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ALL PRESENTATIONS ARE WITHOUT CHARGE.
A few thoughts about some concepts that could help clarify the vocabulary of the therapeutic “relationship.”
I don’t like using the concept of “relationship.” Too wide, too vague. Of course, I know that a relationship can be healing, and I also know that every psychopathology has be created by relationship. So, step by step, I will try to explore some components of the therapeutic “relationship,” which could narrow our focus and contribute to unfolding and understanding what happens in this specific face to face. “Intimate” is an interesting concept because it belongs both to the innermost and to a special kind of very close way of being together. Perhaps “encounter” might be considered as an extension of our paradigm of “contact,” when contact rises and grows between two people. “Love” is often referred to, in our therapeutic context. Is it an appropriate reference? What about “tenderness,” which seems to better designate a therapeutic attitude that does not exclude confrontation or distance. A few tracks that need to be pursued…
Jean-Marie Robine has been a clinical psychologist and psychotherapist since 1967 and a Gestalt therapist since 1976. After more than 15 years as a psychologist, then a director, in a public health service for children, adolescents, and their families, he created in 1980 the Institut Français de Gestalt-thérapie (IFGT), the first Gestalt institute in France. To date, it has trained hundreds or maybe thousands of Gestalt therapists not only in France but also in Europe, Eastern Europe, Africa, the USA, and Latin America.
He was a co-creator of the Societé Française de Gestalt, then of Collège Européen de Gestalt-thérapie, national societies for Gestalt therapy, and the European Association for Gestalt Therapy. He was also the president of EAGT in the early 1990s.
In addition, Jean-Marie created the two French journals for Gestalt therapy and was their editor-in-chief for several years. Then he opened a nonprofit organization for publishing a series of Gestalt therapy books, l’Exprimerie, as a division of IFGT. More than 50 Gestalt therapy books, originals and translations, have been published, mostly in French but also some in English. He has authored or edited nine Gestalt therapy books, which have been translated into several languages. He is the co-editor and publisher of the last manuscript from Fritz Perls – with wonderful comments from several famous colleagues – already available in many languages, and also the editor of Self: A Polyphony of Contemporary Gestalt Therapists, published in many languages.
Now retired from heading IFGT, he remains the organizer and coordinator of its international programs, teaching mostly abroad some supervision groups, postgraduate programs, and training for supervisors and trainers, but also enjoys his (partial) retirement in the countryside near Bordeaux to grow his vegetables and fruit trees.
The understanding of bullying and workplace harassment is usually limited to one side, the victim or the other, the bully/perpetrator.
Only recently has the relationship itself been explored as central to the process of how aggression, harassment, and violence progress over time.
However, just separating or punishing any one of the parties involved, as is often the case, is inadequate to prevent both individuals from continuing their role with someone else.
Locating the relational interplay within a field of intersecting forces would add depth and understanding to the wider field. This would allow for greater awareness of the points at which the building aggression can be interrupted. Then the participants can be helped to understand the forces driving them and the relational engagement of the process.
Lee Zevy is one of the founders of Identity House, a walk-in peer counseling and psychotherapy community mental health center for the LGBTQIA community in New York City, which began in 1971. After completing her training at the New York Institute for Gestalt Therapy, where she is now a fellow, she became the clinical director of Identity House for many years and still does supervising and training there. In addition to becoming president of NYIGT twice, she teaches, supervises, writes, and publishes on the theory and practice of Gestalt therapy. Her current interest is how the fluidity of gender and sexuality today is moving to change the discourse of society around these topics.
The paper “Creating a Distinct ‘I’ and a Distinct ‘You’ in Contacting” by Philip Lichtenberg proposed an apparently simple model for describing relations, with an emphasis on how to relate in a contactful manner. The model was succinctly described as an algebraic combination of factors. This presentation aims at unfolding the power of this model as a clinically useful way of describing different types of interactions in couples. Several relationship dynamics are described in terms of agency and figure/ground formation. This provides a useful map for clinical intervention.
I work as a Gestalt therapist in Valencia, Spain. I was trained in Gestalt therapy by the Institut Français de Gestalt-Thérapie and, later, in developmental somatic psychotherapy by Ruella Frank. I’m a psychologist and musician. I have a Ph.D. in computer science.
Taking inspiration from how psychoanalysis was successfully applied to art and art theory, film, literature, literary studies, and cultural studies over the course of its history, in this presentation, I would like to explore how Gestalt therapy can be applied to works of art, including literature, music, film, drama, and cultural phenomena in general, be it in the experiencing and understanding of cultural phenomena like art or their creation. We will look at:
- How do we contact works of art?
- How do Gestalt therapy concepts like the cycle of contact, the different contact functions, awareness, field, etc., play out in our contacting art?
- Can we apply Gestalt concepts like figure and ground, polarities, and unfinished business to works of art and their form, content, and structure?
- What place might Gestalt experiments, dreamwork, and Gestalt “techniques” have in understanding art?
- How can the process of creating art and artistic creativity be understood from a Gestalt point of view?
- Can Gestalt therapy be applied to cultural (including social and political) phenomena in general, and how so?
Hilmar Schmiedl-Neuburg, PhD, is a philosopher and psychotherapist. He received his PhD in philosophy at the University of Kiel in Germany, and graduated as a Gestalt therapist from the four-year program of GSK Werkstatt Nord in Germany. He received additional training at other Gestalt institutes in Frankfurt and Cologne, and also trained in psychoanalysis. For over 10 years, he worked as a Gestalt therapist in part-time private practice and taught in the Philosophy Department of the University of Kiel. After his habilitation and visiting professorships in Hamburg, Prague, and Vienna, currently, he is a faculty member in the Philosophy Department at the University of Massachusetts Boston. Additionally, he serves as an Adjunct Lecturer for Humanistic and Existential Psychotherapy at the Medical School Hamburg. He is the director of the Institute for Philosophy, Psychoanalysis, and Cultural Studies in Berlin, and is on the faculty of the John-Rittmeister-Institute for Psychoanalysis in Kiel. His publications focus on continental philosophy as well as humanistic-existential and psychodynamic therapy.