Wednesday, March 5, 2014

Behandlungs-(T)Räume.

I am posting this in the name of Ali Ilbegi for you:





How does the environment of therapy room influence the treatment of clients/patience? Or does it at all?
We continuously, without being aware,  are influenced by stimuli that are acknowledged by our senses, hence,  often led to directions which we had not willingly or consciously intended. This happens often when watching movies, where we are almost hypnotized and emotionally involved as if we are a part of the whole scenario. We feel pain, joy, fear or anything that the movie stimulates within us, despite knowing there are actors performing, a film crew in the background and the staged scenes, mixed with the incredible animations that nowadays new technology offers – and last but not least the important factor of the appropriate music  that guides emotions while accompanying the scene. Hence we are drowned in the environment of the movie.
This happens to us in our day to day experience of what we call life. Environments we experience in our lives shape us to a large extent. The same is the case for the environment patients/clients experience while going to a medical doctor or a psychotherapist. Hence, for those seeking psychological help the room in which they are receiving this support could be as essential as the quality and method of which the therapist is conducting the treatment.
In “Behandlungs-(T)Räume”, in English Treatment-Rooms (with connotation to Dreams), more than 23 different therapy room types and models are introduces. From Freud to Jung, from Adler to classic room types, where each is described to suite  and help to treat different types of disorders.  
The client’s disorder alone does not seem to be sufficient in  choosing  a room, but their status, educational level and other factors are taken into consideration. Since it seems appropriate, let us take Freud as an example; where the room constellation and environment is for ‘highly cultivated’ and  highly educated patients with a high level of disorders. (Furthermore, as additional information, there are also names given to the main parts of the room, i.e. the couch “Anna” and Freud’s hair called “Sigi”).
Then again we have an example of other rooms,  model 2 and 3,  which are considered to be for  patients with mid to lower level of education, who even have been homeless at some point of their lives, having social issue or being ignored by their peers and society.
Once again, these are all illustrations of hypothesis manifested in form of rooms and environment that may be helpful to conduct more effective treatments.  One thing however is essential to understand is that we are all human beings with a very complex psyche that can be influences by all kinds of outside stimuli which our senses perceive dependant of our life experiences, paradigms and level of understanding.

Saturday, February 22, 2014

Between "Hello!" and "Goodbye!"

Change... It is combined with the ambivalence of excited fantasy of the new, not known, all the possibilities, and on the other hand sadness of losing the old cosy, comfortable, something full of memories and feelings.

So here I am... Trying to form the fantasy of how it would be to walk in the new SFU building, sit to completely new classroom, giving form to walls and non-defined furniture a meaning... But the thought keep dragging me back to Schnirchgasse. Little silly thought, saying: "Don't forget about me." Yet how can I forget?

The old, ugly building, which gave us freedom to create identity, to create new boundaries, where rules were made by us and most of all the building which gave us opportunity to develop a new stream of thinking, new concepts... mysteriously all the dark walls, spilled carpets, old socialistic furniture became home and I just have to like it.

How do I leave all of this behind me and start to prepare to give the chance to a new building; where we will start the whole process again? Even if it is true, that we have more place for creating something completely new, maybe even more likable, it is hard to imagine that I would feel better than in "my Uni". Somehow I need to mourn first... And than maybe later I will be ready to give Prater a chance...

Thursday, February 20, 2014

Excursion - postponed

Hello all!

As you might have already foreseen - the excursion had to be postponed. We will try to organize it for the summer semester. As soon as we have a date, we will write to you - for those who would like to join us.

We have put together the list of attendees for this class. Some have not contributed on teh blog yet - please do so, so you can finish this class. "Contribute" means to post at least one thought here ;) It can be a whole post with your project (for this, you need to be an author of the  blog), or simply write a comment to another post (comments can be written without need to login with a google account!). Just make sure you put your name there, so we know who you are ;)

Best wishes,
and a good start into the summer semester 2014, Kathrin Mörtl & Stephan Steiner.

Wednesday, December 18, 2013

Psychoanalytic space 1.2

Hi everyone!

The initial idea of our project was getting pictures of the praxis rooms of SFU psychoanalysts. We wanted to investigate the connection between the book “Behandlungs(t)räume” by Matejek and Lempa where the pictorial metaphors for major psychoanalytic schools were presented and interior of SFU analysts professional spaces.

We approached 5 therapists asking them for the permission to make pictures of their praxis. At this moment surprise started…

Although some of them agreed without any questions, with some we had interesting discussion. They were concerned where the pictures would be posted and who would have an access to them. We proposed to make it anonymous; it wasn’t persuasive enough for them.


That made us think- what do they defend? (If not themselves for being exposed to vague unknown public) What is the real meaning of praxis room for psychoanalyst? How much is the psychoanalyst personality there in nonverbal communication?

Maria, Sasha and Oksana
 
 
Round the world with my Capsule
 
 
 
Hi there,
 
 
since we are gone now for a wile, I`d like to tell you something about our ongoing trip around the world. It was very easy to get the licences for the differnt sites to place the capsule. I didn`t think that it will be that easy because it is the high season, and really there many travelling right now with their capsule. Also families and business men. So it was very hard to get a place for your own. In Monument Valley we where absolutly lucky because the kind of dropped us just in middle of there, because they had some trouble with the van. You can see it at the picture, really awesome!!
The pictures are kind of mixed up, but I have to hurry we need to load the capsult onto the train in den next hour, and I am waiting at the staiton right now.
How you see at the pictures we also have been in the Carribean - but well, that was a bit expensive. And we had tourbles with energie supplies, and tons of sand in our capsule. Not really nice!
Then we got transfered with the Nagasaki Original Capsule Cruiser, and it is really like everyone is telling like on a real Cruise. Get to know nice people there, and you should see the fitness capsule.
Arriving in Europe we get straight to vienna, on the picture you see our Capsule in front of the Stephansdom :-). It was fun to watch how the build in our Casule into the Viennice Capsule Tower.
Then we went to the Alps, where they forgot to pick us up with the helicopter, we got stucked for two weeks. And know how I said we are finally at the trainstation to go further on to France. Paris will be great. I will write you again soon, see you later at the SFU.
Yours Bettina, Victoria and Birgitta

 




Monday, December 2, 2013

Psychoanalytic space



Outer spaces always represent inner ones. Especially when it comes to the psychoanalytic rooms. One side they are an imaginary wombs where the patient is supposed to feel safe comfortable and cozy; where one likes to free associate and to regress. Another side it should be relatively “neutral” although we know that analytical neutrality is a myth.

No matter how disclosed the analyst is, the room speaks for itself. Interior details can evolve memories, associations, and fantasies. The light, pictures, smells, plants – all can trigger foster analytic process.

The following link invites you to explore modern analytic spaces:


Enjoy!




Maria,Sasha and Oksana

Wednesday, November 27, 2013

Grande Hotel, Beira Mozambique

The Grande Hotel stands as an architectural reminder of Mozambique’s colonial past, years of civil war, and the subsequent psychic and physical need for a nation and its citizens to rebuild. The years of struggle had left many Mozambicans homeless, destroyed much of the cities’ infrastructure and littered the countryside with landmines, making cross-country travel life-endangering. By 1992, when the civil war ended, the Grande Hotel was already home to many refugees. It has since grown into one of the largest squatted buildings in the world, comparable in both population and magnitude to the Torre David – an unfinished 45-story skyscraper in Caracas, Venezuela.




Grande Hotel, Beira, Mozambique

Torre David, Caracas, Venezuela

Both buildings emerged from extravagant aspirations tailored to high-income living and have been transformed into spaces that reflect the cities’ poverty, housing shortage and socio-economics. But what else do these spaces say about their inhabitants?

At the Grande Hotel, the living conditions appear, at first glance, deplorable and cramped.  The building no longer resembles a grandiose hotel for visiting VIPs and colonial elites, but rather an impoverished structure – a slum – that is now home to some 750 families, or roughly 2500 inhabitants. Anabela Saint Maurice’s documentary film, Grande Hotel, features Maria Pinto Sa, a Portuguese-Mozambican actress and artist, who shares her memories and current impressions of the Grande Hotel. Driving by the hotel, she remarks, “They say this is a den full of bandits, policemen, prostitutes, thieves, that’s who lives there now.”

This strikes me as being a rather limited perspective, based, perhaps, out of a fear that emerges from the act of peering in. There are, however, ample articles on the Grande Hotel, which paint a picture of an uninhabitable slum, where rats and insects scurry through the play-space of children. There is no water, no electricity, crime does occur (most of the building’s valuable materials have been stripped and sold), and the concept of privacy has an entirely different meaning here.  Moreover, the inhabitants face real risks to their health and safety.

But I can’t imagine that this village could survive -- that the human spirit could survive -- if all aspects of the Grande Hotel were as broken down as its structure. Is the Grande Hotel a den of crime and banditry? Or is it a place where resilience can still be found in abundance despite the poverty and accompanying health and social issues? This is, after all, a place where many family homes have been passed down for generations and most inhabitants have lived there for more than a decade. According to the cultural theorist Madan Sarup, “It is usually assumed that a sense of place, of belonging, gives a person stability. But what makes a place a home?”

The film offers a glimpse into the lives within this concrete village, as mayor Daviz Shimango chats with the community: Kita Joao talks about her children and husband’s job as a driver; a young man describes a common obstacle (no start-up cash) to starting a business; John Usseng and his wife illustrate the outcome of their ingenuity, having earned enough money from odd jobs that they are able to afford electricity. They also show soap operas from time to time, charging their neighbours a small fee for the service.
Other sources  describe the informal organisational structure governing the Grande Hotel, stating that:

“As in any occupied house [the Grande Hotel] has its living and organizational rules. There, the following representatives rule: the unity secretary and the secretary of the hallway, block and floor who meet up to solve the residents’ problems, and to conduct the residents’ court in one of the hotel’s former suites. There, discussions concerning who is more entitled to housing (a woman with children has the upper hand), or about who is throwing dirty water onto someone else’s balcony, take place. There are two fundamental rules: ‘keep the cleanliness and the respect’. The cleaning is maintained by nominating shifts; as for the respect, is has to be kept by everyone. ‘There have been cases of abuse and rape, and the people who perpetrated these actions were kicked out’, our host [Senhor Joao, Unity Secretary] tell us with a determined tone.”  (Source)
It seems that despite the substantial stressors the community faces – or rather because of these stressors -- adaptability, sociability and diplomacy are key, and extend outside of the building to relationships with police and neighbours. Neighbours are viewed as “utterly indispensable” for recycled water, help in an emergency (e.g. a ride to the hospital), or pirated electricity, for example. Inside the building, there is a mosque, church, government sponsored classes for children, and small-scale markets amongst other informal amenities that have developed. (Source)

In many ways, it seems like life as usual.  I found a quote from a 20-year-old dweller named Paito who has lived at the Grande Hotel his entire life. He has an expected attachment to his home and says, “The situation is extremely bad, but a person gets used to it. Only when someone from the outside comes here, are we reminded of the inhumane conditions we live in.” (Source)

Returning to the documentary film, John Usseng draws attention to the dilemma facing the inhabitants of the Grande Hotel, the government and the international community. Housing is unattainable for most citizens of Beira and the government cannot afford to repair the Grande Hotel or provide alternative housing for its tenants. Usseng says, “If the government or international community can’t resolve this, people will have to leave gradually. People who don’t manage to get out of here will surely end up dying here.” Similarly, Lotte Stoop’s documentary, also called Grande Hotel, conveys a sense of being trapped: Wanting to leave, but having very little resources to do so; being forced to stay knowing the situation, the building itself, will likely decline further. In light of this dilemma – what seems to be an impossible situation -- the inhabitants cope and continue to construct their lives within the crumbling walls of the Grande Hotel.

References & thought-provoking links…
On the Grande Hotel:
On squatting:


Jolene Pozniak