At some point relationships become a “third entity”.
- What is that point?
- what is it’s social and cultural atom?
- how can we concretise this 3rd?
- how can it speak?
Moreno J.L. (1941) The Philosophy of the Moment and the Spontaneity Theatre. Sociometry May 1941 Vol 4
I went to the East Side Gallery today, and liked this one by Michael Springer, so googled and found more
Continue reading “Michael Springer, Canterbury Artist”
Marriage and family therapy for instance, has to be so conducted that the “interpsyche” of the entire group is re-enacted so that all their tele-relations, their co-conscious and co-unconscious states are brought to life. Co-conscious and co-unconscious states are by definition such states which the partners have experienced and produced jointly and which can therefore be only jointly reproduced or re-enacted. A co-conscious or a co-unconscious state can not be the property of one individual only. It is always a common property and cannot be reproduced but by a combined effort. If a re-enactment of such co-conscious or co-unconscious state is desired or necessary, that re-enactment has to take place with the help of all partners involved in the episode. The logical method of such re-enactment a deux is psychodrama. However great a genius of perception one partner of the ensemble might have, he or she can not produce that episode alone because they have in common their co-conscious and co-unconscious states which are the matrix from which they drew their inspiration and knowledge.
(Moreno, 1977: vii)
Moreno, J. L. (1977). Psychodrama (Volume One, Fourth ed.) Beacon, New York.
Just streets. But no, the place that evokes my childhood. Except for the cars it’s all the same. Oh and perhaps the skyscraper. I think as child there was just a field there and a circus tent used to be there.
96 Amstelkaade Amsterdam
The Amstel canaal across the road.
Lived there from 1944 to 1952.
Plan: To add more crucial places in my life. (I do continue these projects, but they may take years.
I wrote a post on Freud’s birthday once before.
that was 2006. I wrote a few more after that. And I’d like to mention this one, 2018, 12 years after the other one:
Freud and individualism in the 20th century
I changed my tune on Freud.
I’ve been imagining the world lately as if there is no unconscious just people in action. Moving in the moment. Its hard to do, but an interesting process.
Playing with Moreno’s idea that the psyche is outside the body.
“Marc Petitjean grew up in a house where Frida Kahlo’s painting, The Heart, also named Memory, hung on one of the walls. Uncovering the story of how the painting was given by Frida to his father, Michel Petitjean, he unfurls not only a passionate love affair between them in pre-Second-World-War Paris, but also a back story about Frida’s paintings around the time and the intersections between France’s surrealist circles and contemporary politics.”
Enjoying this half invented book with lots of name dropping of French artists in the thirties. Interesting. Here is the art in question
Listening on Scribd
and reading on Kindle.
So many people! I’ll bring them in and their art as I did with another book Optic Nerve (blog post)
I’ll start with Frida and then Diego Rivera
Continue reading “Book: The Heart, Frida Kahlo in Paris by Marc Petitjean”
“Who Shall Survive?” begins with a universal statement about humanity.
“SOCIAL AND ORGANIC UNITY OF HUMANKIND *”
That’s the heading and it makes quite a statement! It is followed by the classic opening line about mankind:
“A truly therapeutic procedure cannot have less an objective than the whole of humankind.”
Continue reading “Moreno’s promise to humanity — in jeopardy”
I listened to the podcast and enjoyed it:
The Rime of the Ancient Mariner
Melvyn Bragg and guests discuss Coleridge’s poem of a grim voyage in which a sailor shoots an albatross and is forced to tell the story of his crime forever.
More info, but I wanted to see the Dore Images. Here is one:
The Rime of the Ancient Mariner (originally The Rime of the Ancyent Marinere) is the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of Lyrical Ballads. Some modern editions use a revised version printed in 1817 that featured a gloss. Along with other poems in Lyrical Ballads, it is often considered a signal shift to modern poetry and the beginning of British Romantic literature.