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SPEAKER 1: We're looking at Alberto GiacomettI's The Palace at 4 a.m. We're in the Museum of Modern Art. You know, it's really interesting all this verticality in Giacometti's work after the war, and a lot of horizontality-- SPEAKER 2: Before. SPEAKER 1: In Giacometti's work earlier. SPEAKER 2: Although I sense the same sense of fragility and tenuousness here, in the structures of this house that seems to be outlined with sticks. SPEAKER 1: That's true. And they're very delicate sticks. And they're not especially well-wrought. It seems like a weekend project kind of thing. SPEAKER 2: It does. Or something a child would make, almost. SPEAKER 1: Oh, that's true. Yeah. There's a very wonderful, childlike quality here, but also a stage-like quality. SPEAKER 2: That's true. SPEAKER 1: As if what's taking place is sort of enacted before for us. So The Palace at 4 a.m.-- clearly what Giacometti is talking about is the unconscious, his dream. SPEAKER 2: And so we have a female figure in the left. SPEAKER 1: Almost a little chess piece. SPEAKER 2: Standing very vertically and-- SPEAKER 1: Very proper. SPEAKER 2: Proper. SPEAKER 1: Very erect. And very much a kind of presence. SPEAKER 2: Superego, perhaps-- suggesting what one should do. And then also having that kind of superego feeling, I think, is that phallic shape. SPEAKER 1: Oh, see, I saw that as the id. SPEAKER 2: Oh, really? SPEAKER 1: Yes. SPEAKER 2: I saw the id as the dinosaur bird figure in the upper right. SPEAKER 1: The pterodactyl. SPEAKER 2: Yeah. And also that embryonic spine that seems to be in a kind of cage on the lower right. SPEAKER 1: And it's almost as if we're in a museum of natural history. And I think it's important to remember that psychoanalysis at this time was being seen by the surrealists in France-- really secondhand-- as linked to this idea of a kind of primordial past and somehow the unconscious being linked to some ancient truth. SPEAKER 2: Some truth about the human species, about our-- SPEAKER 1: About our most fundamental desires-- SPEAKER 2: Instincts and desires. SPEAKER 1: And instincts. So here we have, then, this stage where, every night, Giacometti's unconsciousness, in a sense, enacts itself, or perhaps ours. SPEAKER 2: Mhm. But it's all held together with string and glue. And maybe that's a good representation of the unconscious mind. SPEAKER 1: I think so. And its mutability, its flexibility-- that it's rebuilt every night, perhaps? SPEAKER 2: Uh-huh. SPEAKER 1: Yeah. Absolutely. [MUSIC PLAYING]