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	<updated>2013-05-16T09:27:32Z</updated>
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	<subtitle type="text">Articles by Claus von Bohlen</subtitle>
	<entry>
	  <title>Humanistic Psychology and the Crisis of Meaning</title>
	  <link rel="alternate" type="text/html" href="http://takimag.com/article/humanistic_psychology_and_the_crisis_of_meaning" />
	  <id>tag:takimag.com,2011:article/1.11546</id>
	  <published>2011-04-13T04:00:15Z</published>
	  <updated>2011-04-12T08:52:16Z</updated>
	  <author>
			<name>Claus von Bohlen</name>
			<email>claus@vonb.co.uk</email>
				  </author>

	  <category term="Mental Health"
		scheme="http://takimag.com/news/C196"
		label="Mental Health" />
	  <category term="Cultural Caviar"
		scheme="http://takimag.com/news/C272"
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<div class="img_article" style="width:225px; height:225px;background-color:#f9f9f9;float:left;margin-right:12px;">

<img src="http://takimag.com/images/uploads/friedrich-nietzsche_copy.jpg" width="225" />

<br />

<p class="byline large" style="padding:8px;">Friedrich Nietzsche</p>
</div>







<p>A <a href="http://religion.blogs.cnn.com/2011/03/23/religion-to-go-extinct-in-9-countries-experts-predict/" target="blank">new study</a> predicts that organized religion is heading toward extinction in nine nations. On some levels, this may be grounds for rejoicing: less fanaticism, fewer infringements of individual liberties, and no religious wars. But there will be a price to pay: the absence of a spiritual dimension, a growing disenchantment with purely material values, and a sense of ultimate meaninglessness. </p>

<p>These themes have loomed large since people began to question the positivists’ optimism about progress. Kierkegaard and Nietzsche wrestled with these ideas. Meaninglessness acquired new meaning after World War II and was given artistic form by writers such as Sartre and Camus and, more recently, Saul Bellow.</p>

<p>If anything, the sense of meaninglessness has grown—not in response to the horrors of the Holocaust, but rather to the humdrum nature of ordinary life.“</p><div class="pullquote">If anything, the sense of meaninglessness has grown—not in response to the horrors of the Holocaust, but rather to the humdrum nature of ordinary life.”</div>

<p>I have spent the last two and a half years studying <a href="http://en.wikipedia.org/wiki/Clinical_psychology" target="blank">clinical psychology</a> and practicing therapy in San Francisco. Clinical psychology leaves one ill-prepared to engage with the sense of meaninglessness which bedevils more lives than one might imagine. Within clinical psychology, mental health is only defined negatively, as the absence of mental illness. This seems to be a part of our Western outlook where people grow up believing that humans reach their peak mental capacity in their late teens and that the most we can hope for is to maintain a plateau before the inevitable descent into mindless senility. That is a depressing view.</p>

<p>However, the field of <a href="http://en.wikipedia.org/wiki/Humanistic_psychology" target="blank">humanistic psychology</a> offers an alternative. It focuses on the concept of human potential and follows certain Eastern schools of thought in seeing mental health as something to be achieved and constantly improved rather than merely something to be lost.</p>

<p>Clinical psychology’s statistical methods do not really get at individual human experience in the raw, whereas humanistic psychologists are interested in, and conversant with, anthropology, art, literature, philosophy, mythology, religion, Eastern psychology, altered states of consciousness, mind-body medicine, shamanism, and parapsychology. Any field which sheds light on human experience is deemed worthy of serious inquiry.</p>

<p>{pagebreak}</p>

<p>Too often, clinical psychology postures itself as a hard science. But there are many observations which science is currently incapable of explaining. Most of the time, we attempt to circumvent these embarrassing observations by claiming that the methodology was flawed, or that the sources are not trustworthy, or that the results are not precisely replicable. But there comes a point at which it is more economical to admit that science as we know it may have its own blinkers rather than continuing to deny the possibility of scientifically inexplicable phenomena.</p>

<p>A recent Austrian documentary called <a href="http://en.wikipedia.org/wiki/In_the_Beginning_There_Was_Light" target="blank"><i>In the Beginning There Was Light</i></a> filmed people who live for years without eating food and, in some cases, without even drinking water. These people do not lose weight and appear to be very healthy. The filmmaker initially intended the film to be an exposé of their outlandish claims, but he ended up being convinced by what he saw.</p>

<p>The film’s most extreme example is <a href="http://abcnews.go.com/Health/International/man-eat-drink/story?id=10787036" target="blank">Prahlad Jani</a> (“Mataji”), an 82-year-old Indian man who hasn’t eaten or drank for 70 years. Mataji claims to absorb energy directly from the sun. During the film, he is kept under 24-hour surveillance in an Ahmedabad hospital for fifteen days. Doctors observe him constantly. At the end of fifteen days, they confess themselves utterly baffled by the fact that he didn’t eat or drink anything, and yet he left the hospital as healthy as he was when he entered. Doctors in Europe are equally baffled when the filmmaker shows them the footage. The only interviewees whose conceptual paradigm can comprehend the Mataji phenomenon are two physicists at CERN’s particle-physics laboratory.</p>

<p>In most cases, individuals who live without food or water do not develop this ability from one day to the next. It usually grows out of extensive spiritual or meditative practice. But clinical psychology is too <i>clinical</i> to ever understand such phenomena, whereas humanistic psychology provides a platform from which to begin studying human potential. In doing so, it may provide our best antidote for the looming crisis of meaning.</p>

<p>&nbsp;</p>
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	<subtitle type="text">Articles by Claus von Bohlen</subtitle>
	<entry>
	  <title>Inside Burning Man</title>
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	  <id>tag:takimag.com,2010:article/1.10993</id>
	  <published>2010-09-21T03:59:27Z</published>
	  <updated>2010-09-20T16:32:29Z</updated>
	  <author>
			<name>Claus von Bohlen</name>
			<email>claus@vonb.co.uk</email>
				  </author>

	  <category term="Travel"
		scheme="http://takimag.com/news/C211"
		label="Travel" />
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<div class="img_article" style="width:225px; height:225px;background-color:#f9f9f9;float:left;margin-right:12px;">

<img src="http://takimag.com/images/uploads/BurningmanMain.jpg" width="225" />

<br />

</div>







<p>Burning Man defies easy categorization. Wikipedia describes it as &#8220;an annual week-long event held in the Black Rock Desert in Nevada,&#8221; but that doesn’t tell you very much.</p>

<p>Burning Man is many things: a post-apocalyptic phantasmagoria, an experiment in radical self-reliance, a modern tribal gathering, a vast open air art gallery, a forum for self-expression, a platform for exhibitionism, a music festival, a great place to get high, an alternative to the quotidian and, for many, a catalyst for much subsequent proselytizing. But how do all these aspects relate to each other and, more importantly, what is it like when you are there?</p>

<p>The Black Rock Desert is in Nevada, about seven hours northeast of San Francisco. It is a huge, utterly flat expanse of compacted white dust (it was here that Thrust SSC set the land speed record in 1997). Rock strewn hills circle this white expanse. 50,000 people come here every year for the first week of September. They create a temporary settlement shaped like a horseshoe. The horseshoe is 6 miles wide and 6 miles deep and has orderly streets separating the tents, RVs, wigwams, marquees, disco tents, and the occasional festival sized stage with lights and sound system. The 3 mile space in the middle of the horseshoe is entirely open. It is known as the ‘playa’ and is dotted with works of art of every conceivable size and style. The installation of these works begins months earlier.</p>

<div class="pullquote">The absence of regulations and the extreme environment create the potential for many kinds of hazards. And yet, over the week that I was there, I saw nothing untoward. </div>

<p>Cars and tents are not allowed on the Playa. The only exception are ‘art cars’ – vehicles ranging from a fully mechanical spider the size of a mini to an enormous pirate’s ship on wheels, complete with three masts and mega sound system. In the middle of the Playa is the huge wooden effigy of a man. The man is burnt at the end of the week. </p>

<p>A striking aspect of Black Rock Desert is the quality of the light. In September the sun is still strong; it reflects off the white dust and floods the playa with extraordinary intensity. The temperatures are high during the day and low at night. There is a surprising absence of other life forms – no flies, no ants, no mosquitoes, nothing. You can leave food outside all day and it will remain untouched.</p>

<p>Other than the 5 mile an hour speed limit for vehicles, there are no restrictions at Burning Man. People choose to make use of this in different ways. Some walk around naked - a hazardous enterprise given the frequent dust storms. Most people’s daytime garb resembles something from Mad Max – a millenarian hybrid of robot and fur-clad caveman. Psychedelic drugs are also popular, although the increased police presence of recent years means that they are increasingly hard to come by at the event itself. Many people come to Burning Man and do not take drugs at all. However, walking across the playa at night and seeing the fantastical shapes of art cars outlined in neon crossing the horizon, it is hard not to think that this event was designed by people on psychedelics for people on psychedelics.</p>

<p>{pagebreak}</p>

<p><img src="http://takimag.com/images/uploads/BurningMan21.jpg"  alt="" width="270" height="192" style="border: 0;float:left;margin-right:8px;" alt="image" />A unique aspect of Burning Man is the absence of all forms of commerce – you cannot buy or sell anything. You are expected to bring enough water to keep yourself alive, and ideally some food, but beyond that everything is gifted. It is an odd experience to wander around the desert at night, only to find yourself haled at by a stranger inviting you to take a seat at his makeshift bar and enjoy one of his cocktails. No one minds if you have come to Burning Man purely as an observer, although most people who return feel that they want to contribute something. During the day there are tents offering everything from healing sessions to couples classes in S&amp;M. </p>

<p>Of course, there is also a fair amount of hokum. I was sharing an RV with my friend James who has just returned from four years in Afghanistan. He thinks he is suffering from PTSD and wanted to visit a healer. I accompanied him to a healing tent and left him to the ministrations of Ken, a grand master of the healing gaze. Ken made all the participants sit in two rows facing each other, then he instructed James to stare into his male partner’s eyes and to locate his femininity side in his partner’s masculinity. While staring at each other, Ken encouraged the participants to concentrate on giving their partner a gift, no matter what: ‘If you feel you wish to give the gift of Kali the Hindu Goddess of Destruction, then do so. As long as you give it as a gift, it is good.’</p>

<p>James became distracted by his partner’s dust-frosted white eyelashes. As a result, he failed to locate his feminine side in his partner’s eyes or to give a gift, of destruction or otherwise. At the end of five minutes of staring, James politely shook his partner’s hand. His partner remarked: ‘Total polarity, the t-shirt says it all.’ Looking down at his t-shirt, James saw a picture of a superhero with the words ‘The Invincible Iron Man’ emblazoned across it.</p>

<p><img src="http://takimag.com/images/uploads/Burningman31.jpg"  alt="" width="270" height="192" style="border: 0;float:right;margin-left:8px;" alt="image" />However, irrespective of Ken and his ilk, Burning Man does raise some serious issues. It is interesting how, when given a high degree of responsibility, people behave responsibly. The absence of regulations and the extreme environment create the potential for many kinds of hazards. And yet, over the week that I was there, I saw nothing untoward. This confirms my belief in a more general principle: the way we treat people determines the way that they behave. Similarly, if we keep telling children that they are irresponsible, or we keep telling people that they are mentally ill, then we effectively prevent them from changing and improving. Of course it’s not black and white, but currently I do not think we have the right balance.</p>

<p>Secondly, it is interesting how the absence of money, the fact that cell phones don’t work, and participation in a shared enterprise, makes people engage with one another in ways that we have all but forgotten. Standing in a queue at midday, strangers freely talk to each other and neither is afraid that the other is about to ask for money. This unusual human dynamic may be the reason why people return time and again. Perhaps it provides modern urban individualists with a sense of community, be it ever so ephemeral.</p>

<p>Finally, it is initially quite disconcerting constantly to be given things for free. It takes some time to still the inner voice which asks, ‘But what do they want from me?’ However, after a while you overcome the feeling of indebtedness and you realize that you do have something to give, namely the grace of receiving joyfully.&nbsp; After all, that is what makes giving pleasurable. </p>

<p>What would happen if Burning Man lasted for more than a week? How would it cope if there were competition for resources? I don’t know. However, it is a fascinating experience which I would recommend to everyone.</p>

<p>&nbsp;</p>
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	<subtitle type="text">Articles by Claus von Bohlen</subtitle>
	<entry>
	  <title>Basel on the Beach</title>
	  <link rel="alternate" type="text/html" href="http://takimag.com/article/basel_on_the_beach" />
	  <id>tag:takimag.com,2009:article/1.8895</id>
	  <published>2009-12-12T22:26:19Z</published>
	  <updated>1999-11-30T00:00:00Z</updated>
	  <author>
			<name>Claus von Bohlen</name>
			<email>claus@vonb.co.uk</email>
				  </author>

	  <category term="Culture"
		scheme="http://takimag.com/news/C91"
		label="Culture" />
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<div class="img_article" style="width:225px; height:159px;background-color:#f9f9f9;float:left;margin-right:12px;">

<img src="/images/sized/images/gallery/BaselArtShow_med-225x160.jpg" width="225" />


</div>




<p>Last weekend, in an attempt to uncover the mysteries of the contemporary art market, I put on my great uncle’s Lederhosen and posed as an eccentric Austrian collector at <a >Art Basel Miami</a>. The gallerists had largely ignored me the day before. This sartorial <i>jeu d’esprit</i> was an attempt to spark them into action. And it worked. The assistants&#8212;meticulously coiffed men and languidly bored girls&#8212;appeared to perk up. They showed me around and made introductions. I asked a few questions. They replied guardedly. I got the distinct impression that they were withholding information, or perhaps waiting to see whether I would reveal my hand. And maybe that is what the art world is–a big game in which no one is quite sure of the rules, but no one wants to be the first to admit it.</p>

<p>Let me give a sample conversation:</p>

<blockquote><p><b>Austrian &#8220;collector&#8221;:</b> (<i>Examining beautiful, painstaking woodcut by Franz Gertsch</i>) This is interesting.</p>

<p><b>Gallerist:</b> Yes, Gertsch is a very important artist.</p>

<p><b>Austrian &#8220;collector&#8221;:</b> How long would it take him to produce a print like this?</p>

<p><b>Gallerist:</b> Gertsch works at his own speed.</p>

<p><b>Austrian &#8220;collector&#8221;:</b> No doubt. And what speed is that?</p>

<p><b>Gallerist:</b> Gertsch cannot be rushed. </p>

<p><b>Austrian &#8220;collector&#8221;:</b> So how long would it take him, if he wasn’t being rushed?</p>

<p><b>Gallerist:</b> (<i>Reluctantly</i>) I would say, anywhere up to 6 months. Maybe more.</p>

<p><b>Austrian &#8220;collector&#8221;:</b> (Impressed) Wow, that is a long time. (<i>Examining the tiny pointillist marks</i>) Is he autistic?</p>

<p><b>Gallerist:</b> (<i>Pokerfaced</i>) Gertsch is a very important artist.</p>
</blockquote><p> </p>

<p>Art Basel Miami Beach has been running since 2002 and is the sister event to the more established Art Basel in Switzerland. The fair runs for the first week of December. The official show takes place in the vast convention center. There are 250 galleries exhibiting contemporary artists; some, like Franz Gertsch, are very important. Miami’s other galleries and exhibition centers take advantage of the event to open their doors to this international assembly of art world movers and shakers. Galleries in parts of town such as Wynwood and the Design District  showcase the new crop of artists waiting to be discovered.</p>

<p>I never knew exactly what was going on at the fair. There were a lot of people milling around but how many of them were in a position to pay the huge sums for which most of these works were being offered? Despite the ubiquitous gallerists and their languid/coiffed assistants, I never saw any evidence of business being transacted. And, in that sense, the art fair parallels the city of Miami itself. After New York and Chicago, Miami’s skyline is the third most impressive in America, according to the Almanac of Architecture and Design. And yet many of these huge buildings stand empty. Miami, like the art world, has been hit hard by the recession. Furthermore, and again like the art world, it is hard to know what makes Miami tick. San Francisco prides itself on its technology and bohemianism, New York is driven by finance and Los Angeles by the entertainment industry. And Miami?</p>

<p>The city is one of extraordinary diversity, even by American standards. Over one third of the population of the metropolitan area are Cuban. Large numbers of Haitians, Colombians and Brazilians live in the city itself. They rub shoulders with a generous sprinkling of European emigrés and well-heeled New Yorkers. People watching is a very entertaining local pastime. I enjoyed the sight of a statuesque platinum blond lady strutting down Lincoln Road, dragging two befuddled poodles behind her. She was no stranger to cosmetic surgery – she looked as if she had recently been punched in the mouth and was now caught in a wind tunnel.</p>

<p>What brings the inhabitants of Miami together? In one sense, it is a shared love of pleasure. The sports cars are flash, the yachts are big and the dresses skimpy. There is a flirtatiousness in the air which cannot be explained by the sultry climate alone. However, is there still enough money flying around in a recession to sustain these sybaritic lifestyles? That is also a question which the art world is currently grappling with. Given the cost of shipping artworks around the world – the actual cost as well as the insurance costs – it is baffling how the contemporary art scene functions at all.</p>

<p>Back at the art fair, there were a number of works which I found baffling in another way. I am thinking of the $5000 door mat lying in the middle of the gallery, with a plaster cast of a doorbell on top of it. The poor girl working there told me that she had already had to chase a dozen people off the mat when they accidentally stepped on it. I was so perplexed myself that I forgot to play the game for a moment; I asked her outright what the point of this ‘work’ was. She stammered a little and called her employer who proceeded to crush me beneath the weight of his art world babble. </p>

<blockquote><p><b>Austrian &#8220;collector&#8221;:</b> This is interesting.</p>

<p><b>Gallerist:</b> Yes, Gabrielli is a very important artist. His experiments in form are designed to encapsulate the physical manifestation of a single thought, with all its lyricism and paradox. His pieces represent both interior visions and the very real destruction of the well-defined and corporeal. They stand on the anxious fulcrum of categorization where distinctions between forms and material disappear, or are made to disappear. Gabrielli is a very important artist.</p>
</blockquote>

<p>None of this made any sense to me but it was so fluently and so earnestly delivered that any disagreement on my part would have felt like a personal insult.</p>

<p>I left that gallery full of admiration for the owner. Did he believe what he was saying? Was he making it all up? In any case, he had silenced me through his use of language. Like a master spin doctor, he had used language to befuddle rather than to clarify, and he had left me feeling like the idiot. That’s when I realized that language is also a big part of the art world game. </p>

<p>There are times when a dealer or a gallerist will push you for a reaction. At these times, there is one phrase which I find particularly useful. After a considered appraisal, I like to say, &#8220;Hmmm, yes, it’s very derivative.&#8221; Out of context, this is of course utterly meaningless. Its beauty lies in the fact that it could be an endorsement or a criticism&#8212;you never have to show your hand, and you come away sounding like a great expert. </p>
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