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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.
Erich Fromms Einstellung gegenüber den abstrakten Wissenschaften wie der Ma-thematik erscheint uneinheitlich: einerseits hat er bekannt, abstraktes Denken falle ihm schwer, andererseits hat er Vertretern abstrakter naturwissenschaftlicher Theo-rien wie Einstein und Heisenberg eine revolutionäre Haltung attestiert. Tatsächlich lässt sich Fromms Kreativitätsbegriff auch für die Mathematik fruchtbar machen. Fromm fordert auf, die Dinge in ihrem >So-Sein< wahrzunehmen und darauf kritisch zu >antworten<, ein Verhalten, das die Bereitschaft zur Abstraktion mit einschließt. Der didaktisch bedeutsame >Siehe-Beweis< in der Mathematik ist damit ein Muster-fall dieses Frommschen Ansatzes. Zu Fromms ganzheitlichem Anspruch gehört seine von ihm auch gelebte Forderung an den Menschen, sich Konflikten zu stellen und so seinen Charakter zu entwickeln. Dies verweist auf einen speziellen Grund-zug mathematischen Denkens, nämlich das Bestreben in der Mathematik, sich über Normen hinwegzusetzen, wie es die Entdeckung der nichteuklidischen Geometrien im 19. Jahrhundert zeigt. Dieser prometheische Geist der Mathematik, der von Pädagogen oft übersehen wird, steht damit dem Frommschen Kreativitätsbegriff sehr nahe.
The Hands of Egon Schiele
(2000)
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 ?dismemberment? are nourished by the creative, sane parts of his personality. The true psychotic artist is not entirely psychotic, for creation requires aesthetic taste and harmony.
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.
Instruments designed to measure Fromm's marketing character (SCOI; Saunders & Munro, 2000) & the vertical & horizontal dimensions of Individualism & Collectivism (Singelis, Triandis, Bhawuk & Gelfand, 1995) were administered to 167 Ss. The hypothesis that scores on the SCOI would be positively correlated with Vertical Individualism was supported. However, there was only partial support for the hypothesis that scores on the SCOI would be positively correlated with Indi-vidualism, as the SCOIscores had the same relationship with collectivism – which was unexpected.
Instruments designed to measure Fromm's marketing character (SCOI; Saunders & Munro, 2000) & the vertical & horizontal dimensions of Individualism & Collectivism (Singelis, Triandis, Bhawuk & Gelfand, 1995) were administered to 167 Ss. The hypothesis that scores on the SCOI would be positively correlated with Vertical Individualism was supported. However, there was only partial support for the hypothesis that scores on the SCOI would be positively correlated with Indi-vidualism, as the SCOIscores had the same relationship with collectivism – which was unexpected.
Techniker der Umverteilung
(2000)
Stairways of the Mind
(2000)
Spacing Unpredictability
(2000)
The paper deals with notions of complexity in art and architecture. On the basis of a recent sculptural 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.
Someplace in Mind
(2000)
This paper is aimed at placing the importance of Ferenczi's thinking in the wide field of psychiatry where Ferenczi has not been given any niche whatsoever. The author is in a position to approach topics that are fundamental for the work of both psychiatry and psychoanalysis. The Multifamily Psychoanalysis (MP), created by the author, not only allows professionals to counteract a current psychiatric trend aimed at eliminating the importance of subjectivity but MP also contributes to rescuing the thinking of Ferenczi, and to a better understanding of the Freud-Ferenczi controversy. It is the author's contention that Ferenczi embodies the very spirit of pioneers: no difficulties, however insurmountable, could ever stop him. He paved the way for further psychiatric research work, and his clinical contribution extended the realm of metapsychology.
Shifting Dialogues
(2000)
The article focuses on landscape impressions as a catalyst to start inner progress and creative innovation. The author uses the presumption that a work of art can act as an intermediary and testimony of specific states of mind. Two painters are presented, one contemporary and one from the turn of the last century. The difficulties in describing the origin of a painting and its coming into existence is considered and discussed. The object in view of the article is to point to the practicability of some aspects of psychoanalytical theories in the descriptions of the artistic creative process, of the relation viewer and work of art, of the studio dialogues between artist and viewer in front of the works. Objects relations theory, WR Bion's concepts of reverie, binocular viewing and negative capability, A Ehrenzweig's description of the different stages of the creative process, his positive accentuation of the role of the unconscious, the alternation between dedifferentiation and differentiation and need for the artist to go beyond the known, to be able to loose control of the work and let the painting 'live its life' is central. Art gives its own poetic imprints, not always accessible in words.
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 vi-sionary 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 con-clude by discussing how Fromm was able to have a more dramatic influence than other Freudian revisionists who were less favourably positioned.
Review Funk, R.: Erich Fromm Bildmonographie (Polish translation): Wielobarwny swiat Ericha Fromma
(2000)
Review Funk, R.: Erich Fromm Bildmonographie (Polish translation): Wielobarwny swiat Ericha Fromma
(2000)
Review Fromm, E.: The Art of Lovong (1956a, English): Dr. Love. Erich Fromm’s >Art of Loving<
(2000)
Review Fromm, E.: The Art of Listening (1991a, Swedish): Människan lär du känna i skönlitteraturen
(2000)
Review Fromm, E.: Revoir Freud (2000c, French): >Revoir Freud<, d’Erich Fromm et Gérard D. Khoury
(2000)
Repères autobiographiques
(2000)
On the subject of countertransference we attempt to establish a line of continuity between Freud's own expression >blind spot< and Fromm's idea of >counterattitude<. It is pointed out that both expressed the idea of the analyst's unconscious as an >instrument< for understanding the patient's unconscious. It follows that the decision to openly use or not to use countertransference in analysis also depends on the concept we have of it and on its extent. The psy-choanalyst's real and illusory values and his convictions with regard to human nature influence the countertransference and the analytic relationship. Analytic listening itself may be distorted by it. We must be highly aware of this to avoid enclosing what the patient says in a theoretic scheme. What is needed, there-fore, is an open theoretic scheme, more oriented towards understanding than in-terpretation. Aspects of analytic communication and of the relationship between language, thought and insight are examined. A humanistic point of view is as-sumed in distinguishing between the transferral and the real plane, and the rea-sons behind the legitimacy of such a distinction are expounded.
Psychoanalyse der Gesellschaft. Der Ansatz Erich Fromms und seine Bedeutung für die Gegenwart
(2000)
Preface
(2000)
Predmluwa
(2000)
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.
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<.
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 parahallucinatory symptoms and produce terror. This view offers an explanation of the perturbing symptomatology that afflicted the patient presented here and also shows the power.
W rozwoju psychoanalizy, której początki sięgają przełomowego dzieła Zygmunta Freuda >Die Traumdeutung. Über den Traum< z roku 1900, można obserwować bogatą dynamikę zjawisk, sporów i nurtów. W kolejnych dekadach zaznaczył się podział na psychoanalizę ortodoksyjną, czyli Freudowski styl uprawiania psychologii, i koncepcje dysydentów, jak np. Karola Gustawa Junga (psychologia analityczna) czy Alfreda Adlera (psychologia indywidualna). Stanowisko Fromma określa się jako analityczną psychologię społeczną. Różnice między dysydentami a Freudem widać już w samym pojęciu nieświadomości. Dla Freuda nieświadomość jest przede wszystkim dominującą funkcją aparatu psychicznego jednostki pierwotnie samowystarczalnej. To sfera ukryta przed okiem świadomości, ale potężna, irracjonalna, która składa się z energii libido, treści wypartych i treści tłumionych. W tzw. drugiej topice psychiki z roku 1932 Freud wyróżnił tu jeszcze trzy struktury, czyli Id, Superego i Ego, którym przypisał różny stopień świadomości – wyłączając Id jako żywioł całkowicie nieświadomy. Nie wchodząc w szczegóły i pomijając koncepcje Junga, a także Adlera – wypada nam skupić się na definicji nieświadomości w ujęciu Fromma. Otóż mówi on o tzw. nieświadomości społecznej, która bezpośrednio relacjonuje jednostkę z kontekstem międzyludzkim. Jednocześnie amerykański psycholog odwołuje się do pism Freuda jako źródłowej inspiracji dla swojej perspektywy badawczej, co umiejętnie wydobywa Robert Saciuk, który >Rewizję psychoanalizy< … przełożył na język polski i zaopatrzył na końcu w informatywną notatkę o autorze, w której trafnie podkreśla Freudowski rodowód myśli Fromma, a mówiąc bardziej konkretnie – jego zakotwiczenie w twórczej inspiracji pracy ojca psychoanalizy, pt. Group Psychology and the Analysis of the Ego, w której czytamy.
Mehr Mut zum Menschen. Zur Aktualität Erich Fromms in der ‚Leistungs- und Risikogesellschaft<
(2000)
Mehr Fromm als Freud,
(2000)
Liebe gegen das Marktgesetz
(2000)