7 narrative ta-bernd_schmid_systemic_ta (english/ portuguese)

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Starting with the historic roots of TA (the origins), the presentation gives some input about
- intuition and the ideas of CG Jung
- Bernes limitations
- guided imagery (dreams)

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7 narrative ta-bernd_schmid_systemic_ta (english/ portuguese)

  1. 1. Narrative TA: •  intuition •  background images •  dreams •  guided imagery •  metaphors •  storytellingInstitute for systemic consulting, Wiesloch (Germany) 1www.isb-w.de
  2. 2. AT Narrativa: •  intuição •  imagens de fundo •  sonhos •  imaginação guiada •  metáforas •  narrativaInstitute for systemic consulting, Wiesloch (Germany) 2www.isb-w.de
  3. 3. IntuitionInstitute for systemic consulting, Wiesloch (Germany) 3www.isb-w.de
  4. 4. IntuiçãoInstitute for systemic consulting, Wiesloch (Germany) 4www.isb-w.de
  5. 5. Intuition and TA•  The Origins of TA : Intuition and ego-states (Berne’s papers 1949-1962 Paul McCormic ed.)•  TA concepts as crystallizations of Berne’s (and others) intuitions•  focussed on psychotherapy à motivations, biography, limiting life plans, enacting drama (early definition BERNE script = transference drama) 5
  6. 6. Intuição e AT•  As origens da AT: intuição e estados de ego (Artigos de Berne 1949-1962 Paul McCormic ed.)•  Conceitos de AT como cristalização das intuições de Berne (e outros)•  Focado em psicoterapia à motivações, biografia, limitação dos planos de vida, atuação do drama (definição BERNE script = drama transferência) 6
  7. 7. Definition of intuition•  Berne, Eric 1949 (based on Aristotle) “the way we know something without knowing how we know, and often without knowing in words, what we know”, but we act as if we knew. 7
  8. 8. Definição de Intuição•  Berne, Eric 1949 (baseado em Aristóteles) “a forma como sabemos algo sem saber como sabemos, e frequentemente sem saber em palavras, o que sabemos”, mas agimos como se soubéssemos. 8
  9. 9. Evolutionary function of intuitionImagine an ancient human, drinking at a spring, is confronted with a wolf: Is it hungry, strong, aggressive etc? Am I strong, energetic? How far is the next tree? Is it easy to be climbed quickly? Would running or freezing attract the wolf? etc. There is no chance to compute all this rationally, but by intuition, which leads directly to action. 9
  10. 10. Função Evolucionária da IntuiçãoImagine um humano antigo, bebendo em uma fonte, é confrontado com um lobo: Ele está faminto, forte, agressivo, etc.? Eu sou forte, enérgico? Quão longe está a próxima arvore? É fácil escalá-la rapidamente? Será que correr ou ficar parado atrairia o lobo? Etc. Não há qualquer chance de computar tudo isto racionalmente, só por intuição, que leva diretamente a ação. 10
  11. 11. Evolution of intuitionIs intuition per se selfish? No! Modern science: "Evolution is cooperation!" But person has to be free to use intuition for others. (No taboos or undetected desires!)Is it possible to only refer to others? No! It is ok to tell and live your own story, but in a way also useful to others 11
  12. 12. Evolução da intuiçãoÉ a intuição, por si só egoísta? Não! Ciência moderna: “Evolução é cooperação!” Mas a pessoa deve ser livre para usar a intuição para os outros. (Sem tabus ou desejos não detectados!)É possível que só se refira aos outros? Não! É ok contar e viver sua própria história, mas de uma forma útil também para outros 12
  13. 13. Broader perspectives•  Intuition is judgement about reality (Schmid1991).•  Intuition can be qualified or unqualified, can lead or mislead.•  Professional intuition must be trained and must become focussed according to what sphere is relevant and for what professional purposes it is needed.•  Different professionals should have different masteries in intuition, because they have different spheres of reality to deal with, different roles and different responsibilities. 13
  14. 14. Perspectivas mais amplas•  Intuição é um julgamento da realidade (Schmid1991).•  Intuição pode ser qualificada ou não qualificada, pode conduzir ou enganar.•  Intuição profissional deve ser treinada e deve tornar- se focada de acordo com qual esfera seja relevante e quais propósitos profissionais sejam necessários•  Diferentes profissionais deve ter diferentes habilidades na intuição, uma vez que tem que lidar com diferentes esferas de realidade, diferentes papeis e diferentes responsabilidades. 14
  15. 15. Intuition of the Possible"   BERNEs intuitions meant perceptions of represented archaic realities."   JUNGs intuition meant also the anticipation of possible realities: What could be real instead of what is real already? = perception of the potential."   “Realize” means: perceive the possibility and help to make it real. 15
  16. 16. Intuição do Possível"   A intuição de BERNE significava percepções das realidades arcaicas representadas"   A intuição de JUNG significava também a antecipação de possíveis realidades: o que poderia ser real ao invés do que e real?= percepção do potencial"   “Perceber” significa: perceber a possibilidade e ajudar a torná-la real. 16
  17. 17. Typology of C.G.Jung thinking intuition of the possible experiencing valuingInstitut für systemische Beratung, Wiesloch 17www.isb-w.de
  18. 18. Typologia de C.G.Jung pensar Intuição do possível experimentar avaliarInstitut für systemische Beratung, Wiesloch 18www.isb-w.de
  19. 19. Berne’s limitations to intuition1.  Taboos = not being allowed to deal with certain aspects of reality2.  Desires and fears = seduced or blocked or driven by hidden motivations, we do not dare face or admit. 19
  20. 20. Limitações da intuição segundo Berne1.  Tabus = não sendo permitido lidar com alguns aspectos da realidade2.  Desejos e medos = seduzido ou bloqueado ou impulsionado por motivações ocultas, que não se atrevem a encarar ou admitir. 20
  21. 21. More limitations (B. Schmid)3. Fixations in habits (cultural, professional and organizational)4. Lack of competence and knowledge5. Blocking experimental flow (initially not knowing which models and approaches to use)6. Lack of tuning into each others spirit7. Lack of inspiring ideas and creative designs for future realities 21
  22. 22. Mais limitações (B. Schmid)3. Fixações em hábitos (cultural, profissional e organizacional)4. Falta de competência e conhecimento5. Bloqueio do fluxo experimental (inicialmente sem saber quais os modelos e abordagens usar)6. Falta de sintonia com os espiritos dos outros7. Falta de idéias inspiradoras e desenhos criativos para realidades futuras 22
  23. 23. Intuition  ScienceBerne:Scientific methods, which offer more security, andintuition, which opens up more options, are themutual basis for creative action. 23
  24. 24. Intuição  CiênciaBerne:Métodos científicos, que oferecem mais segurança, eintuição, que abre mais possibilidades, sãobases mutuas para a ação criativa. 24
  25. 25. Background imagesInstitute for systemic consulting, Wiesloch (Germany) 25www.isb-w.de
  26. 26. Imagens de fundoInstitute for systemic consulting, Wiesloch (Germany) 26www.isb-w.de
  27. 27. Dialogue model of communication 27
  28. 28. Dialogue model of communication 28
  29. 29. Lifeplans are influenced by:•  nature of the individual•  talents and ambitions•  equipment and requests from family•  attitudes to life and lifestyles of the milieu in which one was brought up•  formative experiences, often represented by key events and inner images 29
  30. 30. Planos de vida sao influenciados por: •  natureza do individuo •  talentos e ambicoes •  equipamentos e solicitacoes familiares •  atitudes para com a vida e estilos de vida do meio em que se foi criado •  experiências de formação, muitas vezes representado por eventos-chave e imagens internas 30
  31. 31. Lifeplans and storiesNot primarily scripts, but creative lifeplanse.g. Fanita English’s lifeplan development:Compare stories 1.  childhood 2.  adolescence 3.  presenceFanita: "Berne would have developed in the Jungian direction." 31
  32. 32. Planos de vida e historiasNão primariamente scripts, mas planos de vida criativose.g. Fanita English’s desenvolvimento do plano de vida:Comparar historias 1.  infancia 2.  adolescenci 3.  presenteFanita: "Berne teria se desenvolvido na 32 direcao Jungiana."
  33. 33. Life is meaningHumans are narrative beings.Life is myth, is telling your story.People are always oriented to what theywant to become,telling you somehow, who they want to beor are going to becomeEmpathy for the possible:intuition for the possible future of the other 33
  34. 34. Viver e significarHumanos são seres narrativos.Viver é mito, é contar a sua historia.As pessoas são sempre orientadas aquilo quequerem se tornar, dizendo de alguma forma,quem eles querem ser ou vão ser tornar.Empatia para o possível:Intuição para o possível futuro do outro 34
  35. 35. Orientation in life illustrated byinner images: e.g. Train conductorQ: "When you were young, what were your images of whatyou would do some day, professionally?"A: Train conductor!Q: "What images/scenes are related with this occupationin your mind?"A: 1. "Me and my engine - nobody knows it as I do!" 2. "My colleague and I - two comrades travel around the world!" 3. "So many people, who trust me - I shall guarantee them a safe trip!" 4. "Oriental Express - Many foreign countries. 35 Great Uniform! I personally welcome all VIPs.”
  36. 36. Meaningful background imagesPeople "adopt"/filter images from their life or from stories, which represent experiences, self-perception or tendencies of the soul.By exploring those images and mirroring in dialogue with others, we get a sense of the personality, the myths and lifestyles, that the soul is interested in and ingredients of life situations, which fit. 36
  37. 37. Meaningful background images for profession and organization1.  For understanding and creating meaningful professional situations and ones professional career2. Understanding ones perception of organizational developments and matching those with ones own development3. Monitoring, matching and dialoguing on that 37
  38. 38. Exercise: images referring to matching individual and organization 1.  Me past/ Me present/ Me future 2.  Org past/Org present/Org futureMeOrganization 38
  39. 39. Why work with background images?1.  Humans are meaning-oriented and mythical!2. You can touch the essence of people without intimate information!3. Reveals background drifts in processes and relationships.4. Very effective in connecting on many levels.5. Permits relating to these spheres in a professional world. 39
  40. 40. Dreams, guided imagery, metaphors and storytellingInstitute for systemic consulting, Wiesloch (Germany) 40www.isb-w.de
  41. 41. Circus 41
  42. 42. Dreams, metaphors and storytelling•  are exempt from the laws of the real world,•  are surreal in character,•  open up a multi-layered field of meaning and structure•  Professionals realize that they can create stories and metaphors much better and more usefully than they expect.•  This means using traditional ways of teaching.•  Indirect suggestions activate creative searches and solutions. 42
  43. 43. Dealing with dreaming, guided imagery or storytelling as example for dealing with creative realitiesthe way the dreamer deals with metaphoricaloccurrencesFor example: for the way he deals with experiences and dialogues in other contexts. à  dialogue using dreams, imagery and stories as modelling for creative dialogue and for building up a “permeable” creative, sensible communication culture 43
  44. 44. Creative dialogues around dreamingNot dream interpretation in the first place, but dealing with dream experiences and contexts and creative dialogues.i.e. exploration and visualization of 1.  what is going on in the dream and 2.  what is going on round about the dream, as well as 3.  the meanings the dreamer gives his dream and 4.  How it resonates in encounters with others. 44
  45. 45. Narrative experimental dialogue•  accepted mixture of the dreamers world of experience and the dialogue partners worlds of association,•  creative experimentation with dream orchestration and also alternative orchestrations,•  unbiased dialog as offers of possible meanings without resorting to any kind of expert authority,•  experimenting with context references = possible connections between elements of the dream and other life stages. 45

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