Showing papers in "International Forum of Psychoanalysis in 2000"
TL;DR: In a series of lectures called ''Space and identity'' that were given to a public audience during the spring of 1998 as discussed by the authors, the authors gave a picture of the development of inner space and of potential space as the place for creativity and creative living.
Abstract: This paper was one in a series of lectures called ''Space and identity'' that were given to a public audience during the spring of 1998. ''Space and identity'' was part of the program for Stockholm as the cultural capital of Europe in 1998 and was arranged by the Museum of Architecture and the two psychoanalytical societies in Stockholm. Building on the theories of especially Winnicott and Bion and with references to literature the paper gives a picture of the development of inner space and of potential space as the place for creativity and creative living.
23 citations
TL;DR: The way we plan and live our built environments reflect unconscious forms of thinking realised through architecture as discussed by the authors, and cities become holding environments that offer inhabitants differing forms of psychic engagement with the object world.
Abstract: The way we plan and live our built environments reflect unconscious forms of thinking realised through architecture. Cities become holding environments that offer inhabitants differing forms of psychic engagement with the object world. The way they are planned and the types of objects they offer add up to degrees of ''imageability'', an attribute of any city that could become part of a psychoanalysis of the built world, or what Bachelard termed a ''topoanalysis''. Cities also play with life and death as those who inhabit built structures will be outlived by the places they inhabit, yet they enliven the inorganic spaces they construct. All buildings may, then, be forms of death brought into lived experience, and architects negotiate complex issues involving the matriculation of forms of death into human life. The ''spirit'' of human endeavour needs representation in the built environment and we may consider the ways in which a psychoanalysis of the built world could lead to a psycho-spiritual representatio...
23 citations
TL;DR: One of the most potent images of architecture is the stair, which possesses a wealth of metaphoric and symbolic connotations as discussed by the authors, and the stair is the symbolic spine of the house, whereas ascending a stair in dream-imagery signifies copulation.
Abstract: Our materialist culture has turned buildings into objects of utility devoid of any mytho-poetic content. However, in addition to providing physical shelter, buildings should also house our souls, memories and dreams. Like all art, architecture expresses the human existential condition, and our lived space and mind define each other reciprocally. Architecture addresses the body and is experienced multi-sensorily. Fundamental architectural experiences are encounters that appear as verbs rather than nouns. One of the most potent images of architecture is the stair, which possesses a wealth of metaphoric and symbolic connotations. The stair is the symbolic spine of the house, whereas ascending a stair in dream-imagery signifies copulation. The qualitative differences of ascending and descending derive from the images of Heaven and Hell. Stairs appear frequently in literature, cinema and painting due to their extraordinary image power. The staircase is simultaneously a stage and an auditorium. It is also a ver...
15 citations
TL;DR: In this article, a painter's work as shown to such a group reveals and interacts with her developmental progress as she goes through the mourning process in individual therapy with the author, who is also the leader of the writing and creative process group to which the artist belongs.
Abstract: Participation in writing and creative process offers a unique window to view the evolution of the mourning process. This study traces how a painter's work as shown to such a group reveals and interacts with her developmental progress as she goes through the mourning process in individual therapy with the author, who is also the leader of the writing and creative process group to which the artist belongs. Through these mutually beneficial exchanges, the patient is able to relinquish her constructed false self-identity for an authentic female identity, as seen in the evolution of her painting over her two-year participation in the writing and creative process group.
11 citations
TL;DR: In this paper, Fromm sums up, and criticizes, Freud's views on the genesis of neurosis and its treatment in psychoanalytic therapy, with special emphasis on the underlying ''patricentric'' character of both Freud's personality and his theory hidden by the bourgeois concept of tolerance.
Abstract: This is the first English translation of a pioneering paper by Erich Fromm (1935). Fromm sums up, and criticizes, Freud's views on the genesis of neurosis and its treatment in psychoanalytic therapy, with special emphasis on the underlying ''patricentric'' character of both Freud's personality and his theory, hidden by the bourgeois concept of ?tolerance.? By contrast, Fromm presents the differing positions taken by Georg Groddeck and Sandor Ferenczi, positions that would point into the right direction but would lack scientific rigor (Groddeck) or would not go far enough (Ferenczi).
11 citations
TL;DR: Fromm's important contributions to the modern development of psychoanalytic thought are often ignored and frequently misunderstood as discussed by the authors, and it is argued that Fromm's unique role in helping create a new version of psychoanalysis for the 21st century was as sociological as it was intellectual.
Abstract: Fromm's important contributions to the modern development of psychoanalytic thought are often ignored and frequently misunderstood. An early proponent of revisions of psychoanalytic theory and therapy similar to recent trends in object relations, self-psychology and interpersonal psychoanalysis, Fromm was a visionary for a Freudian theory built upon orthodoxies of the past but going beyond them. It is argued here that Fromm's unique role in helping create a new version of psychoanalysis for the 21st century was as sociological as it was intellectual. Fromm's contributions were intimately linked to his institutional positioning close to the center but on the relative margins of the discipline. This paper will outline how sociological dynamics shaped Fromm's revision of psychoanalysis. We will conclude by discussing how Fromm was able to have a more dramatic influence than other Freudian revisionists who were less favourably positioned.
8 citations
TL;DR: Fromm's fortuitous visit to Mexico in 1949, and his meeting with a group of Mexican psychiatrists was the beginning of a working relationship that lasted for over 25 years, leaving its mark on a number of community-oriented institutions, professional societies and publications as discussed by the authors.
Abstract: Erich Fromm's fortuitous visit to Mexico in 1949, and his meeting with a group of Mexican psychiatrists was the beginning of a working relationship that lasted for over 25 years. It left its mark on a number of community-oriented institutions, professional societies and publications, which are alive even today. This article describes some of the many activities in which researchers, psychoanalysts, medical doctors, psychologists, social workers, sociologists, anthropologists and religious scholars were involved over those 25 years, and the continuing importance of those initial projects and institutions today.
7 citations
TL;DR: In this article, the role of Erich Fromm in the foundation of the International Federation of Psychoanalytic Societies (IFPS) according to the documents and correspondence kept in the Fromm Archives in Tubingen (Germany) is discussed.
Abstract: First the role is discussed that Erich Fromm played in the foundation of the International Federation of Psychoanalytic Societies (IFPS) according to the documents and correspondence kept in the Fromm Archives in Tubingen (Germany) In the second part the perhaps more interesting question is discussed of what personally motivated Fromm to initiate and to establish a federation of psychoanalytic societies outside of the International Psycho-Analytical Association (IPA) Although the reasons and motivations for Fromm's initiative are in the first line historical they nevertheless have some impact on the present Therefore, in a final section, Fromm's understanding of psychoanalysis is discussed as a challenge for the IPA as well as for the IFPS
7 citations
[...]
TL;DR: In this article, a meditation on the interpenetration of mental and physical, particularly architectural, place is presented, where the relationship between person and place is transitional, ever in flux, person continually defining place into a continuous reality, and reality perpetually placing person.
Abstract: This paper is a meditation on the interpenetration of mental and physical, particularly architectural, place. Its premise is that the relationship between person and place is transitional, ever in flux, person continually defining place into a continuous reality, and reality perpetually placing person. Further, this interchange occurs against the backdrop of an inconceivable void whereby the very terms of the interchange can be nullified. Such a void is unconscious and outside in the sense that it is outside what can be known. The matter of opening the inside to the outside becomes an endeavor shared by psychoanalysis and by architecture, notably sacred architecture. The exchange between inside and outside is considered using as examples the body, Freud's office, Disneyland, and the cathedral. Implications are extrapolated as to the provisional nature of the self.
6 citations
TL;DR: In this article, a clinical case is presented at length with a view to understanding how the healthy fear of incest, which favours the process of individuation, may come into conflict with the fear of leaving childhood and becoming adult.
Abstract: A clinical case is presented at length with a view to understanding how the healthy fear of incest, which favours the process of individuation, may come into conflict with the fear of leaving childhood and becoming adult. Among the consequences of this conflict is a sort of paralysis or impediment to living which may be converted into hate. The inquiry mainly regards anxiety, fear, hate and aggression as factors which conspire in holding an individual back from his path in life. The affects are taken into consideration in accordance with Fromm's theory of aggression and his ''syndrome of decay'' diagnostic scheme, which results from the confluence and interaction of incestuous symbiosis, narcissism and destructiveness. Emphasis is placed on mechanisms of repression and splitting of hate not employed in aggression. Repressed and split hate may sustain para-hallucinatory symptoms and produce terror. This view offers an explanation of the perturbing symptomatology that afflicted the patient presented here an...
4 citations
TL;DR: The use of space as an image for engagement is the framework of the dialogue between architect, Richard Meier, and psychoanalyst, Valerie Tate Angel as mentioned in this paper, and the interrelated nature of architecture and psychoanalysis heightens the awareness of experience in the self's relation to intimate spaces.
Abstract: The use of space as an image for engagement is the framework of the dialogue between architect, Richard Meier, and psychoanalyst, Valerie Tate Angel. The interrelated nature of architecture and psychoanalysis heightens the awareness of experience in the self's relation to intimate spaces.The homogeneity between architecture and psychoanalysis is the bringing together of a sense of openness and a freedom of possibilities in the place where one lives.
TL;DR: In this article, a brief historical note on the Institute, the Frommian perspective is presented at length with a view to understanding how psychoanalysis reacts to the radical humanism, and emphasis is placed on the idea that Fromm's thought orientation is not an organised school of psychoanalysis but an open and critical contribution.
Abstract: The Institute intends to contribute to the formation of a Frommian research tradition and to its development in Italy. During his lifetime Fromm carried out a daily clinical work on which he based all his theories. The Institute is interested in collecting this wealth of clinical experience through study and research. On the subject of technique, written and recorded documents consist of valuable notes, which are found in various books, and of posthumous works and recorded seminars and interviews. After a brief historical note on the Institute, the Frommian perspective is presented at length with a view to understanding how psychoanalysis reacts to the radical humanism. Emphasis is placed on the idea that Fromm's thought orientation is not an organised school of psychoanalysis but an open and critical contribution. This view offers an explanation of Fromm's abstention to codify a psychoanalytic technique to be applied in a standardised way. Although this report regards above all the clinical psychoanalysi...
TL;DR: In this paper, the authors propose a method to solve the problem of unstructured data.Content removed, content removed, removed, and replaced with a new content removed method.
Abstract: Content removed.
TL;DR: In this article, an exploration of Egon Schiele's life and enigmatic ''mannerisms'' which recall those of autistic children and schizophrenic patients is presented, where the author explores the impact his outstanding and disturbing paintings can have.
Abstract: Through an exploration of Egon Schiele's life and enigmatic ?mannerisms?, which recall those of autistic children and schizophrenic patients, the author explores the impact his outstanding and disturbing paintings can have. The approach is biographical, revealing Schiele the artist as an already gifted though disturbed child. Some material refers to Schiele's way of expressing painful yet creative fantasies, in which different parts of his body (in particular his hands), projected into his paintings, form part of an intimate, creative, disturbed language. From childhood to his early death, Schiele used a coherent figurative language which was both realistic and oneiric; the author develops some ideas on art and psychoanalysis, particularly as to the creative process within a complex and disturbed personality. Working as he did between the psychotic and non-psychotic elements of his personality (Bion), Schiele is an appropriate artist for our time. His drama, his feelings of disintegration and ?dismemberme...
TL;DR: Fromm's life and ideas were reviewed in this articleunk, R., 'Erich Fromm. His Life and Ideas' International Forum of Psychoanalysis: Vol. 9, No. 3-4, pp. 255-258.
Abstract: (2000). Strolling Through the Life of Erich Fromm (1900-1980): Review of Funk, R., 'Erich Fromm. His Life and Ideas' International Forum of Psychoanalysis: Vol. 9, No. 3-4, pp. 255-258.
TL;DR: Fromm remains singularly neglected today as a psychoanalytic thinker, despite his once great success as a popular writer as discussed by the authors, despite the fact that he was a great psychoanalyst.
Abstract: Fromm remains singularly neglected today as a psychoanalytic thinker, despite his once great success as a popular writer.
TL;DR: In this paper, the notion of complexity in art and architecture is investigated in terms of how it sitsuates the viewer, and affects our sense of space and time, and how it connects the artist's working method, the production of the work, and the external relations which connect it to the viewer and the context.
Abstract: The paper deals with notions of complexity in art and architecture. On the basis of a recent sculp\tural work by Richard Serra, Torqued Ellipses (1997), the notion of complexity is investigated in terms of how it situates the viewer, and affects our sense of space and time. Serra's work is analyzed in terms of the artist's working method, the production of the work, and finally the ''external relations'' which connect it to the viewer and the context. In each of these steps, the notions of complexity and unpredictability are shown to have a formative role. This gives his work a relevance for several fields using working processes as methods. The relations between space and time, object and context, are redefined in Serra's work, which also gives it a more specific importance for architectural theory and practice.
TL;DR: Fromm was one of the founders of the William Alanson White Institute in New York City and an important contributor to the development of the interpersonal approach to psychoanalysis as mentioned in this paper, and many of his ideas about psychoanalysis have found their way into the mainstream of analytic thinking.
Abstract: Erich Fromm was one of the founders of the William Alanson White Institute in New York City and an important contributor to the development of the interpersonal approach to psychoanalysis. Many of Fromm's ideas about psychoanalysis have found their way into the mainstream of analytic thinking. Much of what he taught in supervision and in his lectures had to do with the role of the analyst, the analyst's use of himself in the analytic process and the necessity that the analyst experience what his patient is experiencing. From did not necessarily use terms like projective identification but his understanding presaged much of what analysts talk about today. Fromm himself did not write much about clinical practice. And while he repeatedly expressed his respect for Freud he was explicit in his disagreements. Fromm rejected the notion of the analyst as a blank mirror. Instead, analysis requires a passionate wish for truth both in the analysand and the analyst. Fromm calls this passion biophilic, implying that t...
TL;DR: In this paper, the authors make a formal comparison between the painter's visual approach, and the analyst's psychic approach which leads him to form a particular interpretation, and compare the spectator's feelings when a painting imposes itself on him, with the analyst' feelings when confronted with the silence of the analysand.
Abstract: Instead of using a psychological grid when reading literature, Freud recommended that we let the actual writer instruct us. The same applies to artists. Here I will be asking two questions: can one make a formal comparison between the painter's visual approach, and the analyst's psychic approach which leads him to form a particular interpretation? Can one compare the spectator's feelings when a painting imposes itself on him, with the analyst's feelings when confronted with the silence of the analysand? Out of these two questions another, more general one arises: what can the psychoanalytical approach to artistic representation bring to the understanding of the analytical process?
TL;DR: Henriksson as discussed by the authors discussed different perspectives and ideas about architecture, which for him essentially is a contradictory and open concept with no a priori a.k.a. moral laws or ethics, and the working process includes research, penetration and interpretation of which the latter is the most interesting and powerful.
Abstract: Jan Henriksson, Professor of Architecture at the Royal Institute of Technology in Stockholm and member of the project-group of the issue ''Psychoanalysis Meets Art and Architecture'', elaborates in this interview on different perspectives and ideas about architecture, which for him essentially is a contradictory and open concept with no a priori. Architecture belongs to the field of moral laws or ethics. The instrumental part deals with building and buildings. The working process includes research, penetration and interpretation of which the latter is the most interesting and powerful, not seldom connected with existential questions. The training of the students includes not only the instrumental part but still more important is the training of their critical thinking, to enable them to gain the insight that that which is the truth, looks like the truth no longer is the truth. To be given a lot of freedom during the training helps the students to find an inner compass, an inner bearing which will be decis...
TL;DR: In this paper, the authors describe a spatial situation in which weightlessness and gravity oscillate, characterized by oscillations, discepancies, misalignements, multiplicity and recurrence.
Abstract: Interacting with the work of art entails a spatial situation, which is double. On a mental plane it is encapsulated reverie, on a physical plane it is production and consumption. These two are woven together as an orthogonal text or texture. The space of the work of art thus contains both the process of its making and its viewing. Seen as a dimensional space it is non linear. It is characterized by oscillations, discepancies, misalignements, multiplicity and recurrence. There is a correspondance between the studio and the exhibition area, as well as a dialogue between privileged and unprivileged spaces. The situation has something in common with oneiric space, where weightlessness and gravity oscillate.
TL;DR: In this article, an art historian interprets images with which she identifies in various ways and conveys the experience of being strongly involved by the images and their represented worlds and also the feeling of experiencing the borderlines between reality, imaginary being and picture medium.
Abstract: This article is written by an art historian, a person whose job it is to analyse and interpret images. In this case however, the article deals with three cases, where the interpreter confronts images with which she identifies in various ways. She conveys the experience of being strongly involved by the images and their represented worlds and also the feeling of experiencing the borderlines between reality, imaginary being and picture medium. The three cases are connected through the theme of ''mirroring'' and subjectivity.
TL;DR: A selection of the Finnish artist Juhana Blomstedt's thoughts on art collected in the book ''Muodon Arvo'' (The Value of Form) and from an interview with the psychoanalyst Veikko Talvitie, have been translated and reproduced in this issue as discussed by the authors.
Abstract: With permission of the Finnish artist Juhana Blomstedt, a selection of his thoughts on art collected in the book ''Muodon Arvo'' (The Value of Form) and from an interview with the psychoanalyst Veikko Talvitie, have been translated and reproduced in this issue. Aphoristic sentences, reflecting his views on the value of form, on time and memory, art as communication, abstract painting, or on the artist and his role in society, build up some of the chapters of his book, but the same sentences can also be found time and again in longer and more coherent texts. They seem to contain the essence of the artist's reflections on art and on ''the enigma of being in the world''.
TL;DR: Art is viewed as a successful instinctual substitute which differs from the symptom in terms of effectiveness as mentioned in this paper, and art is the symbolic universe of the artist who, by withdrawing into the world of imagination, encounters the pathways of reality, however it communicates with the observer who may also find satisfaction for his own unconscious desires therein.
Abstract: This article discusses the approximation between art and psychoanalysis, considering both as manifestations of the unconscious. Art is viewed as a successful instinctual substitute which differs from the symptom in terms of effectiveness. A work of art is the symbolic universe of the artist, who, by withdrawing into the world of imagination, encounters the pathways of reality. Artistic manifestation is not interpretable, however it communicates with the observer who may also find satisfaction for his own unconscious desires therein.