Loneliness

"Struggling to articulate the experience of her psychotic patients — "the history of the lonely ones" — Frieda was painfully aware of the obstacles that faced her: "People who are in the grip of severe degrees of loneliness cannot talk about it; and people who have at some time in the past had such an experience can seldom do so either, for it is so frightening and uncanny in character that they try to dissociate the memory of what it was like, and even the fear of it." Psychiatrists, she admitted, "must resign themselves to describing [loneliness] in terms of peoples defenses against it," like physicists portraying invisible particles in terms of the residual trace of their movements. Actually, Frieda noted, it was worse than this: defenses didn't appear until the "all-engulfing intensity" of the feeling decreased; the "naked horror" of real loneliness, "beyond anxiety and tension," made even defenses "seem out of reach."

Faced with the irony of trying to write about something that, by her own admission, couldn't be described, Frieda did the best she could, relying on accounts by polar explorers, shipwrecked sailors, inmates in solitary confinement, and subjects in sensory deprivation experiments. In each of these situations, she noted, psychotic disintegration occurred if relationships weren't reinstated.

(Frieda argued that many of the phenomena categorized as "anxiety" (e.g., separation anxiety) were better described as loneliness or the fear of it. She saw psychiatrists as being so overwhelmingly focused on anxiety as to neglect the systematic study of the important emotional states, including grief, hope, pain, and envy, as well as the loneliness to which her own attention was drawn)."

[pags 306 e 434]

Gail A. Hornstein, To Redeem One Person is to Redeem the World 

Loneliness

"To Heinz Kohut's classic question, "How does analysis cure?" Frieda had a clear answer: the relationship with the therapist heals the loneliness that lies at the root of all mental illness. A person can't act like others if he feels completely isolated. [...] The loneliness of mental illness, Frieda emphasized, is nothing like the solitude people seek at the ocean or to do creative work. It is a state of extraordinary anguish in which a person ceases to be able to imagine, much less experience, anyone else being able to enter his experience.

[...] Frieda called loneliness "one of the least satisfactorily conceptualized psychological phenomena" and noted that it wasn't even mentioned in most psychiatric textbooks (a fact she found astonishing). Among the few analysts to write anything on the topic was Melanie Klein, and like Frieda, she had done this work late in life. Klein emphasized the unsatisfied longing for "an understanding without words," rooted in the earliest relationship with the mother. Frieda stressed the "incommunicable, isolated core — the corollary to our need for interpersonal intimacy."

Gail A. Hornstein, To Redeem One Person is to Redeem the World [pags 305/306]

da veemência

Ele há gente que afirma certas coisas com tanta veemência que parece mais estar a negar a si própria o acesso à possibilidade de estarem enganadas.

Addiction

As Terças com Morrie

 Morrie Shwartz, sociólogo, que trabalhou durante vários anos com Frieda Fromm-Reichmann, morreu na .sequência de uma esclerose lateral amiotrófica.

Resolveu partilhar com quem quisesse, o seu processo de morte.
Mitch Albom, um seu antigo aluno, publicou o livro, As Terças com Morrie.
Ted Koppel também o foi entrevistando regularmente até ao fim.
"Identify the way in which you want to die. With fear, sorrow, rage, gentleness, acceptance, welcoming, denial, with awe or serenity.
You may go through each of those responses, but try to dig deep for your courage and stick with the one you want most..."
Morrie Shwartz



Intuição e teoria

"Rules of technique in Psychoanalysis are invented at points of ambiguity, to help therapists feel their way along the edges of the unexplored. A patient who can tolerate the precariousness of such a place can sometimes help to show the way, much as moonlight, striking at the right angle, can guide a lost traveler through dense woods. This is what makes Anna O. and R. N. such powerful models: they were courageous enough to work right at the edge of the darkness.

Patients like this are desperate to have therapists who can bravely accompany them into the depths. Mental illness is exhausting. Having to add the burden of the therapist's fear can make it unendurable. Patients know they can't cure themselves. They need doctors who can bear witness to the terror and reclaim them from its power.

Many really gifted clinicians, like Ferenczi and Frieda, are unable fully to explain why they do certain things; they can only say what they tried. This is why Ferenczi's most important work is his 'Clinical Diary' and Frieda's is a text, 'Principles of Intensive Psychotherapy', a diary of a different kind.

Like people with exceptional skill of any kind, therapists like this do what feels right at the moment, making subtle adjustments as they go along. Attending simultaneously to many levels, they trust their intuitions, letting the patient's unconscious mingle with their own. They allow themselves to be guided "by instinct," whether or not they can explain what this means. Freud was just the opposite — better at describing his method than using it. But his descriptions were so brilliant and seductive that analysts have come to value theory over clinical accomplishment.  Frieda may have helped to heal her patients, sometimes even the sickest ones, but she couldn't explain how she did this, which is why Freud has followers and Frieda doesn't."

Gail A. Hornstein, To Redeem One Person is to Redeem the World [pag 158]

Frieda

"Every time Frieda rotated closer to Klara [mother], she would occupy a bit more of the central sphere. When their combined intensity threatened to overwhelm Adolf [father] completely, Frieda would float over in his direction and temporarily balance things. Her alliances with her father, although infrequent, provided an essential counterweight to Klara's power, creating a degree of harmony in the family that wouldn't have been possible otherwise. In later life, Frieda's colleagues would wonder how she managed to be on everyone's side and get what she wanted at the same time. They didn't understand that having mastered the art of wrapping her father around her little finger while embracing her mother with the other hand, Frieda could endear herself to people at cross purposes without even noticing what she was doing. No one in her family had the slightest idea that this would prove ideal training for a psychiatrist "

Gail A. Hornstein, To Redeem One Person is to Redeem the World [pag 15]

of patience

"For Frieda, treatment of mental illness was like physical therapy after stroke: a painstaking exercise in hope. Improvement was unpredictable, and was often followed by relapse or deterioration. Recovery, to the extent it was present, proceeded at an agonisingly slow pace. It was natural for the doctor to have periods of discouragement, even real despair, but he couldn't afford to give up, no matter how many setbacks there were. A patient had to have at least one person who could imagine the possibility of his getting well. Frieda thought the reason most psychiatrists failed at their work wasn't because their methods were ineffective, but because they gave up too soon."


Gail A. Hornstein, "To Redeem One Person is to Redeem the World, The Life of Frieda Fromm-Reichmann [pag xvii]

About Chestnut Lodge: here

escritos

De estados adultos em construção... / reflexões de uma confinada
Ou... As emoções enquanto âncoras...

Enquanto uns aguardam que a física quântica venha dar sentido às suas vidas, ocorre-me que a poesia, os contos de fadas e a arte, em geral, ajudam a nossa persistente criança interior a conviver com o facto de que a verdadeira condição de ser adulto é comparável a flutuarmos no espaço cósmico enquanto tentamos evitar colidir com objetos que passam voando aleatoriamente. A segurança e o conforto de um cordão umbilical já eram...

While some wait for quantum physics to give meaning to their lives, it occurs to me that poetry, fairy tales and art, in general, help our persistent inner child live with the fact that the true condition of adulthood is comparable to floating in cosmic space while trying to avoid colliding with objects that fly by randomly. The safety and comfort of an umbilical cord is long gone...


Imagem de Robert & Shana ParkeHarrison: "suspended field"

da familiaridade

Fui ao YouTube à procura dum clip do filme Smoke, em que William Hurt conta a história do escritor russo, Bakhtin, que escondido dos nazis no seu apartamento, usa, uma a uma, as páginas do manuscrito de um ensaio ao qual tinha dedicado dez anos de trabalho, como mortalhas para enrolar os seus cigarros.


Não encontrei esse clip. Encontrei outros em que, entretanto, me perdi deliciada.

O filme, Smoke (guião de Paul Auster), é um dos que, sem sombra de dúvida, levaria comigo para uma ilha deserta. William Hurt e Harvey Keitel são gigantes. 

O que adoro neste filme, neste grande 'conto' feito de pequenos contos — histórias partilhadas, episódios de vidas, registos de momentos que, por sua vez, contam outras histórias — é o subtil fio condutor daquilo que nos é familiar enquanto espécie humana.

Nada melhor do que uma tabacaria de esquina onde o 'disfarce'/denominador comum é o fumo. O 'fumo' reúne diversidade. Uma amostra de diversidade numa tabacaria de esquina (claro!).

 #avidadebairroéfixe #nãoSomosUmBandoDeDesconhecidos

 

Platão no Matrix

"No interior de uma gruta, uns indivíduos permanecem acorrentados de costas para uma fogueira chamejante. Os reclusos só vêem o movimento das sombras projectadas sobre as paredes da caverna, e essas sombras constituem a sua única realidade. Finalmente, um deles liberta-se da clausura e aventura-se a sair da caverna, rumo ao mundo que se estende para além das hipnóticas projeções. Neste relato há um belíssimo convite à dúvida, à não conformação com as aparências, à quebra das amarras e ao abandono dos preconceitos para olhar para a realidade de frente. A saga cinematográfica Matrix adaptou a mensagem rebelde desta alegoria ao mundo contemporâneo da realidade virtual, da aldeia mediática, dos mundos paralelos da publicidade e do consumismo, dos boatos da Internet e das autobiografias maquilhadas que fabricamos para as redes sociais."


Irene Vallejo, O Infinito num Junco [pag 209]

Spacetime is doomeded / Realism Is False

 

Donald D. Hoffman


Topics:

"I'm not saying that consciousness just is mathematics; it's more like consciousness and mathematics are like a living organism and the bones. The bones are the mathematics and consciousness is the living organism. That's one reason why we can hope to build a mathematical model of consciousness and conscious agents."

"It turns out that our best theory, quantum theory, predicts quite clearly that non-contextual realism is false. Local realism is false, non-contextual realism is false, and that leaves it quite open that realism itself is false. If realism is false, that raises a couple of questions. Is that true only for microscopic objects—electrons, protons, neutrons, and photons—and not more macroscopic objects?"

More: here

David Marr

Federico Faggin




The left and the right hemispheres

"Neither hemisphere is 'more advanced' or 'better' than the other; they are merely suited for different dimensions and stages of processing.  [...] The capacity to move from a 'common eye' or 'vulgar ear' into artistic skill and expertise goes with the move from right to left hemisphere predominance. [...] while musical perception is chiefly a right hemisphere function in predominantly 'naïve' listeners, it becomes a left hemisphere function in professional musicians and 'expert' listeners (who grasp its 'grammar' and rules, and for whom it has become an intricate formal structure.
[...] A similar shift occurs with those who become mathematical or arithmetical 'experts', who become able to see mathematical concepts, or numbers, as part of a vast, well-organized intellectual universe or scheme. This may be equally true of painters and interior designers, who see space, and visual relationships, as no 'common eye' can do."

Oliver Sacks in, Seeing Voices [pag 105, 106]

Red pill Blue pill / Time to change the paradigm

 "We have been misled to believe that the brain, or the embodied brain, somehow serves up the magic of consciousness. We have, in short, been duped. [...] Evolution shaped our perceptions to hide adaptive behaviour. [...] We do, and should, take it seriously. But it is a fiction — a lifesaving fiction."

Donald D. Hoffman in, The Case Against Reality [pag 179]

And here.
And here.
About Orch OR
About IIT
When the map is better than the territory: here.

"None of these [above] proposals has offered a precise account for a single conscious experience. [...] No answer has been offered and none ever will: these proposals set themselves an impossible task by assuming that objects in spacetime exist when not observed and have causal powers."

Donald D. Hoffman in, The Case Against Reality [pag 180]

In search of a framework of reference

"All these brilliant people [...] felt that they were trapped by the current narratives around giftedness and high intelligence. Some of them said, 'you know, I can't even talk about myself because the minute I use these words people have a preconceived notion and I can't bust my way out '"

[minuto 29:15]
 


Taking the red pill

"Perhaps the FBT Theorem [Fitness Beats Truth] is irrelevant to human evolution? Perhaps what is required to understand human evolution is a complete artificial-intelligence simulation of humans, together with a simulation of their interactions with all the other organisms and with the earth itself. Perhaps, without such a comprehensive simulation, we cannot possibly claim to know that we did not evolve to see reality as it is."

The Case Against Reality, Donald D. Hoffman [pg68]

o carnaval dos cínicos / ratoeiras

"[...] toda a gente se habituara a que as personalidades se exprimissem nos media sobre os mais variados temas para emitirem opiniões em geral previsíveis, e mais ninguém lhes prestava realmente atenção, em suma, o sistema espectacular, destinado a produzir um consenso abominável, abatera-se há muito sob o peso da sua própria insignificância. No entanto, não fiz nada para o desiludir; condescendi com a atitude de benévola neutralidade que já me tinha dado tanto jeito na vida, que me tinha permitido recolher tantas confidências íntimas, em tantos meios, que reutilizei depois, [...]"

A Possibilidade de uma Ilha, Michel Houellebecq [pg 243]

Tecnologia ao serviço das emoções


Sobre Rosalind Picard
Affective

Jean Cocteau e Picasso

 

[...] "Era por essa altura que Jean Cocteau que se orgulha de ter uns eternos trinta anos estava a escrever uma pequena biografia de Picasso, e enviou-lhe um telegrama a pedir que lhe dissesse a data de nascimento. E a tua, foi o telegrama de resposta de Picasso."

Gertrude Stein, in A Autobiografia de Alice B. Toklas [pag225]