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Giuseppe Civitarese, with his prolific writing, has become increasingly known for his explication and promulgation of Bionian-inspired analytic field theory, which in his version includes a strong connection to early Freud and a profound interest in biological underpinnings and neurological endowments. Readers still unfamiliar with Civitarese might find both of these works rather an intense introduction, since they are built upon previous texts as Civitarese returns, in a more detailed manner, to many of the topics and methodologies dear to him. These are many and varied, with a particular use of his beloved cinema. Both works deepen his explorations of the function of dreaming in mental life and psychoanalytic practice, and while much will be familiar to his readers, in both these recent works Civitarese brings together most fully his radically different understanding of the nature and function of dreaming, an understanding that integrates Freud's initial insights with the neurobiology of representation and language and Bionian ideas about mentation. Civitarese is creating, in his extensive body of work, a virtual salon of sorts—and Civitarese loves the idea of virtual reality—in which the history of psychoanalysis, the impact of the intersubjective turn, the semiotics of representation, and the mind-body connection are in promiscuous interplay with one another and with a wealth of images from both high art and popular culture. The vitality and buzz of this overstuffed salon should not obscure the immense ambition of Civitarese's work, which is underscored by these two most recent works, especially when considered together. For Civitarese aims, to mixed but intriguing and certainly valiant effect, at no less than picking up where Freud left off in the abandoned Project for a Scientific Psychology. Like Freud, Civitarese brings together ideas already circulating in the intellectual and scientific milieu, dares to mix these with philosophical inquiries and cultural d