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Case #92 - The blissfulness of nothing
Zac talked about feeling depersonalised. As a kid he thought his mother was going to die (though she didnt). He did talk about his grandmother dying. He prayed to God as a child...but she still died. As a result, he because distrustful of religion - it seemed to him that God would do the opposite of what he asked for. For some reason, a bible story that he learnt had stayed with him - of someone who had prayed, and the the devil had come to tempt him.
So he associated fear with prayer. He said that he believed in science, but not in God. He considered himself a nihilist.
His association with religion, and spirituality, was a belief system which did not appeal to him, and a practice (prayer) which seemed pointless.
I pointed out that spirituality has three main elements: it can provide inspiration and direction, it can help people find a place for the transcenent in their lives, and it can provide practices which bring expansion and joy.
None of these constituted his experience of religion.
So I pointed out that there were spiritual forms such as Zen which did not require a belief system, including a belief in a God.
The depersonalisation component clearly had a psychological dimension. So I asked Zac to pay attention to his body. He reported 'nothing'. I asked him to 'be the nothing'. We always go with the resistance in Gestalt, and move to embrace whatever the experience is.
I asked 'nothing' to talk to Zac. 'Nothing' told Zac that there was no point to life, he might as well stop hoping. Life was just about the mundane experience, and then you die.
This certainly sounded like the nihilistic philosophy which Zac claimed to have.
I asked Zac how he felt. 'Empty'.
So again, we stayed with the emptiness, for some time; I asked him to stay in touch with his breath, and I just remained there with him, in silence.
This is what we call the 'creastive void'. Its not something to be feared or talked through, but to sit with, and allow something to emerge in its own time.
Sure enough, after quite some time, Zac reported feeling warmth in his body. As he breathed into this, a sense of joy started pervading his experience. It was a nameless joy, not linked to anything in particular. As he stayed with it, it became quite intense; he breathed heavily and deeply. This lasted for some time.
There was no name to the experience. It was simply an experience of his own being. His nihilism was not just a distancing from faith in something greater, it was also a cut off from his own existence. As he allowed this experience of self embrace, a deeper sense of meaning emerged. This is the existential approach to finding meaning - allowing experience to bring meaning, rather than trying to overlay it through explanation or projection.
Case #91 - Talking with God, twice
Joanne had a very deep and significant spiritual experience as a teenager. It was ecstatic, and stemmed from an interest she had had in spirituality from childhood.
Her parents were religious. But they did not handle it well. Her mother was afraid - probably that she might be going crazy.
Joanne went to their priest, but he told her that she would need to be on medication her whole life, and that there was something wrong with her - confirming the message that she was crazy.
Even a close aunt, who originally had encouraged her interest in spirituality, had nothing to say.
Her reaction at the time had been to thow herself into her external life, into the world, and distance from anything spiritual. This however had felt very empty to her.
So I suggested to put 'God on the chair', and have a direct conversation.
She said actually, there shoudl be two chairs - one for her first encounter with God ('like a first boyfriend') and one for her current relationship with God.
So we did that. It went just like a conversation might go to a lover that you have unfinished business with! I did lots of checking in with her - how she felt, as she was engaging in these conversations. It was very sensitive territory, and she had not really processed those feelings of 'betrayal' by God.
This was also a very sensitive topic, as her previous experience of talking about it had been to be 'made crazy'. So I made sure that I gave her my personal support, encouragement, and declared my positive judgements. I also made sure she got feedback from the group, so she knew where they stood, and that there was support. Its not enough to assume this, and its essential to have such feedback in the place where there migtht be shame.
This is an example of how Gestalt process can be applied to traumas related to the spiritual area. And how the relationship with God is, in a certain way, like other relationships, and can therefore be amendable to the therapeutic processes we use with other relationships.
Case #8 - Distrust towards men
Case #90 - When the client is more aware than the therapist
Martin had an acute sense of fairness. The context was that his parents asked a great deal of him, but offered him only criticism.
This set the tone for our interaction. If I did anything in the therapy without being aware of it, whereby it was in some way for my own benefit, he would immediately notice it and remark on it.
I was always happy to examine his criticisms and concerns. I would acknowledge the validity of them, recognise where it was I was not aware of my own self interest, and talk about that explicitly.
In Gestalt, as a dialogical therapy, it is essential to be willing to own places where I might go out of awareness. This happens to therapists as well. Most clients will not notice, but some are very attuned to this. This is actualy very positive for the therapy.
But it means as a therapist I must be willing to be non-defensive, to look for the grain of truth in the clients concerns, fears and accusations. This not only defuses the situation, it provides a reparative healing experience for the client. And as therapist, I also learn something about where I go out of awareness - I am confronted. Its also an opportunity for me to recognise my own self interest, and where and how I may hide that in the guise of 'helping'.
Small things are of note here - my tone of voice, how fast I speak, what I choose to focus on. With clients like Martin its necessary to be as aware of my dynamic as his.
Its easy as therapist to focus on the client, what they are doing, their process. But harder to focus on ours. And even harder when the client is aware of my process, but I am not. Theres potential to feel shame there for me, but I move beyond this by adopting a welcoming attitude towards all feedback and criticism, and always am ready to look for the truth in it, and admit it.
Case #89 - Opening up a very private realm
I could tell Lizzie was a bit tense, but didnt know what that was about. She seemed on edge, I imagined maybe angry.
She talked about arguing with her father as a teenager about the topic at hand - spirituality. From both parents she experience a lack of support for her interest. Her mother undermined her, her father opposed and ridiculed her desire to understand more.
Whilst those who grow up in religious contexts may have problems because beliefs are stuffed down their throats, others such as Lizzie may find that athiest parents may oppose an interest in religion or spirituality on the part of their children.
Lizzie was now in her 30's but still felt affected by this. Her search continued in her life, but it was not something she generally spoke about to otheres, keeping it very private. This was understandable, given the experience she had growing up. But it also isolated her, and meant she did not get support or dialogue about the topic.
I could understand better now her prickliness when I started discussing the topic with her – she was expecting negativity and opposition rather than support. This was understandable.
So the first thing I did was to make my support explicit. This was a topic I was interested in, positive to, and willing to open up with her. I talked about my own energy for the subject, and my interest in dialogue.
I also pointed out the nature of the environment we were in – a group of people who were also interested in the topic, and who were open to dialogue. I stated my intent to make sure that there were no putdowns when opinions were expressed.
This was important in terms of setting the ground of safety to raise the topic with Lizzie, and make it clear to her that these circumstances were different than those she was used to.
I was very aware of the risk for her to talk about this. She reported she felt relieved, but still tense. My words were all very well, but she had no experience of such support.
So I proposed an experiment – inviting her to state some of her beliefs, and I would explore them with her.
So she chose one – her belief that people were not born bad, but rather got lost, or were unaware. I shared that I resonated with this belief – a measure of support, and also signaling to her that I was open and listening. Making this explicit was very important. I asked her some questions to draw out more detail, and she was clearly enjoying sharing her perspective, and being heard.
I linked her ideas with those of some other writers – for instance Mathew Fox (Original Blessing), to indicate to her that there were others in the field who shared these perspectives, and to whom she might turn for support and to deepen her own ideas.
I then asked her if she would be willing to hear some counter views that might be out there in relation to this belief. She agreed. This was the next step – to support her to stand her ground in the face of opposition.
So I gave one perspective – that of existential responsibility – for the consequences of our actions, no matter our intention, level of awareness, or state of mind.
I gently stretched her thinking, providing challenging perspectives, and then engaging her in dialogue regarding her responses. This was a rich conversation, and I moved very carefully, so she could experience conversation across difference, without it being angry or oppositional.
This helped her to consider other perspectives, and provided her with an experience of successfully encountering difference. She now had some ground to be able to extend the dialogue with others.
In Gestalt we are always looking for the right balance of challenge and support, and in providing the client with a new and transformative experience through the experiment – working at the edge of their comfort so there is growth, but at a pace which is assimilable.
Case #88 - Strong symptoms, little information
John had attended a variety of personal growth groups. He had been wanting to come to a Gestalt group. So he was clearly keen to be here. He came up to work. I had been noticing him over several days, and now as he sat in front of me what struck me very strongly was his facial expressions. To look at him, I would think he was not simply nervous, but really distressed. He blinked rapidly, his mouth would twitch, his eyes narrowed as he talked. His eyes looked very frightened to me. My impression was of someone who was anticipating being hit.
I felt genuine concern for him, gave him a feedback about my experience, and asked what a he was feeling.
To my surprise he reported feelings only a little nervousness about coming up, but nothing further.
So I asked if he had had some kind of childhood experience of being hit.
I asked if he had particularly frightened things happen to him.
I asked if there was any incident he could recall that had really distressed him.
He reportedly being an extremely shy kid. This made some kind of sense, that perhaps what I was seeing was simply a kind of difficulty with contact.
Usually I will readily accept someone's description of their experience. But in this case I felt very strange because what I saw was very distinctive. Others in the group confirmed they had a similar experience. Something did not add up. But I was not going to press. In Gestalt we do not push through 'resistance'.
Nothing further came clear in our conversation so I decided to work somatically.
I asked him to lie on his back and I sat next to him.
I asked him to simply follow his breath.
His breathing seemed fairly regular and open. I was looking for interruption or places of tension. None were apparent. I asked his experience. He simply felt the air coming in and out. Clearly, he was not easily in touch with his feelings. So I took a lot of time, simply sitting with him, observing, enquiring.
He did report an empty feeling in his belly. So I asked his permission, and placed my hand there. Nothing further developed. Clearly his feelings were carefully held, and I had to be patient to find the key.
I noticed that his eyes were very active, even thought they were closed. So I asked to put my hand on his eyes, and held them there for a while. Then he reported a cold feeling in his lower belly. I put my hand there.
I asked him to look at me. He did so, then looked up for a while. I asked him what he was picturing. He saw darkness, cold, and a very dim streetlight.
Now we had the image I could work with it. I asked him to keep looking at me, and tell me his feeling. He started to feel warmth in his chest, so I put my hand there as well.
I told him that it seemed the street light was getting brighter, and asked him to let the warmth move down from his chest to his lower belly. As this developed I explained linked the streetlight getting brighter to our connection getting stronger and his connection to his body warming up. I asked him to continue letting the warmth down into his legs, to his feet. This happened very slowly but not quite as far as the feet. So I asked someone else to hold his feet,
Finally he felt the warmth through his whole body.
As he sat up, his eyes looked completely different. They were steady, clear, both the same size, and I told him this difference in my experience of him.
I asked him to look at a few other people to have that experience of connection both with himself, and with them. He energy was bright and warm and he reported experiencing connection with others in a new way.
We dont need to know what symptoms are about to work with the person. We dont have to have the story or the context. Sometimes it is simply not available. But if we work with the direct experience of the body, from that grounded place, something will always emerge that is the most important 'figure' needing attention.
Again, we dont even really need to understand the figure - just work with it, supporting the development of whatever is coming forward. When working with the body, that can be a slow process that requires patience.
In the end, we want to connect such experiences back into relationship. These are the core elements of Gestalt - awareness, and contact.
Case #87 - The Good Husband and the True Love
Chuan had never done therapy before. He was a businessman. His father made things out of wood, and had an small farm. Chuan had fond memories of his early years, being with his family; his father liked hunting, so they had big dogs. But during middle school he moved to another place than his father, and missed him.
In school he had always been a top student, but had never received acknowledgement from his father.
Ten years ago his company had run into problems. His wife and daughter were living in their hometown, and he was in the city trying to deal with a financial disaster in his company. He started drinking regularly, and fell into a depression for a year.
At the end of this terrible year of depression he met his father at Spring Festival. His father asked straight away - 'whats the problem? Are you getting divorced?' Chuan replied 'just a few problems at work'. But his father did not believe him, and pressed him.
His father shocked Chuan by saying to him, 'I trust you. I believe in you.' He also said, 'if its not working in the marriage, its ok to get divorced'.
This had a huge impact; Chuan stopped drinking, and started turning his business around.
However, there was indeed a problem in his marraige, and Chuan did not feel he could really talk to his father about it.
HIs wife had been his classmate. She got pregnant, and out of duty he married her. She was a kind person, nice to his family, and a good mother to their daughter. He had reluctantly married, and now felt 'kidnapped'. He didnt want to let anyone down, but he was unhappy. I asked how bad it was - 3 out of 10 he replied. Sex had dried up years ago. And he simply wasnt attracted to her. He felt more like brother and sister.
This was not a marriage that could be reignited, because there was never much of a spark originally. In some rare circumstances, it might be possible. But the situation was that he came out in a cold sweat if he hugged her - there was so little attraction there. He respected her, but only as a companion.
However, his strong family values kept him in the marriage, and his need to be a 'good boy'.
He also declared that he didnt want to hurt his daughter, he didnt want to lose her, and he didnt want to hurt his wife.
He was indeed trapped.
I asked him to name the two parts of him in conflict: the 'Good Husband', and 'True Love'.
I invited him to select two objects in the room to represent these polarities, and I then facilitated him to have a dialogue between the two parts. At first, it was simply a reiteration of the endless arguement between those warring parts.
I pointed out that this argument could go on eternally, but the two parts had to come to an agreement - which I likened to a business negotiation.
After some discussion, the two parts came to an agreement: *True Love* would give *Good Husband* a year to sort things out. *Good Husband* agreed to talk with his wife about these matters.
However, I could see Chuan's fear about actually having this talk, as he knew that doing so would indeed pain his wife, and would probably spell the beginning of the end of their marriage.
At this point Chuan became very uncomfortable, and a bit dizzy. He had to stand up and walk around. He looked around the room, and said, 'I dont like a room with no windows'. I explained that there was a window behind the curtain. That relieved him a bit.
I then took some time to tell him about my experience of divorce. He interrupted me at and asked about the ring around my neck. I explained I got it in Englad, when visiting my second daughter's graduation.
I told him that although the divorce was difficult, my children had not ultimately been damanged - they had gone on to do well.. and that I had found true love myself. I told him honestly about the difficulties I had faced, and that my ex-wife had faced, in the process of divorce.
In playing the 'father' role in the therapy, I was reinforcing the message that it was ok to divorce.
I will generally do whatever I can to help a couple stay together and have a healthy relationship. But sometimes, if this is really anti-life in terms of a constriction of their lifeforce and ability to live authentically, then I support someone to consider divorce.
Chuan was very relieved at the end of this. He said that what really caught his attention was two things - when I said that there was in fact a window in the room, and when he had asked about my ring.
It is in these interpersonal and symbolic moments that touched him. Triggered by his question about my ring, hearing about my own experience of divorce helped him out of his fear and stuckness - this was a dialogical part of the therapy, which involved my own self revelation, about my own story. A therapist has to be very careful about telling their own story, but on occasion, that can be very helpful for the client - thats the measure.
The symbology of the window being open was also very important to him. He felt suffocated, and I introduced the possiblity that there was a way out, even if hidden. This is something we could work on in subsequent therapy.
The facilitated dialogue between the two parts of him was also key - two warring elements that could never meet. The therapy gives the opportunity for them to come into contact, but this requires a lot of support from the therapist to facilitate this meeting, much like a real meeting between two warring people.
The significance of his father in all this was also a part of the complexity of the therapy. The support his father gave - including the acknowledgement of Chuan - was important in his change. So this signalled the importance of the role I could play as a 'father figure', and the impact I could have in the support I gave him.
Case #86 - Why so fat?
Laila was fat. On the scale of obesity, she was somewhere in the middle. As is often the case, this was not something that she brought directly to therapy. It was something I observed, after getting to know her for some time.
The subject of weight is a very complex and difficult one for women, and in therapy it should not be avoided. But it has to be treated with sensitivity and care, and not with a heavy hand.
Laila was interested to work on the subject.
I asked at what point had she started putting on weight. She said in college she was hungry for some time, as she didnt have much money. So when she did eat, she would eat a lot. But that levelled out after some time.
So I pressed again, and she said, after she had her daughter she put on weight, because she had to eat a good quantity during breastfeeding. However, her daughter was now 10, and she still carried the weight.
She said she ate when anxious, and she was anxious about something bad happening to her daughter.
She also said she liked to have something in her mouth a lot of the time, to snack on.
This provided a number of possible entry points, but the only thing that seemed really clear was her anxiety. However, this was quite generalised, and so it was not precisely evident just how this worked.
I asked what kind of foods she ate, in what quantity, and how much exercise she did. These are all very grounded aspects of the issue. It seemed from what she said that she did not eat huge quantities, so again, it was not completely clear what was going on.
I started at this very practical level, and told her that to make a difference, she needed practical support on those three fronts - the quality of her food, the quantity of it, and the balance with exercise.
I emphasised that support was the key, not trying to address all of that on her own.
I asked about nourishment - how much emotional nourishment she got from a variety of areas of her life - work, friends, family, activities. It seemed she had quite a lot of nourishment, so the eating was not in response to a lack.
Still, the underlying dynamic was not evident. I asked about the anxiety: her father had some kind of fear of something happening to her, and somehow she had taken on that fear in relation to her own daughter.
This emerged from the Field, and so needed to be dealt with on a field level. However, before we could start on that, she suddenly said - oh, thats right, my mother used to overfeed me as a young child.
She explained that her mother would shove food into her mouth, and then before she had even eaten it all, would shove more in. This was a regular occurance, and was very uncomfortable for her.
She burst into tears relating this, I empathised with her and asked her what she was feeling. Anger, she replied.
So I invited her to imagine telling her mother, using her adult voice, what the infant would have liked to have said - 'I have had enough, please stop shoving the food in my mouth'.
She found it hard to say this with force. So I suggested she put up her hand in front of her mouth, to block anything else coming in. This felt powerful for her.
For homework I suggested that she think of her mother each time she ate, remember the force feeding, and notice her response.
This conscious association with the traumatic memory would enable her to act out her refusal, rather than identify with the powerless child.
Case #85 - The empty swimming pool
Danielle told a very traumatic story. Both her husband and herself were teachers, and they travelled together, and taught English in a variety of countries. They had met in college, and it seemed they were very close, both creative, both interested in spirituality, and involved in the arts.
At one point he went to France for an art exhibition. He did not return however. He had decided to stay there illegally. He did so with no warning to Danielle, and no discussion. This was of course very upsetting. As time went by, things did not change. He did not invite her to join him, though he did return home a few times. Each time, the communication was strained, and Danielle continued to feel very hurt by the situation.
She felt her life in some kind of suspended place, where she could not really move forward with much confidence, nor could she seem to resolve the situation.
After some time, she heard through another person that he had died the previous year there. This dismantled Danielle even further. She even found that the process of getting a divorce was made extremely difficult, and that got shelved as well.
She described the experience as a building whose foundations collapsed, and lay in a pile of rubble.
She spent the next 6 years reassembling her life, bit by bit. She got very involved in spiritual practices and philosophy, personal growth work, and dedicated a lot of time and effort to extracting herself from the trauma.
She now felt back on a solid footing, but the issue was about moving into a new relationship. She had been in a few since then, but none lasted.
She now felt more ready for serious relationship. She had one currently, but it had not progressed much, due to her ambivalence.
She described it as standing at the edge of a swimming pool, feeling frozen, unable to dive in.
I pointed out this made perfect sense, given her experience. I took her metaphor and used it to further awareness. I pointed out that last time she dived into relationship, it looked like the pool was full of water, but in fact, this was not the case, and she got badly hurt.
So it was in fact very important to check how much water was in the pool. I compared this to knowing about the other person's shadows. I asked if she was better now at discerning these shadows in someone else.
She wanted to focus on what she needed to pay attention to in herself, her own shadows. But on this occasion, unusually, I did not want to do this. I judged that with all the intensive personal work she had done, she was quite aware of her shadow material, and able to own it.
So I focused on what she would need from a partner, taking the focus off of herself.
Usually I want to put the focus on the client. But when someone has taken a great deal of responsibility for themselves, then it can be good to get them too look out at the world, and evaluate others.
The issue in Gestalt is that we do not follow a formula. What is good in one situation is not necessarily relevant in another. 'It depends'...on the person's level of development, their needs, their awareness, and what is missing. In this case, the growing edge, as I understood it, was her ability to really see the other person, as they were, without either fear or fantasy.
In Gestalt we are very much focusing on grounding the person in their sensory experience, their somatic experience, in the here and now.
And, we also work with metaphor; in this case, it was very useful, as it gave a key to how to move ahead. Working within the person's own world, their own language, gives us direct access to their phenomenological world.
Case #90 - When the client is more aware than the...


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Sun, Jan 16, 2022 | فارسی [Archive]
Aims & Scopes
Authors' Guide
Reviewing Policy
Principles of Transparency
Allegations of Research Misconduct
Financial Codes
Publishing schedule/Archiving
Ownership and Management
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Volume 7, Issue 28 (9-2019) Haft Hesar J Environ Stud 2019, 7(28): 75-88 | Back to browse issues page
Evaluation of Criteria for Determining the Buildings Height in Hamedan's Detailed Plan with Energy Efficiency Aspect Based on the TOPSIS . Haft Hesar J Environ Stud. 2019; 7 (28) :75-88
URL: http://hafthesar.iauh.ac.ir/article-1-716-en.html
Evaluation of Criteria for Determining the Buildings Height in Hamedan's Detailed Plan with Energy Efficiency Aspect Based on the TOPSIS
Abstract: (1062 Views)
Many cities in the world are involved with air pollution and environmental pollution. The consumption of fossil fuels in buildings has an enormous impact on the pollution. About 40% of the total energy is spent on heating, cooling and lighting of buildings. The use of solar energy is one of the ways that reduce the thermal load of buildings. One of the factors that affect this utilization is the ratio of the height of the building to its side street width or sky view factor (SVF). By increasing this ratio, the possibility of using solar energy decreases and this possibility increases by decreasing the ratio. The purpose of this research is to evaluate the criteria of the detailed plan of Hamadan regarding the method of determining the height of buildings in terms of their use of solar energy and determining the quality rating of the buildings with different latitudes of solar energy. Based on Hamedan's detailed plan, the fourteen main options, along with the subset modes, each of which totally comprise eighteen modes, were analyzed in four effective indicators of energy consumption in buildings based on Tapsis method for North and South buildings. these indicators include the average angle of view of the barriers to solar radiation outside the outer shell, the ratio of the total surface of the shell exposed to outdoor to the total building volume, the ratio of the surface of the ceiling to the total surface of the outer shell on the south face, and the ratio of the thermal bridges in the facade to the total surface is the outer shell of the building. The results show that, generally, southern buildings in narrow dtreet, and northern buildings in widespread street have a better use of solar energy than other ones. According to the results, among the northern buildings, the buildings located in side of the 75-meter streets have the best Productivity and the buildings located in side of the 10-meter streets with over 220 square meters area are the most inefficient. Among the southern buildings, the buildings located in side of the 4-meter streets have the best Productivity and buildings located in side of the 30-meter streets with less than 300 square meters are the most inefficient.
Keywords: Detailed Plan, Hamedan, Building's Height, Energy Efficiency, TOPSIS
Full-Text [PDF 1986 kb] (260 Downloads)
Type of Study: Research | Subject: Special
Received: 2019/09/21 | Accepted: 2019/09/21 | Published: 2019/09/21
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Trump Victory as One Lawsuit Dropped and Another Dismissed
November 24, 2021 By Mikel Leave a Comment
Defamation case Summer Zervos decided to abandon her allegations against Trump as per a court filing, and a New York jury decided to dismiss a lawsuit brought by Trump's former personal attorney Michael Cohen against the Trump Organization on Friday court documents.
In 2017, Zervos filed a lawsuit against Trump, claiming that he had sexually assaulted her, despite Trump's denials. As recently as last week, a judge ordered Trump to appear in court on December 23 to take a deposition in the matter. Michael Cohen filed a lawsuit against the Trump Organization in 2019, claiming that the corporation did not fulfill its contractual responsibility to indemnify him or pay his legal expenditures connected to his work for the agency after he started cooperating with federal prosecutors in 2018.
With several criminal investigations and commercial issues tied to the Capitol incident on January 6, Trump's legal successes come as his behavior during the closing days of his administration continues to haunt him. After failing to cooperate with a subpoena from a House select committee probing the attack, Steve Bannon was indicted by the grand jury on Friday.
The Zervos Lawsuit
Zervos' lawyers issued a statement confirming their client's decision to dismiss her lawsuit. For the first time in more than five years, Ms. Zervos decided not to pursue legal action against the defendant. No compensation has been taken from Ms Zervos for her claims in her lawsuit.
It was not clear why Zervos agreed to abandon the case or the terms of the deal. An agreement filed in court said that the allegations and counterclaims claimed in this case or that may have been made are immediately dismissed and terminated with prejudice.
President Trump was entirely vindicated. Donald Trump's former magazine contributor E. Jean Carroll, who sued him for defamation and accusing him of sexually assaulting her decades ago, issued an official statement after Zervos' dismissal.
Kaplan Hecker & Fink managing partner Julie Fink claimed that E. Jean Carroll had no intention of abandoning her lawsuit against Donald Trump, notwithstanding the conditions of the Zervos case. Suppose the New York Adult Survivors Act (S66/A648) is passed, and the statute of limitations is removed. In that case, E. Jean will sue Donald Trump for defamation and the fundamental sexual assault in a Manhattan department store years ago.
Trump has vehemently disputed the charges made by Carroll. In December, the court will hear defamation lawsuit arguments before the federal appellate court.
The Cohen lawsuit
Earlier Friday, a New York judge approved President Trump's request to dismiss Michael Cohen's case against Trump Organization in 2019. According to Judge Cohen, Mr. Cohen's legal expenses come out of his (often illegal) service but not out of his service.
A complaint filed in the New York State Supreme Court in July 2017 said that in July 2017, the Trump Organization agreed to indemnify Cohen and pay his legal expenses and costs in connection with the case into Trump's business dealings. Lawsuits allege that the Trump Organization and Mr. Cohen were acting concerning the Investigations and other issues in a 'joint defense' at the time.
According to Cohen, McDermott Will & Emery LLP, the law firm that first represented him, paid him $137,460 in October 2017, half of the bills he had received. After that, the Trump Organization allegedly guaranteed the Trump presidential campaign that it would pay the balance the next day.
In an interview with CNN, a Trump Organization representative said that after convicted criminal Michael Cohen's defeat in court, the baseless lawsuit against the Trump Organization is now over. Michael Cohen's effort to get the Trump Organization to foot the bill for his legal bills for his criminal activity went awry after the Southern District of New York previously found him guilty of an array of fraudulent conduct driven by "personal greed and ambition" (including perjury). However, Mr. Cohen's latest effort at self-improvement was a failure. In an interview with CNN on Friday, Michael Cohen slammed the judge's decision.
Filed Under: Legal News Tagged With: Legal News, Trump


Prices are per week, from Saturday to Saturday - Final cleaning: euro 50 for everyone.
Tourist tax: € 1.50 per person for 7 days (children are free of charge until the age of 14 years).
ARRIVAL TIME: saturday between 4 p.m. and 8 p.m.
DEPARTURE TIME: saturday before and not after 10 a.m. The kitchen and cooking corner must be cleaned before departure, failure to do this lead to a penalty of € 50,00 to be deducted from the caution deposit.
PAYMENT: 30% down payment at the time of booking, remainder to be paid on arrival.
extra bed € 100,00 per week.
Kitchen and cooking corner to be cleaned by the client.
CAUTION DEPOSIT: € 200,00 (remborsable upon departure, providing no damage or breakages have occured).
PETS: only small pets welcome (please inform us at the moment of booking).
Air Condition indefinite € 50,00 per week.


On Saturday 27th February 2016, the Sackler Research Forum at the Courtauld Institute of Art hosted a day-long Symposium on Art and Terrorism, a collaborative event organized by Professor Julian Stallabrass and Dr. Anna Marazuela Kim of the Courtauld Institute, and Dr. Noah Charney and Lynda Albertson of the Association for Research into Crimes against Art (ARCA). Bridging disparate sectors and audience, the event brought scholars of image and violence into dialogue with practitioners in the field of conflict antiquities and the destruction of cultural heritage, and featured the premiere of a UNESCO-funded film on Syria and the work of an award-winning photographer on sites of extraordinary rendition.
The event was also captured on storify.
The first session covered topics ranging from IRA art heists to the Freudian uncanny, and set up several problematics that were developed further throughout the day. Courtauld professor Julian Stallabrass, who co-organized the event and presented later in the day, chaired the session.
Noah Charney, a co-organizer of the symposium and founder of ARCA, opened the session by giving a Very Brief History of Art and Terrorism. The starting point for this history was that art crime is an "under-served area within criminology" due to the fact that most of the information in the case files is missing. (Michael Will of Europol elaborated on the challenges of investigating art crimes during the second session).
Jennifer Good, Senior Lecturer in History and Theory of Documentary Photography at London College of Communication, presented next. Good's topic was Totalizing Narratives of 9/11, and she focused on photojournalistic and memorial images from the aftermath of 9/11. Good posited that within these images a redemptive, transcendental narrative emerged as a way of rationalizing feelings of despair left in the wake of the attacks.
Two of her examples included an image of Friar Mychal Judge (the first recorded fatality) who was referred to as "Ground Zero Pieta," and the cross that was recovered from the rubble of the gigantic towers, "as if waiting to be born from the destruction." The human-sized cross, Good suggested, came to redeem the Towers' "purposeless giganticism" (quoting Lewis Mumford) that made them a target.
Anna Marazuela Kim, Andrew W. Mellon Post-Doctoral Fellow at the Courtauld, co-organiser of the event, later session chair, addressed The New Image Wars. Kim focused on the long-standing link between violence against bodies and violence against figurative art that represents, or even presents, bodies and persons.
Drawing parallels between IS and the Protestant Reformers, Kim pointed out that both groups were adept at deploying new technologies to disseminate their message through images. During the Protestant Reformation that technology was printing, presently it's the Internet, but the underlying tactic is familiar, as she demonstrated by showing an IS image of a Jordanian pilot being burned in a cage next to a Reformation image of a bishop being burned at the stake.
Kim also drew parallels between the Christian imperative against desecrating icons and the Islamic imperative against representing the Prophet Muhammad. Turning to Charlie Hebdo, Kim suggested that cartoons of the Prophet Muhammad are offensive not only because they represent the Prophet, but also because of how he is presented, given that such images are understood to contain the real presence of the Prophet. It is therefore a category mistake, Kim argued, to reduce affective images to an issue of "free speech," as happened in the aftermath of the Charlie Hebdo shooting.
What is "new" in the new image wars or "visual terrorism", Kim concluded, is that the images merge and become fused with the flow of our consciousness more readily than ever, and, citing the images of Palmyra being blown up with people tied to its columns, the images do so with a violence that constitutes a form of violation.
Francesco Rutelli, Former Italian Minister of Culture and former Mayor of Rome, was the fourth and final speaker in the first session. Rutelli focused on "iconoclasm as a matter of power." As a starting point, he described Napoleon's quest to fill the Louvre with the best masterpieces to demonstrate France's cultural superiority.
Rutelli made two main points. First, the history and biography of objects matters; he cited the case of the Goddess of Morgentina, a 5th century BC Greek statue, which made its way to the Getty Museum in Los Angeles under questionable (mob-related) circumstances, and was recently returned to Sicily, as an example of the rectification of improperly removed cultural heritage. And second, the intentional destruction of art and artifacts sends a powerful message about power and cultural dominance. Therefore, restoring sites of destruction is more than symbolic gesture, but a crucial moment in the ending of a war.
The second session, chaired by Noah Charney, featured Mike Giglio, investigative journalist and war correspondent based in Turkey; Michael Will of Europol; and Sam Hardy, an archaeologist who researches cultural property crime. The combined presentations offered personal perspectives and information about facets of the trade in stolen art and antiquities, especially in a war zone such as Syria.
Mike Giglio gave the human overview and reasons for the looting of cultural antiquities in Syria today and the link to survival. The trade in antiquities fuels a wartime economy. The business structures of emergent, armed groups since the collapse of the infrastructure of the country are self-supporting in part due to revenue obtained from trafficking stolen artefacts. Equally for the ordinary people having to adapt and survive in this present chaos, the sale of a piece of antiquity can buy food to feed an often-extended family. Objects are smuggled across the border not just as part of a financial trade between dealers but also hidden in the personal effects of fleeing refugees. Such objects are currency for trade and barter for refugees on the move through other countries. The desecration of Syria's cultural sites and disappearing of objects is damaging to the cultural and human psyche and, as Giglio stated, the looting of artefacts has become a microcosm of the conflict.
Following on from this fascinating insight into the human side of such trafficking was Michael Will of Europol and a former Chief Inspector investigator in the field for the Berlin C.I.D. He is now based in Rotterdam, Holland having joined Europol in 2013. Will gave an interesting outline to the organization explaining that it acts more as an advisory and supportive vehicle for the twenty-eight Member States (aka MS) of the European Union. Officers at Europol are drawn from all the MS. Major issues that perhaps hinder them from carrying out and collating more investigations information is lack of funding – a typical problem today.
Sam Hardy of the American University of Rome presented an interesting insight into the problem of fake cultural artefacts being sold via the Internet – even Skype – adding to the dilemma of "conflict antiquities". Lack of concrete evidence is the primary problem. Hardy defined the difference between state- driven trafficking (imperialism) for example, the British Empire, Ottoman Empire, and German Third Reich (Nazis) and non-state led trafficking that is the present situation. Across Afghanistan, Israel and Palestine, Libya, Pakistan, Syria, Turkey, Ukraine and Yemen the looting and illegal sale of cultural arts and artefacts, especially antiquities, is widespread and hard to control. Armed groups exploit this often for their own violent objectives. Getting governments to regulate trafficked sales, fake or not, is a problem too as offloading the problem to the discretion of auction houses, for example, is an easier path to take. Some cultural property is looted to order from Afghanistan to Honduras to the EU. Selling fake items is not difficult along with disinformation. Sam Hardy's blog is an interesting read with an (open access) article on state-organised trafficking.
Session II ended with the UK premiere of a short but powerful UNESCO film, The Quake (2015) by Matteo Barzini of the Feel Film Production and music by Ennio Morricone. A poignant music and visual collaboration as narrative about the Syrian war and the destruction caused to both people and cultural sites.
In summary, it would seem that although cultural looting takes place outside of wartime it seems to accelerate when conflicts ignite and perhaps the greatest concern is what will be left in the aftermath.
The third and final session, chaired by co-organiser Anna Marazuela Kim, featured three papers unified by a focus on photography and issues of representation, bringing into compelling dialogue case studies within the domain of insurgency.
Julian Stallabrass, writer, photographer, curator and lecturer who publishes widely on documentary photography and war, presented a paper titled Representing the Iraqi Resistance. Stallabrass began with the provocation that the definition of those constituents who fought against the US invasion and occupation of Iraq was itself heavily contested. Were they terrorists or a resistance movement, the remnants of the old regime, foreign insurgents, or a new Iraqi force?
Given this politically charged issue, the very act of representing them photographically entailed a certain risk: it was an act that could eventuate in being targeted by US forces or accusations of collaborating with the enemy. Bringing into comparison images from independent photojournalism versus those in embedded photojournalism, as well as images used by members of the resistance themselves, Stallabrass probed the political and representational limits of the civic medium of photography.
The second presentation featured award-winning photographer Edmund Clark, the author of acclaimed books on Guantanamo and Afghanistan, among others. Clarke's work compellingly links history, politics and representation, particularly focusing on spaces of control in the global "war on terror". In an extremely thought-provoking, and at times disturbing, presentation, Clarke described his most recent project, Negative Publicity, co-written with counterterrorism investigator Crofton Black. A collection of photographs by Clarke and redacted documents from court cases gathered by Black, the work engages the nature of contemporary warfare, making visible the otherwise "invisible" mechanisms of state control. The focus of the current project, Negative Publicity, is the representation of what is called "extraordinary rendition": the disappearance of persons, without legal process, into a network of secret prisons organized by the US Central Intelligence Agency from 2001-2008. As part of George Bush's sanctioned war on terror, prisoners were taken to 'black sites' around the world, where many of them were subjected to torture. As Clarke notes, some were eventually sent to Guantánamo Bay or released, while others still remain unaccounted for.
In order to recreate this covert network and its operation, Black and Clark traveled worldwide to photograph former detention sites, detainees' and pilots' homes, and government buildings implicated in this activity. Unlike the highly graphic images that emerged from Abu Ghraib, Clarke's are eerily empty of figures. Moreover, violence is not represented, but rather implied via its erasure, much like the redacted documents in which the photographs stand in productive dialogue. Rendered with extreme clarity, the often banal subject matter plays upon ideas of opacity, surface, and testimony in relation to this process, to reveal a system "hidden in plain sight." In 'showing,' in a negative way, what cannot be seen, the work raises important questions regarding the limits of photography, and also challenges traditional notions of representation in an age of increasingly secret, invisible, state control.
Rounding out the session on photography, Neville Bolt, specialist from the department of War Studies at King's College on communications in conflict and foreign policy with a wide-ranging and distinguished career in TV, journalism and advising governments, gave a conceptually-demanding paper titled Iconic Photographs & Geopolitics. Bolt began from the premise that while millions of images circulate each day in the global media space that connects social media to more traditional outlets like television and the press, occasionally some acquire "iconic status", linking a local event to higher moral, perhaps even universal, beliefs. These iconic images have come to represent the way terror events are understood in the popular imagination.
In order to probe more deeply the nature of this linkage between iconic images and moral sentiment, Bolt analysed in depth two photographs which seem to belong to the same genre and to yield the same effect, but are in fact instructively different: the image of an alleged jihadist executing a prisoner, and a refugee child washed up on the shore in Turkey. On the surface, it would seem that both images are concerned with moral outrage. Through a subtle analysis, Bolt argued instead for a distinction between moral outrage, which is other-directed, and shame, a self-reflexive response. The image of the terrorist puts into play a binary of us and them, provoking moral outrage against the implied perpetrators, while the child invokes a sense of corporate shame. In both cases, Bolt argued, such iconic images have the potential to reach into the very heart of geopolitics, "threatening the liberal conscience".
The symposium ended with a panel discussion, following a keynote by Giovanni Boccardi, Chief of the Emergency Preparedness and Response Unit of UNESCO's Culture Sector. In a paper titled UNESCO's Global Action to Protect Cultural heritage Under Threat, Boccardi described the scope of UNESCO's current actions to protect heritage under threat; the challenges it faces in this ever-expanding and volatile arena; and areas of work to be explored through partnering with other International Organizations and stakeholders outside of the culture sector.
As Boccardi explained, a rapidly evolving global scenario and the continuous and increasingly violent manifestations of cultural cleansing, especially in the Middle East and North Africa, that include not only deliberate attacks against cultural heritage and widespread looting, but also persecutions against minorities and the expressions of their cultural identity, have highlighted the close link between culture, security and human rights. This situation is questioning many of the assumptions on which UNESCO, the only UN Agency with a mandate for the protection of culture, was operating. The Organization needs therefore to reassess its strategies and approaches. This is being done not only to protecting culture for its own sake, but also to ensure that culture's potential for building resilience and social cohesion is harnessed in humanitarian and peace building efforts. Building on its wide range international legal standards, which need to be more streamlined and operationalized, UNESCO has recently adopted a Strategy and is in the process of engaging with new partners to deal with these unprecedented challenges. The strategy has two main objectives, which are: the strengthening of Member states abilities to prevent, mitigate and recover the loss of cultural heritage and diversity as a result of conflict; and the incorporation of the protection of culture into the scope of humanitarian action and security.


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Its Our World Christies
26 images Created 4 Mar 2016
Pupils from Charlton Manor Primary School - one of 10 sustainable legacy projects to receive funding from Captain Planet Foundation as part of It's Our World - It's Our World Auction in support of The Big Draw and Jupiter Artland Foundation, Chrisites, London, UK - Over 40 leading artists including David Hockney, Sir Antony Gormley, David Nash, Sir Peter Blake, Yinka Shonibare, Sir Quentin Blake, Emily Young and Maggi Hambling have committed artworks to the be sold at on 10 March 2016. The Auction is the culmination of a mass participation environmental arts project, promoting sustainability for future generations through art. Money raised will support The Big Draw, an arts education charity that works across the UK to promote visual
Our World Chrisities GBPhotos 02.jpg


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Tag Archives: Tylor Norwood
Review: 'Robin's Wish' becomes our own in this new doc from Tylor Norwood.
Posted on September 7, 2020 by Liz Whittemore — Leave a reply
SYNOPSIS:Robin's Wishtells the powerful true story of actor/comedian Robin Williams' final days. For the first time, Robin's fight against a deadly neurodegenerative disorder, known as Lewy Body Dementia, is shown in stunning detail. Through a gripping journalistic lens, this incredible story sheds entirely new light on the tragedy, beauty, and power behind the mind of one of the greatest entertainers of all time.
The name Robin Williams is a household name. From his early standup days to his iconic voiceover work for Genie in Aladdin to perhaps one of his most quotable film Mrs. Doubtfire, we all desperately miss this talented man and his gentle heart. We felt like we knew him. We understood that if he was booked as a guest on a late-night show, there was no script. The host might as well put their requisite question cards down because Robin was going to take the segment so far off the rails, there was little point in preparing. He could make us belly laugh but also mesmerize us with his ability to master heavier roles like Dead Poets Society and his Oscar-winning performance in Good Will Hunting. He was a god. He wore his heart on his sleeve, always. What we didn't get to see in private was more than we can imagine.
"An emotional avalanche of mourning and celebration" is perhaps the best way to describe the viewing experience. Director Tylor Norwood has mixed intimate sit down interviews with neighbors, friends, and Robin's wife Susan, with television appearances, personal photographs, and most notably to the subject at hand, Robin's doctors. As someone who's grandmother recently passed from the same disorder, this hurt just a bit more. To have an inside view of the pain and fear and confusion that Williams (and his loved ones) must have been feeling, it makes this all the sadder. His doctors agree that his high level of cognitive function, much higher than the average person, is most likely what made the diagnosis so elusive. The man was nothing short of brilliant. Weaved into the film is his love story with Susan. She has become an advocate for the disorder. When you think of soulmates, these two are it. It is beautiful to watch. For the cinephile, Robin's Wish is also a fantastic insight into his work and mindset from some of his most iconic career moments. But it is the personal asides, the conversations with injured troops from his USO tour days that will solidify him as one of the most treasured human beings of our time. To see him celebrated properly and more fully understood feels like vindication from the tabloid mess that initially ensued following his death. It was not deserved. It was shameful. This film is both a tribute and an education for so many suffering in silence. Robin's Wish can come true in this documentary.
"I want to help people be less afraid." ~ Robin Williams
Vertical Entertainment will release the documentary film ROBIN'S WISH on Demand and Digital on September 1, 2020.
OFFICIAL WEBSITE: https://www.robinswishfilm.com/
ROBIN'S WISH features interviews with Susan Schneider Williams, Shawn Levy, John R. Montgomery, Rick Overton, and David E. Kelly. The film is directed by Tylor Norwood (directorial feature debut) who co-wrote the film with Scott Fitzloff (The United States of Detroit).
SUSAN SCHNEIDER WILLIAMS STATEMENT:
When my husband Robin Williams died, the whole world grieved. It's enough to grieve personally over this type of loss, and then to have the entire world grieving with you—that pushed it into a different realm altogether. Robin was one of the most beloved artists in the world, a comic genius, whose mind functioned on a mighty level. Yet in the end, it was a little known disease in his beautifully gifted brain that became his greatest and final battle.
During the last year of his life, Robin was confronted with anxiety, paranoia, insomnia, scary altered realities and a roller coaster of hope and despair. With our medical team's care we chased a relentless parade of symptoms but with very little gain. It wasn't until after Robin's passing, in autopsy, that the source of his terror was revealed: he had diffuse Lewy body disease. It was one of the worst cases medical professionals had seen.
Armed with the name of a brain disease I'd never heard of, I set out on a mission to understand it, and that led me down my unchosen path of advocacy. With invaluable help from leading medical experts, I saw that what Robin and I had gone through, finally made sense — our experience matched up with the science. And what I discovered along the way was bigger than me, and bigger than Robin. The full story was revealed during the making of this film and it holds the truth that Robin and I had been searching for.
Robin's Wish is Robin's story, it's our story, and in some ways it's a universal one — as we all understand what it means to search for answers, to experience love and loss and the power of healing that keeps us going.
Finally, a note about the film title: Robin wanted to help all of us be less afraid. That was Robin's wish. We had been discussing what we wanted our legacies to be in life; when it was our time to go, how we wanted to have made people feel. Without missing a beat, Robin said, "I want to help people be less afraid."
DIRECTOR'S STATEMENT:
Robin's Wish is the retelling of an ending to a story that was never done the justice it deserved. Robin Williams was very much an influence on my life and so when he passed with such violence and general uncertainty it affected me deeply. However, like most people, I quickly buried that uncertainty as I went about my life, too busy with my day to day affairs to treat the questions around Robin's passing as much more than a place I'd rather not go — telling myself instead that I would remember him only as the man who made me laugh and feel so much in my life. This process of denial of Robin as a man instead of a string of characters was interrupted when his widow, Susan, reached out to me to ask if I'd have any interest in making a science documentary about a neurological disease I'd never heard of — Lewy body dementia. I told her no, and that it would take years until we'd be sitting in a theater and watching any movie I agreed to make, so I asked her what would sustain her in that. She began telling me about herself and Robin, and what they went through in the last year and a half of his life. I told her if that was the film, I was in.
What followed was years of tracking down the facts of Robin's case from his friends, neighbors, co-workers, widow and medical professionals that gave me a clear view of a compelling story I'd never heard before about one of the greatest entertainers to ever live. In the end I think we've done the work of restoring a legacy that had been tainted by a fundamental misunderstanding. It was in the spirit of completing the record, and honoring Robin with giving the world the truth of what took him from us that I think this film shines, and can serve as a moment for the world to look deeper into this beautiful man's story. It is a moment for us to understand the pain he felt as his talents and faculties rapidly slipped away, and moreover how in the face of that terrifying reality, he was more heroic, more compassionate than any character he ever played in any of his movies. So I hope this film rights a wrong that was done to him, and takes away a cloud that has unjustly hung over his legacy for far too long.
Posted in Documentary, Liz, News, Poster, Release, Reviews, Trailer, VOD, What To Watch This Week, Woman Lead, Women in Film	| Tagged David E. Kelly, doc, John R. Montgomery, Lewy Body Dementia, Rick Overton, Robin Williams, Robin's Wish, Scott Fitzloff, shawn levy, SUSAN SCHNEIDER WILLIAMS, Tylor Norwood, Vertical Entertainment	| Leave a reply


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17 Jul 2020 Natalie Mayhew Local Group News
July 2020 Bumblebee News
How to #Beekind to . . . Southern cuckoo #bumblebees
Provide food by growing flowering cherries, blackthorn and sallows for females in spring and a variety of plants including: knapweeds, thistles, lavender and wallflowers for new males and females in summer.
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Shrill carder bee conservation strategy launched
Led by the Bumblebee Conservation Trust and working with Buglife, a group of leading conservationists have teamed up, committed to work together to save the rarest bumblebee in England and Wales, the Shrill carder bee (Bombus sylvarum).
The Shrill carder bee is a distinctive bumblebee which can be identified by its pale grey-yellow colouring, a black band of hair between the wings and reddish-orange tail, and a noticeably high pitched buzz. Over recent years their habitat has diminished and they are now only found in a few locations in England and Wales.
Guided by the newly published Shrill carder bee conservation strategy, the group will collect scientific evidence on current Shrill carder bee populations, work with landowners to create a network of flower-rich landscapes to support the Shrill carder's recovery, and raise awareness amongst the wider public to deliver this multi-year vision to create a landscape where this rare bee can survive and thrive.
To read the latest news and full report, visit the Bumblebee Conservation Trust News page.
Photo: Shrill carder bee by Claire Fidler
Summary of Task Day Procedures from Jul 2020
New Bee ID App launched