visions4people – Artistic Research Meets Psychiatry

visions4people
Tyyne Claudia Pollmann
ARTISTIC RESEARCH MEETS PSYCHIATRY

Table of contents
Introduction 10
Preface 14
Space, art, psyche—Andreas Heinz, Jinan Abi Jumaa, Nassim Mehran 20
Encounters between art and psychiatry—Leonie Baumann 23
1.0 Practice 28
1.1 Abstract 34
1.2 Introduction to words and images 35
1.21 visions for people to visions4people 35
1.22 Vision 36
1.23 The term “patient” 37
1.24 The prefix “psy-” 38
1.25 Needs versus desires 38
1.3 Images 39
1.4 Fields of work 40
1.41 Artistic research 40
1.42 Transdisciplinarity 41
1.43 Participation 42
1.5 Project procedure 44
1.51 Preparations for visions4people 44
1.52 Project procedure visions4people 45
1.6 Comparative table 56
1.7 Timeline 58

1.8 Methods 62
1 Methods: Short version 63
2 Notebooks 63
3 First visit to the psychiatric clinic 64
4 Survey 65
5 Reader 65
6 Information pool 66
7 Excursions 66
8 Dark matters room 68
9 Workshop with Bernhard Haslinger 70
10 Workshop with Jason Danziger 73
11 Film evenings, discussion groups 76
12 Intermediate assessment 79
13 Writing about one’s own work 79
14 Field research: Short version 79
15 Questionnaire for the patients 80
16 Template for narratives 80
17 Generating and uploading the narratives 81
a) Summer semester 2017 81
b) Winter semester 2017/18 81
18 Spatial analysis 82
19 Preparing the interventions in the winter semester 2017/18 82
20 Charité visits 83
21 Following up on the interventions in the winter semester 2017/18 83
22 Cooperation with patients 83

23 Exhibitions: Preparation, curating, organization 84
24 Public relations 84
25 Institutions 84
a) Charité 84
b) khb 85
26 Constellations 86
27 Transinstitutional approach 87
28 Symposia, new contacts 88
2.0 People 90
2.1 Who: The people 96
2.11 Patients 98
2.12 Personnel 100
2.13 External group 101
2.2 How to: Intro to field research 102
2.21 Emergence vs. forcing 104
2.22 Abduction 104
2.23 Qualitative psychology 105
2.24 Phenomenological approach 105
2.25 Ad libitum sampling 106
2.26 Field research to scape research 106
2.27 The epistemological window 108
2.3 Anonymous participants—the survey 109
2.4 When and where 120
2.5 What 120
2.51 Open narratives versus questionnaires 120
2.52 Open discussions versus questionnaires 121
2.6 Quotes 123
2.61 Communication 124
2.62 About the Charité 127

2.63 Self-reflection 129
2.64 Stigmatization 130
2.65 Difficult situations 131
a) Exhibition 131
b) Boundaries 132
c) Overstraining 133
2.66 Patient ideas 134
2.67 Cooperations 138
2.68 Interventions 140
2.681 Date 1: Balloon intervention, November 29, 2017 140
2.682 Date 2: St. Nicholas, December 6, 2017 140
2.683 Date 3: Painting with light, December 13, 2017 141
2.684 Date 4: Christmas, December 20, 2017 143
2.69 Spatial analysis 178
2.691 Patient café 178
2.692 a & b Ground plan 180
2.693 Research department 180
2.694 Garden 181
2.695 Foyer 181
2.696 Common room on Ward 155 184
3.0 Visions 188
3.1 Student visions: Introduction 192
3.2 Visions 194
3.21 Pavilion toolkit & Patient café—Juri-Apollo Drews,
Abigail F. Wheeler, Amélie Cayré, Maria Jacquin 196
3.22 We are the universe—Pao Kitsch 200
3.23 Synesthesia—Felix Rasehorn 202
3.24 The colors of waiting—Maria Evridiki Poulopoulou 204
3.25 Light modulator—Eunseo Kim 206

3.26 Shel[l]ter—Johanna Taubenreuther 208
3.27 Growing greenhouse—Eleni Mouzourou, Aki Makita 210
3.28 At home—Luisa Lauber, Almar de Ruiter 212
3.29 Bead—Elena Eulitz 214
3.30 Voyage sonore—Auriane Robert 216
3.31 Picture of thought—Magda Domeracka 218
3.32 Acoustic materialization—Raphael Jacobs 220
3.33 On/Off 1&2—Lukas Maibier 222
3.34 A little history of thinking automatons—Daniel Neumann 224
3.35 The hand of the prophet—Florin Cristea 226
3.36 Dilemma—Quang Duc Nguyen 228
3.37 Psyki-1—Chloe Pare-Anastasiadou 230
3.38 A true story—Marlies Pahlenberg 232
3.39 You are my window—Eri Qubo 234
3.4 Footnotes by Johannes Jansen 236
3.5 Table of results 238
4.0 Outlook
From the future to the present and back again 256
4.1 Art meets psychiatry—Sense-making 260
4.2 Collaborate 265
4.3 Vision for a communication and interaction space
still to be set up 268
4.4 Questions 269
4.5 Preemption 271
4.6 Narrate 278
4.7 Conclusion 281

Appendix 284
CVs 288
Bibliography 294
Reader 296
Image rights 298
Index of images 299
Imprint notice 302

Preface
With this publication, I look forward to introducing you to the artistic
research project visions4people that I conceived in the year 2015 and
directed from 2016 to 2018. The cooperation between the weißensee
acade my of art berlin, also known as the weißensee kunsthochschule
berlin, or khb, and the Department of Psychiatry and Psychotherapy,
Campus Charité Berlin Mitte is a transdisciplinary venture, positioned at
the intersection of cultural production, education and research and was
sponsored by the quality initiative QIO of the Berlin Senate for Science. As
a professor at the art academy and having studied sculpture and human
medicine, with experience in the field of clinical research and decades of
practice in the conception and realization of artistic, transdisciplinary proj -
-ects, I was able to bring my experience into this multiperspectival venture
as the initiator and artistic director. I teach the basics of anatomy and
morphology at the khb, which means that in this position I also work at the
intersection of artistic and scientific disciplines and matters. Following
the Bauhaus tradition, my student groups are also composed of all subject
areas.
Based on these backgrounds, I am author and editor of this publication and I
speak from the perspectives of an artist, a politically involved citizen and a
professor whose role it was to lead an artistic research project with which
I was able to venture down new avenues with a background of conventional
methods of knowledge production. As the cover already indicates,
in this publication you will not find a polished report about the successful
implementation of a previously defined concept, but rather a heterotopic
and polyphonic narrative that includes, on various levels, the presentation
of unforeseen events, tense relations, conflicts between goals and
approaches to solving them. The form resembles a bricolage or assemblage,
shaping the character of the project.
Our activities consisted of a variety of forms of communication and interaction,
interventions, workshops, excursions, film evenings, presentations,
a survey, a reading, exhibitions, performances, individual and
group work, cooperation with patients, scientific discussions and the
generation and gathering of commentaries, notes, narratives, ideas,
designs, analyses and new interconnections with specialists from other
disciplines. This publication brings together the complexity of the project
with its working methods and experiences, resulting in various forms of
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translations, “tracelations” (Pollmann 2017) and reenactments. The title
“visions4people” expresses the two focal points of the project, because
this project is about creating visions within and with the methods of artistic
research—not for products, but for people.
With visions4people, a self-referential entity was created in which it was
possible to design and try out previously unknown situations or arrangements.
We generated open fields of activity with my transdisciplinary team
and, before and during the theoretical and/or aesthetic considerations,
we entered into direct contact with the patients and staff. The valuable
experience gained in our strong field research phase was articulated in
narratives and converged in creative, artistic and scientific productions.
The people, namely the patients and the staff with their situations, mental
and emotional states, desires, ideas and needs, were the central starting
point for our activities, which we then transformed into visions.
In this publication, various forms of presentation recount the project:
in Chapter 1, “Practice,” following an introduction to important linguistic
terminology, a chrono-topological process depicts, in an abbreviated
form, the framework conditions and time windows in which the wide
range of activities and groups of people advanced through the project. This
is followed by a list and analysis of all methods and practices that were
explored, which are then critically reflected on for future projects.
Chapter 2, “People,” contains one of the two focuses of our project: field
research. Fundamental thoughts about the method of of what we call
“scape” research are presented and the constellations of all participating
parties are analyzed. An extract from the many text contributions from
our anonymous international online survey, which we initiated during
the winter semester 2015/16, opens up the discourse and shows various
perspectives.
With the anonymized original extracts from our over 100 pages of field
research material compiled by 24 authors and leading to 56 narratives, the
reader enters with the authors into the real situations of psychiatry. The
polyphony of the voices and impressions enables a complex reenactment
of past events, which offers various perspectives like a kaleidoscope in
the form of clusters and, at the same time, expresses the individual objectives,
as well as the conflicts between the objective and subject logic of the
project. Through the medium of photography, the form of representation
extends into the visual field, illustrating the spatial analyses and especially
the interventions carried out during the winter semester 2017/18 with the
patients and the staff.
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Space, art, psyche
Andreas Heinz, Jinan Abi Jumaa, Nassim Mehran
A person-centered treatment of people with mental health problems
requires adequate space in an enriched environment. This is as true for
housing conditions as it is for the rather short-term crisis interventions
in hospitals. Regarding the enriched environment, studies showed
that poverty in the neighborhood has a direct correlation with the mental
health burden even when taking into account individual income and
education (Rapp et al., 2015). Beyond poverty in the neighborhood, further
factors including pollution, traffic noise and social spaces can influence
mental health (Gruebner et al., 2017). For example, access to parks and
green spaces has been reported to positively impact on mental well-being
and health. Experiencing nature can reduce stress and the associated hormone
levels, promote feelings of tranquility and enhance mood, attention
and self-efficacy (Wolch et al., 2014; Thompson et al., 2012).
Regarding hospital space, a modern psychiatric approach treats people
with mental disorders within their neighborhood, thus requiring that
clinical resources are localized in the neighborhood and easily accessible
to patients, their relatives and friends. Within the hospital, green spaces
including gardens provide places for patients to retreat from stressful
interactions on a ward. Moreover, an open-door policy even on wards
that treat acutely admitted patients, who may pose a threat to themselves
or others, has been shown to reduce compulsory treatment (Cibis
et al., 2017). This approach requires sufficient personal resources to deescalate
conflicts and to provide personalized care, as well as access
to quiet rooms or green spaces in which such interactions can happen.
Accordingly, the organization and spatial structure of a clinic can directly
reduce aggressive incidents and coercive measures on a ward (Cibis et al.,
2017; Rohe et al., 2017). The international guidelines on mental health also
recommend reserving family-friendly spaces for children and families to
visit patients in psychiatric units. Such rooms need to provide a safe and
comfortable atmosphere and aim at strengthening family bonds and interactions
in critical situations (Isobel et al., 2015). In accordance with these
considerations, the architectural modernization of mental hospitals can
aim to provide adequate space that allows patients to retreat and to have
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a quiet atmosphere and thus reduce coercive measures during inpatient
treatment (Dresler et al., 2015; Rohe et al., 2017).
Such architectural modernizations can be part of a holistic treatment
concept as articulated by the Soteria movement, which promotes personalized
therapy of people with psychotic experiences. This approach uses
no medication at all or only low doses and focuses on providing enough
space for individual retreats in a quiet atmosphere, promoting the selforganization
of patients in small groups who, for example, also take care
of shopping and cooking together. A Soteria setting requires that relatives
and friends may stay overnight in the same room and have the opportunity
to take part in everyday activities. The Soteria approach has been shown
to be as successful and in some aspects even better than traditional psychiatric
treatment settings (Calton et al., 2008).
Regarding patient groups with specific needs, a study at the Department of
Psychiatry and Psychotherapy, Campus Charité Berlin Mitte showed that
the architectural setting of the so-called reception centers has a rather
strong impact on the mental well-being of refugee women in Berlin. Here,
stress exposure and conflicts among refugees were increased when
people had little privacy in large halls and no space available for private
interactions. Moreover, centralized planning of services in separate areas
in these shelters, for example regarding the provision of food, possibilities
for social interactions, hygienic activities and traditional or religious
practices, severely impaired a sense of control among refugees. Accordingly,
the authors suggested that person-centered approaches that allow
for decentralized planning in each institution can substantially promote
well-being among refugees (Mehran et al., 2018).
Overall, these approaches show that the experience of space depends
on its architectural structure. Applied art and flexible architectural planning
can thus promote mental health and the recovery of patients. Consequently,
the cooperation between the weißensee kunsthochschule berlin
and the Department of Psychiatry and Psychotherapy, Campus Charité
Berlin Mitte, which aims at a person-centered renovation of the traditional
clinic in Berlin Mitte, provides exciting perspectives on user-oriented
planning. In this cooperation, students from weißensee kunsthochschule
Berlin led by Tyyne Claudia Pollmann directly learn from users of inpatient
treatment facilities about their desires and needs, directly discuss possibilities
with these patients and develop user-oriented solutions based on
their respective backgrounds in arts and sciences. This project has been
supported by the Senate of Berlin for many years. Beyond developing
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32

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1.1 Abstract
visions4people was a two-year pilot project in cooperation between the
weißensee kunst hoch schule berlin (khb) and the Department of Psychiatry
and Psychotherapy, Campus Charité Berlin Mitte. The project was funded
by resources from the Berlin Senate for Science and Research. Tyyne
Claudia Pollmann developed the concept and led visions4people.
The requirements and desires of the patients at the Psychiatric Clinic
are at the center of the project. These are ascertained on-site in direct
exchanges with the patients and recorded in field research reports. They
form the basis for artistic, creative and participatory designs, works,
prototypes or plans of the participants. This results in a transdisciplinary
and participatory way of working that leads to needs-oriented artistic and
creative transformations. The results can improve residential quality and
make a positive contribution to the recovery process.
The transdisciplinary team was composed of individuals working in the
fields of art, design, architecture, psychiatry and sociology. Bernhard
Haslinger supervised the project as a consultant for the area of psychiatry,
Jason Danziger was appointed for teaching in the area of architecture.
All further team members and participants alternating over the course of
the project can be found on p. 96 . As the Clinic for Psychiatry is a particularly
protected environment, it was not possible to use standard participatory
methods such as distributing surveys, handing out photo cameras or
accompanying the patients during therapy sessions. One of the first aims
was therefore to develop appropriate methods and means of exploration
in artistic research in the field of psychiatry.
The exchanges with the patients at the Psychiatric Clinic were central
to this aim and the narratives thus generated form the basis for artistic,
creative and participatory transformations that were made publicly accessible
in the form of exhibitions. In addition, the project benefitted from a
cooperation with TransVer, a supply project of Charité on the ground floor
and first floor, which offers a psychosocial mediation center for people
with migration and refugee history as well as training and counseling for
psychosocial professionals.
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1.2 Introduction to words
and images
This chapter presents important terminology used in this publication and
in discussions about psychiatry and a description of the fields of work in
which our project is situated: transdisciplinarity, participation and artistic
research.
A significant challenge for the development of visions, as well as for the
examination of available regulatory frameworks, consists in identifying
and shifting the specific, defined, expected and implicit meaning that
runs through one’s own language and way of thinking in countless modifications,
as these thought routines distort the view of novel connections
and phenomena. To create an open space, one must first clear it.
1.21 visions for people to visions4people
A focus of the project consists in trying out different means of communication
and interaction. This is already indicated in the working title “visions
for people.” This title had emerged in the two months of the development
of the idea and the concept with all additional plans. It was intended in the
first instance as a differentiation from the large number of participatory
projects in the area of design thinking that are targeted toward the development
of visions for products.
After just a few months, the word “for” bothered us with is unde sirable
overtones that something is created “for” others—rather than with
them. After long discussions, we replaced the word “for” with the number
4, which sounds the same but in writing introduces another code and
therefore stands between the words visions and people as a welcome
irritation.
35

48

49

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12 Intermediate assessment
In the summer semester 2017 we carried out an intermediate assessment
for the design subject areas, in relation to the unfolding of the semester at
khb, in which two of the teaching staff at khb took part (in addition to our
team), Andreas Kallfelz and Agata Kycia.
CC: For the students, this date represented an important deadline and offered
the opportunity to present their project to a wide group. With 20 persons, however,
the group was almost too big for the project rooms. The lively exchange,
advice and solution proposals that were discussed in detail were a positive
aspect. All participants also gained a good overview over the project field.
However, the date signified a further work pressure in the already very tight
schedule. In the winter semester 2017/18, we avoided an intermediate assessment
for this reason.
13 Writing about one’s own work
The course participants received the task of completing a summarizing
text about their work. This translation step allows a converging of
the ideas and content of the work in the medium of language and enables
the author to take a step back from their own work. The text makes the
often-complex content of the work accessible.
CC: This work step was difficult for some participants. It makes sense to delegate
this task to an external person, as many discussions about the artistic and
design works and surrounding the topic ensued and a fresh look at the drafted
text was difficult. The text editing was carried out in the summer semester
2017 by Andreas Kallfelz and in the winter semester 2017/18 by Paula Muhr.
14 Field research: Short version
For our field research part, the course participants were asked to record
their perceptions and impressions in writing. This procedure was not a
typical tool for the students of an art academy. I was initially faced with
the challenge of convincing the students of the importance of documenting
our visits and asked all visions4people participants to record our visits in
writing.
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92
In this chapter you will find the methodic principles of our field
research and original extracts from the 56 narratives by 24
authors that led to raw material amounting to over 100 pages.
The original quotes are in the present tense and lead the reader
right into the location and situations, as well as providing a variety
of perspectives on the described occasions. They therefore
reflect the heterogeneity and multiple voices of our venture and
were not reduced to just a few highlights. The text fragments are
configured as nine clusters revolving around thematic focuses
of our research. The interpersonal contacts, interactions and
interventions are the basis for the artistic, creative and scientific
results presented in Chapter 3. An analytical evaluation and
further consequences from our encounters are presented in
Chapter 4.

People
93

94

95

vidual rooms fo
osphere, communal rooms ‘like at h
ff and patients not strictly separated. Large kitchen-living
re in the group. Appropriately and differently equipped group and therapy room
ood and natural materials, plants.
one for retreat.
hing together other than drinking coffee or smoking.
re where I can feel that something is behind it, that someone thought about it
y of a row of patients’ rooms (it feels
read out arrangement of rooms.
d lots of light. A flowing transition from
.
ng corners, a small library.
space for movement and ch
Viewing and correctly interpreting the therapist’s life is
ny, I experienced a good pace with which diagnosis took shape across therapy sessions -- thus the experience of
s as endogenous to me as the patient and of its content as reassuring and helpful -- a reliable (though possibly
ry and non-essential) truth about oneself and resource by which to attain a more neutral, objective, perspective on
(-- if one of the problems with at least some psycho-ailments is precisely the sense of loss of a sense or measure
ity when looking at one‘s relationship with reality).
a welcoming nature, set amidst nature, with smiling staff members not dressed in hospital gowns. There would be spa
and being social. It would be nice if they could learn a new skill, or do some activity that makes them feel valued.
When the
m woods in combination with solid materials. It’s very much about being able to touch and feel things.
My
to time you need something distracting, and surface structures are extremely good for this.
Th
t I’m a great fan of velvet and pastel colors. I think they can definitely create a ‘comfortable’ impression.
m
yone has the opportunity to shape and
he same time the
The greatest improvement in everyday clinical practice would mo
the prospect of a drastic reduction in documenting duties. This wo
have to happen on the level of legislation.
I would prefer a canon which throws colors on the wall.
Not these pale yellow colors... and no woodchip wallpaper!
Not mean, not decoration, not placeholder, not filing gaps: less, and therefore more quality
Open doors, free space
own room, individually arranged, patient themselves can
absolutely private space, den, mobile room,
... coconut huts on a palm beach :)
Single rooms, or room for privacy. Supe
The communication between staff and patients.
Understanding staff, who are satisfied with their own lives and not made to
atmosphere or their salary, a multi-lingual team (also doctors and nursing s
should decide themselves, what and when they want to eat.
I think the worst is when you feel like you are being treated as if you were ill, or ‚privileges‘ are taken aw
immediate effect on the quality of treatment Being able to go out when you want. Not being locked in. Each pers
own living space, like anyone else.
Padded rooms instead of fixation for aggressive patients. The participation of people working there is the most import
ich for the patients is the single most important factor in getting back to health: more important than the spatial enviro
1. new furniture
Paradise situation with natural spaces,
A garden hou
2. new coat of paint generosity, lots of retreat rooms, animals. 2-3 chairs. T
3. new lighting
s, cafeteria,
ce, garden
rtunity to go
en area (park)
rs
apart from patient
te retreat,
tio would be a huge improvement in terms of
s with patients. The high time pressure is from
of frustration in relation to therapy—I would often
patients, but this is organisationally impossible
se of one’s own personal resources and energy.
4. and a beer!
5. ?!
A shared home, in which people eat, read, cook, play and
every person has their own space, where nonetheless lo
possible. Total ban on smoking, a TV room and a living r
a studio for artistic work, a music room, a theatre stage
• good quality bedding
• swinging seats/hamm
• not too harsh lighting

st likely
uld also
Get rid of hospital atmosphere (colors, materials, fun
improve food (healthy and without additives, made with love, so that it ena
preferably less choice and good food, rather than more choice from which everything tastes ha
rather than canteen service, perhaps a small organic startup could be contracted with daily catering),
get a clinic dog which lives permanently on the ward and is looked after mostly by all the patients together
(ultimate responsibility is then of course with the nursing staff, and it should probably be a breed that mos
people aren’t afraid of and which is naturally more inclined to cuddle than to run around, otherwise it migh
not be appropriate for the dog).
ange are definitely important.
suffer because of the
taff). The people living there
all one needs to understand the course of the therapy.
Lots of (as much as possible natural) light, modern furnishing, but without a cold or dista
effect. It has to be warm, with comfortable furniture for sitting and/or lying down, and a
window
Individual design possibilities should be available and should be structure
should give the patients the feeling that they are valued.
Had the feeling patients were repeatedly just being held there, they were not shown re
the personal dignity of some patients was neglected.
Was difficult for me to cope with and almost led to a change of career.
No personal experience, but a lot through work and privately—from random mass-di
to time pressure/deficit, to white halls with white coats and metal beds, etc.
In the end it‘s about the personal attention, sympathy, contact etc.
In spacious, restful surroundings, where possible in a natural setting,
with the possibility of going for walks.
ay, such as the use of certain things or rooms.
on has their
ant thing. Only if they are comfortable there
nment is the personal.
more psychotherapy, art therapy, creative possibilities
Relationship, time time time, care, independence, art dance music po
nature nature action, activity, peace, rest, projects, groups, trips, wa
know other cultures, getting to know the globe.
se or bungalow with its own toilet and shower. In front of the entrance is a small terrace with hammocks, table and
he next bungalow is not so far away, but enough to walk a couple of steps.
ock/hanging seat
design,
work together, in which
ts of communication is
oom without a TV,
for drama projects.
r important: peace and quiet!
ces in the housing where one could go for silence,
open conversations, meeting point & peace + time
right staff is there and reachable any time, you feel welcome. When you can act independently, you feel like you‘ve arri
girlfriend was there, it was cold, impersonal and she was just pumped full of medication.
communal room
e ambience was oppressive, there was overall not much space and the rooms were impersonal, space and oppo
ore like in a youth hostel.
pleasant colors
In my opinion it would be ideal if patients were able to design the space themselves, and
they want. It would be ideal if they could choose between different furniture and wall col
In the garden there are fruit trees, benches/tables/chairs. Small gravel paths show the w
Individual patient rooms, light-filled passageway
points, protected retreat spaces: library, studio,
working, good shared meals, warm therapy room
walks. Meeting points and possibilities for socia
the time after treatment.
Workshops and trips apart from the classical therapies on offer
of the room is covered from floor to ceiling with pictures fro
ely white and calm. In between is a blin
eting, the presen

2.61 Communication
Many ask about homemade cake and as we have not got any they go again.
Others do not dare to come in. N 1
Ergotherapy is right next door. This brings us passing traffic … That is how
it starts, at least. The longer one talks the clearer it becomes: they are
actually seeking conversation, a counterpart. N 2
We are there, two people enter. I am sure they are patients, but they are
neurologists and turn the conversation into German, I am losing it. They
take the magic balls and go. N 9
A patient quote: “The people at the psychiatric clinic are caught in their
own movies. How does one get them out of these movies?” Topic of fear:
how can one reduce the fear of the outside world so that the isolation, the
withdrawal into the inner world, become obsolete? N 11
Sven appears to have problems with speaking but despite this he is
already at the café for the second time like Dirk even though he was released
this week. N 10
Today Pierre is generally open and in a positive mindset, less in his own
movie, less aggressive and demanding than last week, perhaps also
less—or more—under sedatives. N 19
Already from afar one can hear that the volume is louder today. When I
enter the café barely a seat is still free. One is sitting at the tables but still
somehow in a circle. Patient—student—patient—student … N 14
The mood changes into casual, open conversation (also after it becomes
clear that we are not psychologists or the like)—we are now sitting more
or less in a big circle which enables deviations into other conversations
(easing—leads to some coming out of their shell)—Paul recounts at length
and a lot but appears very steadfast, it is easy to follow him—Max comes
back, a little more relaxed, quieter—new visitor Sam joins (the circle
ap pears inviting)—in the meantime everyone is talking at the same time,
noise level like in a crowded bistro—Sam sits there for 10 minutes then
he speaks up and introduces himself—the circle now appears rather like
a self-help group—various people speak up occasionally and make state-
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ments addressed to the circle—Max is back and interrupts the conversations
occasionally to make remarks—talking time is very important,
attention is also paid to the distribution of talking time among the visitors.
(“Let me just finish my point briefly”; “It’s my turn now.”) N 12
Lloyd would like more exercise, occupation, distraction, simply a structure.
He was on a ward once where everyone was so sedated that they only
lay in their beds. Nobody to talk to, that was hard. When you don’t really
know what to be doing with yourself. N 14
Later we meet Klara again smoking in the entrance area. She thanks us
again: “It is nice to come into contact with people I would otherwise not
have met.”
She mentions that it is especially good that we are not from the nursing or
medical field and therefore the conversations are not guided or targeted
professionally or therapeutically but are instead free and open. N 26
After a polite greeting, she sits down at our table and takes a piece of
cake. Paul and a third patient from the day clinic are with her. I ask Britta
whether she is a member of staff, she says no. She was overburdened in
her job and had tried work integration through the “Hamburger Modell.”
Unfortunately, this failed because her employer did not cooperate. N 28
Our new guest also helps with the tables, handing out food, handing out
clothes, as well as the cold bus. She has been doing voluntary work for
over 20 years and says she wants to give something back by doing so. She
finds our project great. Her summary is that it is not so much about donating:
listening and engaging with the people were far more important. N 42
Lisa keeps talking until the end of the session with different people, despite
telling us she already has to go soon after she arrived. I am delighted
to see our company is obviously so good for her, that she stays so long.
With her I get the impression I had with other patients, too: talking with
somebody—anybody—who is willing to listen makes you feel better. A hug,
like the one Susi gives her, can make someone immensely happy. N 43
I arrived shortly before 2pm, and although I only spend less than two
hours at the Café, my heart is full when I walk home. The overall atmosphere
of our session is so intimate and warm, even more relaxed than
last time. N 45
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154

155

170

171

3.26 Shel[l]ter
Johanna Taubenreuther
The extended stays and extraordinary living situation of patients often
result in a field of tension, especially in the multi-bed rooms in the
psychiatric ward. Perception is strongly affected by one’s own state of
mind and by fellow patients in a place where there is a lack of privacy
and personal needs can hardly be met. Shel[l]ter is designed to reduce
this internal and external tension. The organic membrane combines
luminous, sound-absorbing and sight-protecting elements.
Intuitively, it can be placed in different positions to allow the patient to
create the desired degree of shielding. Like an extended physical gesture,
it can express the need to delineate one’s own territory or open one’s
space to others. With its concave, shell-like shape, inspired by a clam
shell, it conveys the feeling of an interior space that offers security and
protection.
Light and
privacy screen
(felt and light)
208
MATTER, QUITE INTIMATE, AND THE CLOSER WE COME, THE QUICKER THE DISTANCE GROWS. INSIDE IS DIS-

TANCE AND OUTSIDE IS CLOWNERY. LIGHT DAWNS IN THE SCENERY, AND THE EARLY RISERS MAKE THEIR
209

3.39 You are my window
Eri Qubo
The central components of my on-going project “You are my window” are
painted portraits based on a series of extensive interviews I conducted
with individuals who are neither afraid of facing nor of showing their
vulnerability.
In this project, I explore the self-image of the individuals as well as the
possibility of sharing the experience that arises from self-reflection. The
point of departure for each interview was the question: what would your
ideal self-portrait look like? I continued interviewing each person until I
had the feeling that I could visually grasp their self-image. I then created
their painted portrait by using my own visual style to faithfully express
their self-image as I understood it. The image that arises from this
process is necessarily a collaborative portrait, a result of the interaction
between the personal information willingly disclosed to me by the
interviewed person and my own personal and cultural heritage. Thus, the
interviewee’s self-image is filtered through my reflection on myself and
the world around me.
Furthermore, I decided to examine how my own self-image is transformed
through interactions with other people. Out of this examination,
I developed a story-telling performance as a form of a self-portrait. In
the performance, my personal experiences and stories are intertwined
with words told by others and accompanied by various sounds and song
fragments.
Mixed-media
installation
(paintings on silk,
glassware, ladder,
booklets) and a
performance
234
ON THE WORLD STAGE IN OUR SUBURBAN THEATRE. EVERYONE IS A CLOWN AND EVERYONE IS IN IT. SILENCE

IS NECESSARY, SAY THE MEDIA, START THE MILL RUNNING, AND THE EARTH MOVES, HEARTBEAT, DRESSED IN
235

4.1 Art meets psychiatry
SENSE-MAKING
And yet theory was never so central to art as it is now. So, the question
arises: Why is this the case? I would suggest that today artists need
theory to explain what they are doing—not to others, but to themselves.
In this respect they are not alone. Every contemporary person constantly
asks these two questions: What has to be done? And even more
importantly, how can I explain to myself what I am already doing? The
urgency of these questions results from the collapse of tradition that we
are experiencing today. (Groys 2016: 24)
After the two-year cooperation with the Department of Psychiatry and
Psychotherapy, Campus Charité Berlin Mitte, I would like to thank Andreas
Heinz and Bernhard Haslinger and draw attention to the valuable text
contributions on Heinz p. 20, Haslinger p. 70 . Luckily the number of studies is
increasing that examine the importance of the surroundings and design
elements for healing processes, especially in the field of psychiatry.
Furthermore, for some years, sensorial facets have increasingly been
included in descriptions of perception, so that different parameters of perception
can be described and discussed through an enactive approach. An
awareness is emerging of the complex experiencing with all the senses
of certain surroundings, a building or an institution and is becoming the
subject of evidence-based studies and the content of qualitative and quantitative
research Danziger p. 73 .
But what sense does artistic research make in the field of psychiatry?
I will pursue this question from the perspectives of an artist and a professor
at an art academy and examine in more detail what the term “enriched
environments” means.
As early as 1960, it was shown by Rosenberg and Harlow, based on
empirical evidence, that impoverished environments which do not contain
enough cognitive and emotional stimuli lead, among rodents, to a deprivation
and stagnation of the development of cortical synapses. Surroundings
that do not merely fulfil practical functions but also promote synapse
growth through varied stimuli have since generally come to be referred to
as “enriched environments.”
260
THE STORIES REALLY HELP, THE GAZE BACK INTO THE DISTANCE. BUT THEN, FROM ONE MOMENT TO ANOTHER,

Research on the interrelation of culture and the sensorium has produced
the insight that humans consist of more than the five senses (seeing,
hearing, smelling, tasting, touch) reproduced in public discourse.
Bodily sensations like interoception, pain, empathy or mediumship thus
constitute another vital source for the comprehension of health, illness
and healing. (Kurz 2018: 1)
To work artistically means transforming concepts—ideas, thoughts, emotions,
experiences or other circumstances difficult to articulate—into
sensorily perceptible results. The transformed content is conveyed
through the artistic outcomes and becomes intuitively accessible for the
recipient. The intensity of the reception of works of art, whether from
the genres of the fine arts, music, film, theater, literature, performances
or installations and all conceivable hybrid intermediate forms, leads to
immersive experiences.
It becomes very difficult to separate the work from the site it occupies
and the people in it. The work embeds itself in the person and the person
embeds him/herself in the work. This encounter between art and
man is socially sited and mutually contingent: no single party (work or
recipient) governs the character and quality of the experience; rather,
the encounter can more accurately be described as a form of “togetherness.”
(Stenslund 2017: 39)
Making and receiving art works proceeds, like all communication, through
the senses. The great thing about art, however, is that it creates sense
beyond the sensory experience of its perception. This act of sense-making,
of generating meaning in a creative act, is enormously important for the
discussion about an enriched environment. For it is not about an environment
being beautiful or pleasant but about stimulation, surprise, inspiration,
possibilities of immersion, distancing, involvement and questioning—
it is about activating emotional and interlectual processes.
261
THE PICTURE IS LONELY AND HORRIBLY GREY AGAIN. THE WORLD OF DISABLED HABIT. WE MISUNDERSTAND

4.3 Vision for a
communication and interaction
space still to be set up
The Charité foyer is temporarily being used for small concerts. Every year,
a selection of artistic works from independent ateliers are presented on
the walls of the outpatient department of the institute.
The foyer can currently not be used as a communicative gathering place
and only with difficulty for interactive events. The seating and tables must
be brought in for every activity and then removed again and for this walkthrough
area, the electricity must be sourced from neighboring offices by
means of an extension cable.
An accessible and unclaimed space is missing where patients, staff,
visitors can meet, get information, sit and comverse.
This space still to be created could also offer possibilities for activities.
The experience values that we were able to gather during our visits on-site
through the discussions and interventions with the patients and staff and
the spatial analysis of the publicly accessible areas p. 178 led to my wanting
to propose a modified idea from two patients in order to significantly
improve the residential quality in the psychiatric clinic. “In the attic of the
clinic: an enormous, unused room that offers potential for options.” N 48
This space could be realized through the conversion of the attic. There
would be enough space here to set up a communal café as a gathering
place for patients and staff, as well as for patient visits. The relaxation
possibilities and activities developed on the course could be accommodated
here. As long as there are still shared bedrooms, relaxation rooms
should also be set up to enable individual retreat.
Additional activities could also take place: concerts, movie evenings,
further education, presentations, workshops, discussion groups, shared
festivities and celebrations, informal meetings of staff or patients, visitor
receptions, art exhibitions, interactive events, yoga or other sports, games
evenings, dance events, readings.
Further options would be the establishment of a venue on the Charité
campus or a continuation of the use of the Remise for additional activities.
(The Remise was acquired and renovated specifically for the Charité
projects visions4people and TransVer. )
268
WHETHER WE COPE WITH THE LOSS. ON THE OTHER HAND, WE CAN’T EXCEED ANYTHING. WHAT WOULD

Through engagement and nonverbal communication procedures that
take place in the process of cooperation, a perception of the other
emerges that sets one’s own positioning in motion. It may be that it is a
subjective experience restricted to the process of specific cooperation.
At the same time, however, there is also the possibility that alternative
designs indeed emerge that change “cognitive or political conventions”
(Terkessidis) of established social institutions and of the art industry.
(Bleuler/Egger 2016: 3)
I am aware that the methodology used is the ultimate nightmare for every
academic, as the majority of the material I am working with here
does not appear in some historical canon, nor is it available in a public
library. But that is precisely the reason for writing this book in which I
am concerned with the conditions of policy: observe things before they
exist. (Miessen 2012: 26)
4.4 Questions
Visions4people, as well as this publication, have the objective of creating
environments, contexts, possibilities and experience values for future
activities, situations and arrangements.
The outlook from the future to the present and back again starts with a
look at our scape research and the still-unknown landscapes that have
presented themselves to us artists and designers. As outsiders, we put
ourselves in new situations and experienced unforeseen and unpredictable
situations that extended our capacities of perception, as well as emotional
and intellectual coping strategies. We are currently standing in a
landscape where what has been experienced overlaps with what is yet to
come.
Some spaces have become more familiar, contacts have developed into
acquaintances, interaction and cooperations. Pathways have opened up,
hurdles or bottlenecks that initially seemed insurmountable have been
creatively circumnavigated, detours have led to new perspectives and
spaces, ways out have led to ways in and a widening of our experience and
perception horizon. Together we have explored, rejected and redeveloped
269
BE GOING WHERE? AND WE KNOW THAT THAT WHICH CONSTITUTES US ALSO CLOAKS US, LIKE IN PASSING,

284

285

CVs
Sarah Bäcker designs spaces and processes. She studied interior
architecture at PBSA Düsseldorf and exhibition design at the UdK Berlin.
Since completing her master’s degree, she has been researching urban
transformation processes and cocreative spaces. She designs and
moderates new participation formats and develops exhibitions. In 2015,
together with Irene Kriechbaum, she founded an agency, studio achtviertel
(www.studioachtviertel.com), that operates at the intersection of space,
communication and mediation. Through participation and research, onsite
and directly, they experiment with new formats of museum work and
realize projects with a discursive and community-building effect. She is
especially interested in how cultural activities can be combined with the
interests of civil society.
Amélie Cayré moved from France to Berlin following her bachelor’s
degree in product design to enroll in the master’s program at weißensee
kunsthochschule berlin. She often collaborates with people without
specific design backgrounds. Through creative and participatory
approaches, she aims to empower participants, breaking down the
boundaries of the design process and making it accessible for everyone.
Florin Cristea finished his bachelor’s degree in philosophy at the Cluj
Napoca University in Romania. After a break of five years, he decided to
turn to anthropology, first studying social and cultural anthropology in
Bucharest, and later with the master’s program at the Free University in
Berlin, where he specializes in medical and psychological anthropology.
Jason Danziger is a German-American Berlin-based architect who
specializes in user-centered and conceptually driven design. His firm
thinkbuild architecture BDA creates spaces and buildings to support
play, work, learning, interaction, recreation and healing. The name
thinkbuild refers to his iterative, hybrid academic/practical strategy which
intentionally blurs the lines between research and practice in order to
better achieve the goals of his clients. His projects are often highly detailed
and contextualized, providing complete architectural design solutions and
services as well as original furniture, custom lighting elements, detailed
color planning and material construction process explorations. Danziger
received his master of architecture from MIT in 1998, the BDA Berlin Prize
2015, a Special Commendation for Outstanding Healthcare Buildings (AKG)
in 2016, and an Exemplary Building Award (Karlsruhe-City 2012–2018)
from the Architektenkammer Baden-Württemberg.
288

Magda Domeracka is a visual artist based in Berlin. Having attended
an undergraduate course in photography at the London College of
Communications, she is now continuing her studies at the Sculpture
Department of the weißensee kunsthochschule berlin. Her current artistic
exploration is guided by her interest in objects and deals with themes
revolving around control, perfectionism, patience, repetition and time.
Juri-Apollo Drews has studied textile and surface design at weißensee
kunsthochschule berlin from 2013 till 2018, after studying cultural studies
in the Netherlands and Turkey. He is currently pursuing his Master’s
degree in textile and material design at EnsAD Paris. His focus lies on new
possibilities of sustainable clothing production directly in the weaving
loom.
Julia Emmler lives and works in Berlin. She studied art research,
philosophy and media art at Karlsruhe University of Arts and Design as
well as religious studies and european art history at Heidelberg University
(MA received). Her work at the Berlin Senate Department for Culture and
Europe and as a course director in children’s and young people’s education
at Horizontereignis gUG led her to questions of inclusion and participation
of social marginal groups through artistic activities in public spaces.
As a project assistant for visions4people, she shared responsibility for
organization and communication and for all administrative aspects of the
project.
Elena Eulitz studied fashion design at the Universität der Künste in
Berlin for a year, and in 2015 she moved to the textile and surface design
program at the weißensee kunsthochschule berlin. She works at the
intersection of design, photography and graphics. Her works explore the
topic of play in everyday, cultural and educational contexts.
Bernhard Haslinger holds a PhD in psychiatry and psychotherapy and
is also a psychoanalyst and group therapist. His clinical and scientific
interests include the implementation of a transdisciplinary dialogue
of psychiatry and psychoanalysis with natural and human sciences,
music, and the visual and performing arts. In 2013, he was awarded
the Max Rubner Prize, also known as the Charité Innovation Prize, for
his commitment to promoting psychotherapeutic care for people with
psychotic disorders. After several years working in a senior position
at the Department of Psychiatry and Psychotherapy, Campus Charité
Berlin Mitte, he left the hospital in 2018 to work in his own psychiatricpsychoanalytic
practice in Berlin. His most recent publications include
Raum und Psyche: Ein transdisziplinärer Dialog zu Freiräumen in der
Psychiatrie (Space and psyche: a transdisciplinary dialogue on open
289

spaces in psychiatry) (Gießen: Psychosozial-Verlag, 2016) and Der
unbewusste Mensch: Zwischen Psychoanalyse und neurobiologischer
Evidenz (The unconscious human being: between psychoanalysis and
neurobiological evidence) (Gießen: Psychosozial-Verlag, 2019).
Raphael Jacobs currently studies fashion at weißensee kunsthochschule
berlin, having previously studied art history and church music. In his work
he is concerned with the relationship of people to clothing and temporalspatial
demands in the context of social connotation. In collaboration with
other artists, he researches the terminology of time-based sculpture and
bio-facts.
Maria Jacquin moved from Saarbrücken to Berlin after graduating from
the Deutsch-Französisches Gymnasium. Since 2014 she has studied
sculpture at weißensee kunsthochschule berlin. Her works are often
developed to be site-specific and are mostly related to the perception
and development of spaces. She investigates spaces’ materiality and
appropriation, as well as their effect on thinking.
Johannes Jansen works as a freelance author in Berlin. He received the
Anna Seghers Prize in 1990, the Alfred Döblin Fellowship in 1992, the
Carinthian Prize of the Ingeborg Bachmann Competition in Klagenfurt in
1996 and a fellowship from the Deutsche Schillerstiftung in 1997.
Eunseo Kim moved to Berlin to study sculpture at weißensee
kunsthochschule berlin, having studied visual communication/fashion
design in Korea. Her works move between visual arts and design and are
based on observations of the everyday. Her ideas are mostly developed
through installations, drawing and photography.
Pao Kitsch is a visual artist based in Berlin. She studied visual arts at the
École Nationale Superieure de Beaux Arts de Lyon (France) and completed
her bachelor’s degree at the La Esmeralda—National School of Painting,
Sculpture and Printmaking in Mexico City. In 2018, she graduated with a
MA degree at the weißensee kunsthochschule berlin. Through her artistic
practice, she investigated the topics of childhood memories, nature and
urban change as well as human and animal rights.
Luisa Lauber started studying medicine at the Universität Bonn
after graduating from high school. In 2014, she moved to weißensee
kunsthochschule berlin to study fashion design. Her creative interest is
closely linked to engagement with the human body. Her works playfully
and observantly explore the interaction of the body with the urban space
and investigate their intersections in modern society.
290

Lukas Maibier completed his studies in painting in 2016 at weißensee
kunsthochschule berlin in the class of Professor Pia Linz. His drawings are
characterized by an experimental approach, exploring technical as well as
symbolic possibilities of the medium. He lives and works in Berlin.
Aki Makita is a Japanese-born graphic and web designer. She attended
the BA (Hons) course in graphic and media design at the London College
of Communication, University of the Arts London. Makita worked in the
design industry in Tokyo for over five years and is currently a freelancer in
Berlin. She now focuses on creating nonverbal artworks.
Eleni Mouzourou studied visual arts at the École Nationale Supérieure
des Beaux-Arts de Lyon and later at the Hochschule für Bildende Künste
Hamburg. Mouzourou is based in Berlin where she is currently enrolled in
the art therapy MA program at the weißensee kunsthochschule berlin. She
works in various media including drawing, installation and participatory
actions.
Daniel Neumann studied aesthetics and philosophy at the Karlsruhe
University of Arts and Design from 2010 to 2015. Since 2016, he has been
a PhD candidate in cultural studies at the Humboldt University Berlin
with the dissertation project “A short history of thinking automatons.” His
research interests include early modern epistemology and metaphysics,
history of medicine and physiology in the seventeenth and eighteenth
centuries, and psychophysiology and psychopathology at the turn of the
twentieth century.
Quang Duc Nguyen has been studying visual communication since 2014
at weißensee kunsthochschule berlin. In 2017/18 he studied photography
at the Royal Academy of Art in Den Haag. Central characteristics of his
mostly photographic work are the preoccupation with societal themes
as well as critical engagement with the medium of photography and its
perception.
Marlies Pahlenberg is a video artist from Berlin. After studying Spanish
and Latin American literature at the Universidad Complutense Madrid,
she is now studying fine arts/sculpture at the weißensee kunsthochschule
berlin. Her videos focus on interaction with other people, who speak
prescribed texts against the background of their own lives and thereby
always play themselves. By placing the original texts in foreign mouths
and by shifting their spatial and temporal context, she examines the
tension between the staged and the documentary.
291

Chloe Pare-Anastasiadou is studying sculpture at the Athens School of
Fine Arts and at weißensee kunsthochschule berlin. In the course of her
current practice, she investigates how interaction can be integrated into
contemporary sculpture.
Tyyne Claudia Pollmann is a conceptual artist with background in art—
fine art/sculpture (UdK Berlin)—and science (medicine at FU Berlin). As
an artist, she has been creating transdisciplinary projects such as stop
counting and translate 2020 since 1990. As a scientist, she worked in
clinical research from 2008 to 2011. From 2012 to 2017 she realized the
art works leave a trace and trancelation for the Brain Research Institute
CrossOver at Charité Berlin Mitte. In 2013, she took up a professorship for
anatomy and morphology at the weissensee kunsthochschule berlin and
developed the concept for the artistic research project visions4people,
which she led from 2016 to 2018. In 2017, she published tracelation (ISBN
978-3-943620-61-0) a publication containing the works and subtexts
concerning leave a trace and trancelation subtexts, and in 2019 she
developed the publication visions4people.
Maria Evridiki Poulopoulou is a visual artist based in Berlin. She studied
painting and fine art at the weißensee kunsthochschule berlin and is
currently a postgraduate student in the class of Professor Friederike
Feldmann. Through her painting, she explores forms of contemporary
body awareness, using abstraction as a means of deconstructing
stereotypical body images.
Eri Qubo is an artist living and working in Berlin. She studied oil painting
at the Aalto University in Helsinki and at the Tama Art University in Tokyo.
She is currently studying fine art at weißensee kunsthochschule berlin.
Her mixed-media works often combine performance, storytelling, sound,
painting and installation. In her artistic practice, she reflects on the
conditions of contemporary “reality” through an overlapping of various,
sometimes contradictory, fragments of metaphorical language.
Felix Rasehorn has been studying product design at weißensee
kunsthochschule berlin since 2013. In 2016, he spent a semester in the
fine arts department at the Mimar Sinan Güzel Sanatlar Üniversitesi in
Istanbul, after which he completed an internship with the lighting designer
Daniel Rybakken in Göteborg, Sweden.
292

Heike Reuter graduated in communication design and media from the
University of Technology, Business and Design in Wismar, Germany. She
is passionate about creating print media, especially book design, and has
worked for several agencies and publishing houses in Germany, Sweden
and New Zealand. After travelling for two and a half years, she is currently
working as a freelance designer in Berlin (www.heikita-design.de) and as
an artistic associate at weißensee kunsthochschule berlin for the project
visions4people, implementing the design of this publication in cooperation
with Tyyne Claudia Pollmann.
Auriane Robert studied stage design at the ENSAD in Paris and sculpture
at weißensee kunsthochschule berlin as part of the Erasmus program.
For the past two years, she has been collaborating with the theater society
Platosphère.
Almar de Ruiter received a diploma in interior design in the Netherlands
before moving to study for a BA in architecture at the Münster School of
Architecture, where he also worked as a tutor and research assistant.
Since 2016, he has been studying architecture (MSc) at the TU Berlin,
while working as a freelancer, developing and building furniture with an
emphasis on plug-in connectors.
Johanna Taubenreuther trained as a product design assistant at the
Marcel-Breuer-Schule and then studied product design at weißensee
kunsthochschule berlin from 2013 to 2017. In addition to building furniture
and material experiments, she is particularly interested in new lighting
technologies and the possibility of using them to create spatial scenery.
She lives and works in Berlin and Zürich.
Shelley Tootell studied psychology and philosophy at the University of
Oxford and contemporary art theory at Goldsmiths, University of London.
She lives and works in Berlin and is currently completing her studies in
fine art/sculpture at the weißensee kunsthochschule berlin.
Abigail F. Wheeler has been studying textile design since 2012, both
independently and at weißensee kunsthochschule berlin. She focuses on
cultural, historical and esthetic aspects of weaving and her dissertation is
on manual tools in the weaving process. She is a cofounder of Opt Studios,
a design studio for furniture, objects and individual surface design.
293

This publication reenacts the multifaceted project
visions4people, a cooperation between the
Department for Psychiatry and Psychotherapy
Campus Charité Berlin Mitte and weißensee
kunsthochschule Berlin. It contains all methods of
artistic research that were performed, excerpts
from original poly phonic field research, and artistic
contributions jointly developed by students
and patients. Our investigations develop outlines
for novel collaborative projects and fundamen -
tally change the role of the patient: from being
affected to getting involved.
HOW ARE WE TO CONTINUE? WE ARE SEARCHING FOR MEANING AND THE MEANING ATTACKS US
FROM BEHIND.