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    HERE AND NOW

    No need to dig: it's all there.
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    CHANGE

    To perceive a new aspect of oneself is the first step towards changing the concept of self.

In-visible - accedi al tuo potenziale creativo

A cura di:
NUNZIA PERRONE - Direttrice A100 GALLERY, con il contributo scientifico di ALESSANDRO CONGEDO - Esperto in Comunicazione.
Conduttore Dott. ANDREA ZIZZARI Psicologo,psicoterapeuta Gestalt.

14 OTTOBRE 2017 - CASTEL DELL'OVO, NAPOLI

Installations and reproduction of self

CONTENT THEORY

Living means self expression.  The path will accompany people to rediscover an inner richness and a redefinition of the image of themselves – that urge to be expressed, to be made visible and manifest to the outside world.

PRACTICAL ACTIVITY

Guided and free activities of self-expression through individual and group art installations.  Conclusion and final feedback.

SKILLS

Develop self-affirmation, take one’s place in the world and enjoy the satisfaction and teamwork.

BIBLIOGRAPHY

Rudolf Arnheim (1964):  Toward a Psychology.  Einaudi, Torino, 1997.

The awareness of inner beauty

CONTENT THEORY

Sartre argues that imagination plays a ‘dematerialisation’ function capable of opening the consciousness to a sphere of absolute freedom, unknown to perception.

The work of art in its materiality is the only sensible set of acts of imagination, depicting so in the highest degree because of its ability to move away from the constraints of reality to the power of imagination.

Starting from the faculty of imagination, many members of psychotherapy and psychoanalysis - among the first, C.G. Jung and R. Assagioli -  (and also in the context of bio-natural medicine), have developed techniques and methods of introspection and self-exploration, linked to the imagination and visualisation.  Within this thesis we will give an overview of the methods known in the field and display some which have been experienced on a personal level.

When we perceive an object and are affected by a particular or variety of qualities or an evaluation form (Gestalt), that not only attracts our attention, but is not emotionally indifferent, that triggers in us a special emotion that properly inaugurates the aesthetic process.

PRACTICAL ACTIVITY

In this workshop the participants will be accompanied to gain experience of their aesthetic potential through guided visualisation sessions.  We will be suggesting some possible additions of imaginative methods and visualisation techniques together with other disciplines aimed at the inner search, which can act in such a path as an empowerment of the media work and further understanding of its meanings related to aesthetics.

SKILLS

Be able to see the image as a psychic production and creative experience of our somatic and affective relationship with reality.

BIBLIOGRAPHY

Bachelard:  The Poetics of Reverie.  Daedalus, 2008.

The awarness of breath

CONTENT THEORY

The breath, used since ancient times in many mystical traditions (Buddhism, Sufism, Shamanism), is the centre of our being:  it unlocks emotions, ‘heals’ the body and revitalises the mind.  It helps manage anxiety and depression and it is now used in a number of contemporary psychotherapy schools as a means of access to places of the self that are not usually used.

PRACTICAL ACTIVITIES

Guided experiences on the use of the breath.  Voice of breathing expression. Dyadic activities divided between sound and breath.  Guided relaxation.

SKILLS

Be able to feel the flow of vital energy; unlock body armour; tap into new ways of being intimate with oneself; and release blocked emotions.

BIBLIOGRAPHY

Frederick N. Montecucco:  Holistic Psychosomatics.   Editizioni  Mediterranee, Rome, 2010. 

Awarness of Emotions

CONTENT THEORY

Emotions are often perceived as a problem and, if one is unable to handle them, they generate more complications than facilitations.  The emotions are the channel to a knowledge of the world that allowed the evolution of the human species to arrive at its current state and they have in them their own intelligence.  They can be an extraordinary tool for a more creative life.

PRACTICAL ACTIVITIES

Receive guided facilitation of experiences and emotional literacy.   Learn knowledge and management of the main emotional experiences, psychosomatic mindfulness.  Feedback and group process.

SKILLS

Be able to facilitate genuine contact with emotional experience.

BIBLIOGRAPHY

The awareness of the senses

CONTENT THEORY

To know is to experience.  The senses are like an interface between us and the world and therefore instruments of knowledge.  However, there is a significant imbalance between the sense of sight at the expense of the senses of hearing, taste, smell and touch.  Returning equal dignity and attention to the 5 senses opens up new ways to gain experience and, therefore, knowledge.

PRACTICAL ACTIVITY

Make a commentary on the awakening of the senses.  Guided experiences relating to the 5 senses and the relative specificity of ‘knowing’.

SKILLS

Be able to revitalise their perceptual system and have a greater sensory sharpness.

BIBLIOGRAPHY

Aldous Huxley (1958):  The Doors of Perception.  Mondadori, Milan (2007).

Alexander Lowen (1970):  The  Pleasure.  A creative approach to life.  Astrolabe, Rome (1984)

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