrum, Jan-Ove Tuv & Sebastian Salvo sit down to discuss Carl Jung’s idea about the collective unconscious.

Topics in this episode include:

  • Art is collective consciousness, kitsch is collective unconsciousness
  • Translating the unconscious, making the archetypes understandable
  • Jung reintroduced spirituality, but in scientific language
  • Modern man divided between science and belief — politics fills the gap.
  • Opposition between Jung’s individualism and collective unconscious?
  • Not an island unto oneself but learning from all cultures and all times
  • Save the Cat! and why we only have a handful of stories
  • Protestantism and art as iconoclast movements
  • Rejecting collective unconscious robs the castle of its defense
  • Becoming a whole man through “re-ligion”
  • The superficiality of Art’s claim to archetypal content
  • On Persephone and Demeter and Beauty and the Beast
  • Cindarella & Peter Pan: Many characters are aspects of one person
  • The Anima and the Animus: Have men lost more than women?
  • The reward of performing “the persona”
  • Daphne and Apollo» VS theater and the Dionysian mysteries
  • Little Red Riding Hood: Understanding, not knowing the story
  • The genuine laughter in Rembrandt’s “Self-Portrait as Zeuxis”


▶ Full video: https://www.patreon.com/caveofapelles
🎵 Full audio: http://caveofapelles.com/podcast

The conversation was produced by Bork S. Nerdrum and assisted by Alastair Blain.
The centerpiece was a 19th century reproduction of G. F. Watts’ Hope.

Børge Moe
Eric Chartier
Matthias Proy
Shaun Roberts
Viorel Trandafir
Fergus Ryan
Dean Anthony
Jon Harald Aspheim
Alastair Blain
Anders Berge Christensen
Erik Lasky
Fernando Ramirez
Francisco Salvacao
Hårek Jordal Andreassen
Iver Ukkestad
Jack Entz Warner
Jared Fountain
Jose Luis
Marion Bu-Pedersen
Maurice Robbins
Michael Irish
Stacey Evangelista
Tonelise Rugaas
Trym Jordahl
Yngve Hellan

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  • Apelles was asked why he touched and retouched his pictures with so much care, to which he replied:
    "I paint for eternity"