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Über den Verlust der Liebe
(2000)
Zaboracljeni mislilac
(2000)
Wozu man lebt
(2000)
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 decisive in their work. Conflicts are seen as vitalizing and the alternation between order and chaos as fertilizing for creative thinking and acting to take place. The need to express ourselves takes us all somewhere. For Jan Henriksson it is all about processes where different parts interrelate; that is the heart of the matter. The need for architects today to express themselves in words is increasing, to look behind things and to think and reflect about their own work and that of other architects.
Von immergrüner Aktualität
(2000)
Vie et œuvre d’Erich Fromm – une esquisse biographique. Presented at Aix en Provence November 2000.
(2000)
Triebe? Igittigitt!
(2000)
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.
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.