tag:blogger.com,1999:blog-27870689306890098182023-11-16T04:04:58.902-08:00The Art of Pathography - A Thematic Analysis of the Photographic Self-Portrait Spencer Rowell
The Sir John Cass School of Art, Architecture and Design
PhD/2013 Fine Art Photography
Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.comBlogger65125tag:blogger.com,1999:blog-2787068930689009818.post-61763048282521656182013-05-27T07:51:00.004-07:002013-05-27T07:52:21.374-07:00Stereographs<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-37978264336674116072013-05-26T15:02:00.003-07:002013-05-26T15:15:14.724-07:00The Art of Pathography - Introduction<!--[if gte mso 9]><xml>
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Abstract<br />The artists’ creation of a ‘true self-portrait’ is bound up in meanings of self-hood and individuation; by means of his/her practice becoming a method of developing the artists’ need for self-discovery. Through this self-exploration, the artefact becomes an attempt to reveal something of the artist, a therapeutic tool perhaps, by which the photograph is used as a form of depth psychology. Representations of ‘self’ have an established history in art and more recently in photography - which is where my interest lies - where lens based artists have referenced their own psychological make-up revealing their own personal pathography.<br /><br />Over a two-year study, photographic self-portraits are produced in conjunction with their ongoing interpretation by two psychotherapists. Just as in phototherapy - as the artefact helps the client bring things to mind that are otherwise repressed – a therapeutic relationship develops and in addition to the language as response, an interpretation of the artwork is made. Within this collaborative relationship, just as the psychotherapist therapist feels into the client’s internal world through identification and a process of shared subjectivity, this practice-based thesis sets out to document this intersubjective experience between artist and reader, as a form of pathography.<br /><br />A mixed methodology of autoethnography and thematic analysis is undertaken of the language of response – language generated from the viewing of purely visual data – to examine and record patterns or themes within this information that is relevant to the research question. The project seeks to make comparisons between the themes that come about from the analysis of the written data, documenting this intersubjective environment in terms of the artist’s intent and also the readers’ projections. Through this form of removed analysis - the interpretation of the photograph and not the artist - can a new internal world of the artist be revealed? Is there a particular reading that could be universalised or is this unique to me? Or is the analysis a series of projections, a more of an understanding of the readers?<br /><br />The concerns of this thesis are with the ways in which the production of these photographs and their reception can be incorporated into an art practice and a new self-portrait is revealed.<br /><br />Keywords: Photography, Self-Portrait, Autoethnography, Thematic Analysis, Psychoanalysis, Projection, Intersubjectivity, Phototherapy, Thematic Apperception Test, Pathography.<br /><br />Definitions<br /><br />Pathography<br />A psychoanalytic approach to the realm of art that depends on detailed knowledge of an artist’s personal life history.<br /><br />Thematic Apperception Test<br />A form of projective test designed to reveal a person's social drives or needs by their interpretation of a series of pictures of emotionally ambiguous situations.<br /><br />Autoethnography<br />A form of autobiography and ethnography. A form of self-narrative that places the self within a social context.<br /><br /><div>
Thematic Analysis<br />Examines and records patterns (or "themes") within data.<br /><br />Apperception<br />A mental process by which a person makes sense of an idea by assimilating it to the body of ideas he or she already possesses.<br /><br />Projection<br />The presentation of an image on a surface or the unconscious transfer of one's own desires or emotions to another person.<br /><br />Reflexive<br />A method or theory in the social sciences that takes account of itself or of the effect of the personality or presence of the researcher, on what is being investigated.<br /><br />Intersubjectivity<br />A concept in modern schools of psychotherapy, where it has found application to the theory of the interrelations between analyst and analysand.<br /><br />Depth Psychology<br />An approach to psychology that explains personality in terms of unconscious processes</div>
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Introduction to Thesis<br /><br />The interest of this artist is an enquiry into the photographic self-portrait as self-disclosure and of a therapeutic understanding; in the realm of artistic communication, can the practice of photography, specifically self-portrait photographs, offer any understanding of the artist. The research question asked is;<br /><br />Can the exploration of the artists’ use of the photographic self-portrait, documented in a systematic way, be used as a form of therapeutic insight?<br /><br />To answer this question, a series of twenty-four images produced over a period of two years are presented to two readers from the ‘Guild of Psychotherapists’ (known as ‘The Guild’), for feedback. This method parallels perhaps, the forming of a strong friendship and letters exchanged in Vienna between Wilhelm Fliess and Sigmund Freud between 1887-1904 (Masson, J.M. 1985 Ed.), where having attended several conferences with Sigmund Freud in 1887, Fliess came to play an important part in the development of what was to become psychoanalysis. As my collaborators are to this project, it is through this ‘distance analysis’ (Freud 1925), in combination with this developing relationship – that arguably synthesised the beginnings of psychoanalysis - will also parallel the method of data collection of this thesis; that of the experience of not knowing my readers initially, but through the narrative of the relationship, in addition to extensive correspondence in the form of the readers responses to the photographs, a method of insight is achieved.<br /><br />The therapeutic relationship is fundamental to this enquiry. The experience of this relationship, of how it evolves and the documentation of this affiliation develops. This is the thrust of the method, as it is also compared with other therapeutic uses of the photograph and artists’ use of photography as a form of depth psychology. This examination will reflect upon the question of how someone who doesn’t know me can bring about awareness and can this awareness be universally acknowledged? <br /><br />Chapter One will look at the individually defining the parts of this research question, synthesising the literature review, drawing upon theory in areas such as other artists’ use of photography, the role of photography as a therapeutic tool and the self-portrait as conduit of communication in this context. All through the lens of psychoanalytic theory that is relevant to such an understanding and methodology of such an investigation. <br /><br />Within art history, the artists’ self-portrait has offered us an insight into the pathology of the artist, bound up in meanings of selfhood and individuation (Milner., M. 1950). It is within the realm of photography where my interest lies and I shall present the work of artists’ that reveal, through their images, aspects of their personality. The artists I research have been involved in this process, consciously or unconsciously, as they are engaged in a process of self-discovery and within their process reveal parts of themselves. Drawing parallels with my practice, I will discuss the collaborative nature, photo diary as confessional, the mirroring aspects of the work and how all this might paint a picture of the artist. <br /><br />Photographic self-portraiture has an established history, where artists have referenced their own psychological make-up, used as a form of ‘depth psychology’. Larry Sultan (Pictures from Home 1992), Gillian Wearing (Album 2003), Cindy Sherman (Cindy Sherman, 2012), Francesca Woodman (Space, Providence Rhode Island, 1976), Claude Cahun (Disavowals, 1930), Jo Spence, (1986, 95, 97) and Nan Goldin (The Ballard of Sexual Dependency, 1986) are all lens-based artists who use photography that might be read psychodynamically; used as a way of accessing a sense of ‘self’ through their self-portraiture and study of their family dynamics or interpersonal relations. This thesis, in combination with photographic self-portraits, is concerned in the reading and documenting of art as a means of communication. The therapeutic use of photography, is concerned with how the outcome of this project can impact on, or advance new knowledge in, the area of photography alongside language in an intersubjective environment; that self-portraiture can be used as a therapeutic tool. I will discuss my practice and its impact on its access to self-identity and interaction with the external world alongside that of theses eight practitioners, how they have used this by means of self-expression in their work as a way of seeing deeper within themselves as a means of this communication. The process of practice, whether the performative nature itself or as making of the artefact also offers us the artists attempt to show internal worlds – consciously or unconsciously – through this self-exploration. <br /><br />I will discuss the current state of the therapeutic use of the photograph. Alongside phototherapy (see also Photo Therapy) techniques, where the observer engages with photographs, as a tool of discovery. I shall define the use of the photograph in phototherapy and the therapeutic use of the photograph This first chapter looks at the existing uses of photography therapeutically, specifically through the use of the portrait of self. Loewenthal (Phototherapy and Therapeutic Photography in a Digital Age, 2013) differentiates between phototherapy, the use of photographs in therapy to initiate change and therapeutic photography, described as self-initiated photography-based activities where photographs are used as a means of therapeutic exploration, this will establish a mechanism as to how this feeds into my practice and the approach I have made to the research question. I will draw upon in more detail other contributors in this field in more detail, including that of Spence (1995, 1998, 2005), Berman (1993), Weiser (1999) and how this theoretically underpins my research, as I attempt to place my thesis within this practice of photography as a therapeutic tool and as means of this communication. <br /><br />Finally, in chapter one I shall discuss concepts relevant within psychoanalytic theory. The nature of this investigation offers an opportunity to revue the reflexive nature of this thesis and the role of the ‘reader’. This is discussed alongside the notion of the project being a projective test, that the data received is that of projections of the readers. Intersubjectivity (Stern., D. 2004) and projection (Kernberg., O. 1986, Ogden., T. 1986) these being the main theoreticians discussed and how this might impact on the research outcome. The projective test, or Thematic Apperception Test specifically (TAT) (Murray., H. Morgan., C. 1930) uses as a way of gaining insight into the psychopathology of the patient by a series of illustrations. These tests are usually presented in a therapeutic environment, interpretations that become assessments are written up as the tests progress, revealing unconscious motivations and defences on the part of the projector. Further understandings of these stories are made by the reintroduction of the patient to their narratives by the interpreter. The series of images being delivered to ‘The Guild’ over this two-year period offer an opportunity for two readers to project their desires and affective meaning on to photographic self-portraits, creating in the form of language a shared understanding of their meaning.<br /><br />Chapter Two discusses methodology. The Sage Dictionary of Social Research Methods (2011 Ed.) describes autoethnography as ‘A form of self-narrative that places the self within a social context’ (Jupp., V. 2006, Ed.2011: 15) and also describes autoethnographies distinctive features as combining autobiography - or as this thesis proposes photobiography - with ethnography - defined as the domain of anthropologists’ personal engagement with the person being studied and within a particular setting - a form of self-reflection and writing of personal experience which connects to a wider social, cultural understanding in the case of this thesis the therapeutic and artistic community. <br /><br />The chosen method of research is a mixed method, that of autoethnography and a thematic analysis (as part of a Narrative Analysis Jupp, V., 2011 :189). The choice of using a mixed method approach will be discussed, as opposed to other research methods, such as a Case study, or Pragmatics. Art visually communicates ideas through language, ideas that cannot be communicated by language in spoken or written form however, Visual Methods as described by Jupp (2011 :320), as an example, does not on its own capture the nuances of the therapeutic element of the storytelling aspect of this project. <br /><br />Using Autoethnography as a research question considers the validity of the following:<br /><br />(1) Substantive contribution; does the piece contribute to our understanding of social life? (2) Aesthetic merit; does this piece succeed aesthetically? Is the text artistically shaped, satisfyingly complex, and not boring? (3) Reflexivity; how did the author come to write this text? How has the author’s subjectivity been both a producer and a product of this text? (4) Impactfullness; does this affect me emotionally and/or intellectually? Does it generate new questions or move me to action? (5) Expresses a reality; does this text embody a fleshed out sense of lived experience?<br /><br />To create the data to endeavour to cover the proposed points mentioned above, the thematic analysis will synthesis the data (that of the images and the text) into a more meaningful data set.<br /><br />The process of thematic data analysis, phases are: (1) Familiarisation with data; (2) generating initial codes; (3) searching for themes among codes; (4) reviewing themes; (5) refining and naming themes and finally; (6) producing the report. <br /><br />I will discuss the challenge of the gathering of empirical knowledge and ways of which one presents quantitive information from qualitative, often highly subjective data. ‘Pathographies of a psychoanalytical nature, although often persuasive clinically, none the less have troubled those concerned with the rigours of methodology’ (Bellack 1986:179). Much resistance is given to the use of the visual in social research, effectively because of its subjectivity, ‘using visual methods is clearly beneficial to social researchers’ (Jupp., V. 2006 :321). Maréchal (2010), also notes the early criticism of autobiographical methods in anthropology was about “their validity on grounds of being unrepresentative and lacking objectivity” (p. 45). <br /><br />Lepper (2009) suggests that any additional research obtained in this area of interaction can be seen as a useful addition to this discussion, of its overall coherence and its contemporary use in today's therapeutic engagements; this practice offers an additional viewpoint. This process has relevance in the study of psychoanalytical theory, in that it offers another important view, to be taken alongside other methods, it shows an important alternative view into the ideas of both intersubjectivity and its relationship to art practice. <br /><br />Leopold Bellak’s ‘The T.A.T., C.A.T. and S.A.T. in Clinical Use’, contains a chapter entitled, The Application of Thematic Analysis to Literary products, (1986 :179) where the use of the artists’ product as primary source of data and through which inferences about the personality of the artist’s, in this case creative writers, can be made. ‘Their product – in terms of choice of content and with regard to expressive and cognitive style, aside from its susceptibility to study by content analysis in the sense of counting the frequency of words, noun-verb ratio, etc – remains uniquely theirs and therefore lends itself in principle to an analysis of their personality’ (1986:180). <br /><br />However, Chang (2008) cautions autoethnographers of the pitfalls that they should avoid in doing autoethnography: (1) Excessive focus on self in isolation from others; (2) overemphasis on narration rather than analysis and cultural interpretation; (3) exclusive reliance on personal memory and recalling as a data source; (4) negligence of ethical standards regarding others in self-narratives; and (5) inappropriate application of the label autoethnography. (p. 54). <br /><br />The method, described in chapter three documents a project of a two-year process of self-discovery, using self-portraits and collaborating with readers of a psychoanalytic background it provides an interpretive and descriptive themes that can be tabulated with a diagnostic level of insight about the author. The lens-based artist often doesn’t have words, but by presenting pictures now has a lexicon of descriptive language and creates a language, through the lens of psychoanalytical theory. The analysis of these words and the photographs can be used as this form of depth psychology. This discipline including the collaborative nature of it, can be seen as an attempt interviewing one's own self. The collaborative nature of the research method includes the generating of writing of a specific cultural understanding. The approach chosen, that of a mixed methodology and the collaborative nature, frees the artist from the traditional methods of writing up data, it promotes the narrative in a more poetic form, includes the display of artefacts, as photographs, which includes the elements of performance. <br /><br />The method chapter will be structured in two parts. Part one, is the process of production and that of the readings, the relationship experienced by the author of this interaction over this two year period and its development. I researched help from practicing psychotherapist’s as collaborators in this research who where psychodynamically trained, interested in an artistic collaboration - sharing my lexicon of language for psychodynamic theory as a form of depth psychology - and who were interested in offering an insight into the symbolic nature of photographs. This part will be the experience of the artist throughout the process. It will describe the reasoning behind the research question and the chosen method of data collection. It reflects again on the reflexive nature of the project and of the development of technique, influence on the relationship with the readers and ongoing outcome. <br /><br />The data collection stage, which consists of: (1) The initial process of image production; (2) the documentation of art and therapy as collaborative project; (3) the analytical reports produced by the readers; (4) the artists response to the readings and how future work feeds into the narrative; (5) The artists response and remaking the Work, finally; (6) Creating the final visual data.<br /><br />Part Two. The Thematic Analysis begins as soon as the responses are made from Image One and is part of the integration into and re-making of the work, this will be described throughout stage one of the method. Thematic analysis, as part of the Narrative Analysis described by in Sage (Jupp 2011 :188) is the most common form of analysis in qualitative research. It examines and records patterns (or ‘themes’) within data, relevant to a specific research question. Again, account has to be taken of the reflexive nature of this project, and given that qualitative work is inherently an interpretive research, the biases, values, and judgments of the researchers need to be explicitly acknowledged and taken into account in data presentation.<br /><br />Data results and analysis will be chapter four and conclusions to this research project, chapter five.<br /><br />The project seeks to make comparisons between themes that come about from the analysis of the written data - from the viewing of purely visual data – themes that indicate an understanding of the photograph, the pathography of the artist and themes that may highlight purely the projections of the reader. Through this analysis of photographs, can insight in the combined intersubjective world of artist and reader; be incorporated in a systematic way.<br /><br />Has the exploration of the artists’ use of the photographic self-portrait while being documented in a systematic way, be useful as a form of therapy?<br /><br />This research will seek to demonstrate that it is possible to document the dynamic process of a collaborative creative exercise, from a turn-by-turn process of development of ideas, enriching the ideas of psychoanalytical theory and clinical practice into the realm of image making; using photographic self-portarits as a means to offer an understanding of the role of intersubjectivity in the art process and the artists’ pathography through this process.<br /><br /><br />References<br /><br />Allen-Collinson, J., & Hockey, J. (2001). Runners' Tales: Autoethnography, injury and narrative. Auto/Biography IX (1 & 2), 95-106<br /><br />Bellack, L., (1986). The T.A.T., C.A.T. and S.A.T. in Clinical Use. Allyn and Bacon: USA<br /><br /><a href="http://www.amazon.co.uk/Linda-Berman/e/B001KHNOHI/ref=ntt_athr_dp_pel_1">Berman</a>. L., (1993) Beyond the Smile: The Therapeutic Use of the Photograph <br />Routledge: London<br /><br />Bochner, A. P., & Ellis, C. (2006). Communication as Autoethnography. In G. Shepherd, J. St. John, & T. Striphas (Eds.), Communication as Perspectives on Theory (pp. 110-122). Thousand Oaks, Sage: CA<br /><br />Bright, S., (2010). Auto Focus - The Self-Portrait in Contemporary Photography. Thames and Hudson: London<br /><br />Cahun. C. (2007)<a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&field-author=Jennifer%20Mundy&search-alias=books-uk&sort=relevancerank"> Mundy</a>. J., (Introduction), <a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_3?_encoding=UTF8&field-author=Susan%20De%20Muth&search-alias=books-uk&sort=relevancerank">De Muth</a>. S., (Translator). Disavowals. Tate Publishing: London<br /><br />Doloriert. D., & Sambrook, S. (2011). Accommodating an Autoethnographic PhD: The Tale of the Thesis, the Viva Voce, and the Traditional Business School. Journal of Contemporary Ethnography 40 (5), 582-615<br /><br /><a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&field-author=Louise%20Downie&search-alias=books-uk&sort=relevancerank">Downie</a>. L., (Ed), Cahun. C., &<a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_3?_encoding=UTF8&field-author=Marcel%20Moore&search-alias=books-uk&sort=relevancerank"> Moore</a>. M., (2006) Don't Kiss Me. Aperture: London<br /><br />Ellingson, L. L., & Ellis, C. (2008). Autoethnography as Constructionist Project<br /><br />Ellis, C. (2004). The Ethnographic I: A Methodological Novel About Autoethnography<br /><br />Freud, S. (1959). The Question of Lay Analysis. The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XX (1925-1926): An Autobiographical Study, Inhibitions, Symptoms and Anxiety, The Question of Lay Analysis and Other Works. 1959. 177-258<br /><br /><a href="http://www.amazon.co.uk/Nan-Goldin/e/B000APW0FS/ref=sr_ntt_srch_lnk_1?qid=1368647711&sr=1-1">Goldin</a>. N., & Heiferman. M., (2012) <a href="http://www.amazon.co.uk/Nan-Goldin-Ballad-Sexual-Dependency/dp/1597112089/ref=sr_1_1?s=books&ie=UTF8&qid=1368647711&sr=1-1&keywords=nan+goldin">Nan Goldin: The Ballad of Sexual Dependency</a>. Aperture: London<br /><br /><a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&field-author=Daniel%20Herrmann&search-alias=books-uk&sort=relevancerank">Herrmann</a>. D., <a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_2?_encoding=UTF8&field-author=Doris%20Krystof&search-alias=books-uk&sort=relevancerank">Krystof</a>. D., & <a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_3?_encoding=UTF8&field-author=Bernhart%20Schwenk&search-alias=books-uk&sort=relevancerank">Schwenk</a>. B. (2012). Gillian Wearing. Ridinghouse: London<br /><br />Jupp, V. (2006, Ed 2011). The Sage Dictionary of Social Research Methods. Sage Publications: London<br /><br /><a href="http://www.amazon.co.uk/Corey-Keller/e/B006LPP09E/ref=sr_ntt_srch_lnk_1?qid=1368647071&sr=8-1">Keller</a>. C., & <a href="http://www.amazon.co.uk/Jennifer-Blessing/e/B006LQ71VI/ref=sr_ntt_srch_lnk_1?qid=1368647071&sr=8-1">Blessing</a>. J. (2011) <a href="http://www.amazon.co.uk/Francesca-Woodman-Corey-Keller/dp/1935202669/ref=sr_1_1?ie=UTF8&qid=1368647071&sr=8-1&keywords=Francesca+Woodman">Francesca Woodman</a>. Art Publishers: London<br /><br />Lapadat, J. C. (2009). Writing our way into Shared Understanding: Collaborative Autobiographical Writing in the Qualitative Methods Class. Qualitative Inquiry, 15, 955-979.<br /><br /><a href="http://www.amazon.co.uk/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&field-author=Del%20Loewenthal&search-alias=books-uk&sort=relevancerank">Loewenthal</a>. D., (2013) Phototherapy and Therapeutic Photography in a Digital Age <br />Routledge: London<br /><br />Marechal, G., & Linstead, S. (2010). Metropoems: Poetic Method and Ethnographic Experience. Qualitative Inquiry vol 16 issue 1 pp 66-77<br /><br />Norman, K., Denzin, Yvonna, S. Ed. (1994). The Sage Handbook of Qualitative Research. Lincoln: CA <br /><br />Ogden, T. H., (1977). Projective Identification and Psychotherapeutic Technique. Jason Aronson: Lanham, MD<br /><br />Ogden, T. (2005). This Art of Psychoanalysis: Dreaming Undreamt Dreams and Interrupted Cries. Routledge: NY<br /><br />Respini. E., Burton. J. (2012). <a href="http://www.amazon.co.uk/Cindy-Sherman-Eva-Respini/dp/0870708120/ref=sr_1_1?s=books&ie=UTF8&qid=1368646965&sr=1-1&keywords=Cindy+Sherman">Cindy Sherman</a>. Museum of Modern Art: NY<br /><br />Segal, H., (1981). The Work of Hanna Segal: A Kleinian Approach to Clinical practice. Jason Aronson: New York, NY<br /><br /><a href="http://www.amazon.co.uk/Spence-Perfect-Photography-Subjectivity-Antagonism/dp/8489771170/ref=sr_1_1?s=books&ie=UTF8&qid=1368647398&sr=1-1&keywords=jo+spence">Spence. J., (2005). Beyond the Perfect Image. Photography, Subjectivity, Antagonism</a> by Spence, Jo, Ribalta and Jorge. Museu d'Art Contemporani de Barcelona <br /><br /><a href="http://www.amazon.co.uk/Jo-Spence/e/B001H6KNI0/ref=ntt_athr_dp_pel_1">Spence</a>. J., (1995) Cultural Sniping: The Art of Transgression. Routledge: London<br /><br />Sultan. L., (1992). Pictures from Home. Harry N. Abrams, Inc.: USA<br /><br /><a href="http://www.amazon.co.uk/Judy-Weiser/e/B001K8LSNY/ref=ntt_athr_dp_pel_1">Weiser</a>. J., (1999) Phototherapy Techniques: Exploring the Secrets of Personal Snapshots and Family Albums. Photo Therapy Center: Canada<br /><br /><br /><br /><br /><br /><br /><!--EndFragment--></div>
Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com1tag:blogger.com,1999:blog-2787068930689009818.post-36737965977524953532012-11-30T13:22:00.001-08:002012-11-30T13:22:08.848-08:00<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-80731265481699727882012-11-15T14:25:00.001-08:002012-11-15T14:25:13.467-08:00<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-13304227975061981332012-10-27T12:46:00.003-07:002012-10-27T12:46:59.379-07:00Uncertain States 2012 PhotoMonth Espacio Gallery<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-17954012751382223942012-10-20T16:29:00.002-07:002012-10-20T16:32:05.986-07:00Wordle<!--[if gte mso 9]><xml>
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<span style="font-family: inherit; mso-hansi-font-family: "Arial Unicode MS";">Wordle.net</span></div>
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<span class="Apple-style-span" style="font-family: inherit;"><span style="mso-hansi-font-family: "Arial Unicode MS";">Wordle i</span><span style="mso-hansi-font-family: "Arial Unicode MS";">s a website for generating 'word clouds' from text. This
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<span class="Apple-style-span" style="font-family: inherit;"><span style="mso-hansi-font-family: "Arial Unicode MS";">I have pre-prepared the text, deleting certain commen words, c</span>onnective words, common verbs, the definite article, also punctuation and singularised the plurals of words.</span><br />
<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: inherit;">These are:- a, is, of, and, in, to, this, it, be, that, there, was, an.</span><br />
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<span lang="EN-US" style="font-family: inherit; mso-ansi-language: EN-US; mso-hansi-font-family: "Arial Unicode MS";">This 'Wordle' represents the text produced by the readers up to <i>'Session X'</i></span></div>
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<!--EndFragment-->Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-68314783211848818462012-10-07T09:52:00.001-07:002012-10-07T09:52:18.230-07:00‘Session VIII’
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;">‘Session VIII’<o:p></o:p></span></span></i></div>
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<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;">Ibid. Session -VIII, Eb –VIII <i style="mso-bidi-font-style: normal;">(2),</i> Eb –V <i style="mso-bidi-font-style: normal;">(12),</i> Eb –III <i style="mso-bidi-font-style: normal;">(34).</i><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;">Nothing is certain or clear or straightforward.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;">This is a person, but we don’t know how to relate to them
and don’t know <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Cochin;"><o:p><span class="Apple-style-span" style="font-size: x-small;"> </span></o:p></span><span class="Apple-style-span" style="font-family: Cochin; font-size: x-small;">how to
expect them to relate to us. There is something of interdependence between</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin;"><o:p><span class="Apple-style-span" style="font-size: x-small;"> </span></o:p></span><span class="Apple-style-span" style="font-family: Cochin; font-size: x-small;">the two –</span></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;">Perhaps
neither would exist without the other.</span><span class="Apple-style-span" style="font-size: 20pt;"><o:p></o:p></span></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9a3ibobzkD8Dk21adXPYtWr6eNU7RfqkCIfxd6k_hdfd_uZO3EJiXjFjvqeD7eNQYPK55yRbsHkYbKWQdsd5oO7abJjELcYD9Wyzp0ma5Umz61e77Dd4iwO3-Y8pH-nPvrE7Q_neEFuuH/s1600/final_Session_VIII.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9a3ibobzkD8Dk21adXPYtWr6eNU7RfqkCIfxd6k_hdfd_uZO3EJiXjFjvqeD7eNQYPK55yRbsHkYbKWQdsd5oO7abJjELcYD9Wyzp0ma5Umz61e77Dd4iwO3-Y8pH-nPvrE7Q_neEFuuH/s320/final_Session_VIII.jpg" width="298" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div>
<!--EndFragment-->Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-53099341064450491122012-09-29T12:48:00.004-07:002012-09-29T12:52:39.637-07:00"Post Session - VII -Eb -VII"<div style="text-align: center;">
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<!--StartFragment--><span style="font-family: 'Gill Sans MT'; line-height: 115%;">Nothing is certain or clear or straightforward. </span><span class="Apple-style-span" style="font-family: 'Gill Sans MT'; line-height: 18px;">Eb</span></div>
<div style="text-align: center;">
<span style="font-family: "Gill Sans MT"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Gill Sans MT"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilLOqcMLX-zLM8dYB1BA-BCGJoPPIJ3ZY7FSVwe-r3gl0PafNbqo6UMNQigbFprg6c__1KScGRIs5KTW9VOiwLwzdTPLBKOVepZHRUJJqQajRh7ihjCRlSq4UW7quhq2g3WZbHfEG8Svd0/s1600/session_8_Wax.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilLOqcMLX-zLM8dYB1BA-BCGJoPPIJ3ZY7FSVwe-r3gl0PafNbqo6UMNQigbFprg6c__1KScGRIs5KTW9VOiwLwzdTPLBKOVepZHRUJJqQajRh7ihjCRlSq4UW7quhq2g3WZbHfEG8Svd0/s400/session_8_Wax.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Post Session - VII -Eb -VII"</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfGr8B70G6TtwOIyUK3quELSh_OoLm19DbPC2lonN-TE4T4hdbDz-hFzujbACD8E6vzxm0gcRz0cNvgfL0PuM4IEP-FXqNvFRojarFDHk2-LDAiDKfThyphenhyphenaQSp9X4eXwMlgH7_38IoPPmcB/s1600/tiling.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfGr8B70G6TtwOIyUK3quELSh_OoLm19DbPC2lonN-TE4T4hdbDz-hFzujbACD8E6vzxm0gcRz0cNvgfL0PuM4IEP-FXqNvFRojarFDHk2-LDAiDKfThyphenhyphenaQSp9X4eXwMlgH7_38IoPPmcB/s200/tiling.jpg" width="168" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Session VII"</td></tr>
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Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-85073708132322194242012-09-28T10:50:00.002-07:002012-10-07T09:55:41.902-07:00"Post Session - 5 -Db -5"
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<br />
<div align="center" class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Cochin; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">‘Session V’<o:p></o:p></span></i></div>
<div align="center" class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">I didn’t
see what was obviously lacking – a face.<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">How can
someone not manage –seemingly struggle but not manage – to see their face in
the mirror?<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span lang="EN-US" style="font-family: Cochin; font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Ibid.
Session -V, Db –V, Eb -IV, Db -III<o:p></o:p></span></div>
<!--EndFragment--><br />
<!--EndFragment--><br />
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<tr><td class="tr-caption" style="text-align: center;">"Post Session - 5 -Db -5"</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">"Session -5"</td></tr>
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<br />
<br />
<br />
<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-48544790618088869072012-09-23T09:11:00.001-07:002012-09-28T10:47:20.559-07:00<div class="separator" style="clear: both; text-align: center;">
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<br /></div>
<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-23263560130380905112012-09-03T03:55:00.001-07:002012-09-05T14:19:56.469-07:00Mum, Dad and I<!--[if gte mso 9]><xml>
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<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHl1oWuG2cQWR_iGZO_WeWJJe6JLk6Fv_aOzEhSxGVqRxw3kfKK_22O1KgFeXSLicr-CBpMFe81fBn5opgTY48evraer-v3Vug24irNgx6qWltZ8IShA0G71YSsVgaNh3WjNGTWsAAAPJP/s1600/catalogueUCS2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHl1oWuG2cQWR_iGZO_WeWJJe6JLk6Fv_aOzEhSxGVqRxw3kfKK_22O1KgFeXSLicr-CBpMFe81fBn5opgTY48evraer-v3Vug24irNgx6qWltZ8IShA0G71YSsVgaNh3WjNGTWsAAAPJP/s320/catalogueUCS2012.jpg" width="320" /></a></div>
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></i>
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This is how I see myself now,
at this moment, expressed as a self-portrait; my internal world seen in my
reflection. </span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></i>
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This is how the readers see
this image of myself, expressed as words from the maternal and paternal; an
integration of their own projections.</span></i><br />
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></i></div>
<div class="Body1" style="text-align: justify;">
<div style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Both photographer and reader
anticipate the next encounter and show more of ourselves; the photographer
integrates the language of these metaphorical parents, into the final narrative
and present them as a collaborative account of intersubjective experience; an
Alternative Family Album. </span></i>Spencer Rowell</div>
</div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><i>'In
active intersubjective engagement, both parties orient themselves to the next
turn, interpreting the intentions of the other and anticipating the upcoming
next turn in crafting there response. This dynamic interactional process relies
on commonly shared implicit 'procedures', learned in early interactions with
caregivers'.</i></span></div>
<div class="Body1" style="text-align: right;">
<span lang="EN-US"><o:p> </o:p></span>The Pragmatics of Therapeutic Interaction: An Empirical
Study. Georgia Lepper 2009</div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">I will be referring to the above paper, as it has been a
useful focus on the methods used to incorporate the language of assessment into
individual pieces and the project as a whole. Her study uses pragmatics</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> to discuss the way
selected verbatim dialogue between therapist and client can be used to
negotiate the meaning of a specific symptom and create understanding. It is a
report on how the therapeutic process can be 'observed and studied as an
interactional achievement, grounded in general and well studied procedures
through which meaning is intersubjectively developed and shared' ( Lepper
2009). I will explain how this process can be used to incorporate into art
practice.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">My
project looks to demonstrate and document the experience of the combined
intersubjective world of artist and reader, a collaborative interaction and how
this process can be incorporated in a systematic way, influencing the final
production of work; the study of the artist /psychotherapist interaction and
its development described in psychodynamic terms</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn2" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[2]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">, looking at
projections in the relationship between them and their relationship in the
final presentation.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This
short essay will aid a provisional chapter layout for my thesis, enabling me to
focus on<span style="mso-spacerun: yes;"> </span>aspects of research and
formulate a way of setting out the information currently synthesised and
perhaps more importantly, how the text, and its description, can be assimilated
into the ongoing art practice and how it is structured into the written work.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Introduction.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><i>'There
is a sense of crisis in the relationship between clinical practice and
psychoanalytical theory', </i>states Lepper, in her paper. Mainly around the area
of empirical knowledge and ways of providing quantitive information from
qualitative, often highly subjective data. She suggests that any additional
research obtained in this area of interaction can be seen as a useful addition
to this discussion, of its overall coherence and its contemporary use in
today's therapeutic engagements; this practice offers an additional viewpoint.
This process has relevance in the study of Psychoanalytical theory in that it
offers another important view, to be taken alongside other methods, it shows an
important alternative view into the ideas of intersubjectivity and art
appreciation.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><i>'The
convergence of evidence from several data sources [which] will prove the best
support for theories of mind proposed by psychoanalysis'</i> Jimenez, 2006.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The
client analyst interaction is littered with metaphor of language and of the
image and it is in the discussion of this shared world of intersubjectivity
where change and understanding occurs. This interaction requires playing
creatively. In this space, through this exchange of dialogue, a representation
of the clients internal world emerges and by the use of these definitions and
of language, a shared experience becomes apparent. The images presented, data
collected as interpretations and how it is integrated into the art practice
represents this intersubjective world.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">It
is in this exchange, in psychotherapy and true of my project, that individual
encounters bare meaning but also that past sessions inform the next; it is in
this joint expectation that a shared narrative begins to develop. The
therapists skill is to stay informed by their past engagements, without
focusing on specific information, to hold a general picture in mind that is
eventually honed into an image that will, when reflected back to the client, be
of some use to them. Drawing parallels with my art practice, the images are
seen as individual engagements, but only come together as final 'picture' or
narrative in the final exhibition, where the adapted images are developed and
displayed, in order, to reveal the picture of the artist as a whole. As with
therapy, the personality develops into a sense of realness in conjunction with
the therapist, a development of the listeners subjectivity and that of the
artist developed alongside each other; a joint narrative of experience.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">As
with Leppers paper, of gaining an understanding using the process of
pragmatics, where understanding is overlaid on to the examination of verbal
exchanges on a turn-by-turn basis, this study endeavours to contribute to the
mechanisms of the artist /analyst relationship processes in a similar way. The
artist and reader both, as they attempt an understanding through turn-by-turn
interpretations, of spoken language and its integration back into image
production.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Twelve
images will be selected from the twenty four produced over the period of this
project. Chosen on the basis of a recurrence of themes, consensus of opinions
between readers or parallel ideas of engagement, the re-making of these images
will represent this combined narrative. Their interpretations will be written
up in detail, images reworked through the assimilation of the readers
interpretations and presented as a joint narrative. </span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Background to research</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">There
is much debate around the interactional nature which form much of<span style="mso-spacerun: yes;"> </span>the foundations of psychodynamic work
with patients. The ideas of transference, countertransference, projection,
introjection and projective identification - which can be described as simply
intuition, empathy, general interpersonal communications or simply gestures -
the intersubjective domain of social interaction. How we take in information
and put out our version of events makes up the majority of what we do as adults
and this interaction can be traced back to our earliest relationships, from our
earliest dyadic interrelations.</span></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This
is the intersubjective matrix of the therapeutic environment and at the heart
of artistic interaction. This research offers an opportunity to document the
intersubjectivity through images and language, referencing the changes
throughout this process and responses to the final artwork, the shared
narrative.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><i>'Language
is not simply a package in which communications are wrapped, but the medium in
which experience is bought to light in the process of being spoken or written'
</i>Ogden 1999 p. 201</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The
'experience' is bought to light through the production of these individual
images, however, the language of the interpretation is an expression of the
readers' engagement and it would be simplistic to suggest it was simply a
verbalisation of the meaning of the images presented. The relationship between
this language and the artists intent is verbalised via the transference and
also through the process of projection; this sits at the heart of psychodynamic
debate and also a means of how the artist has made manifest his or her latent
content to the viewer. This research, takes as its stating point that the original
artwork is an action toward such awareness and the process of integration of
interpretations the dialogue that instigates change. This is described by
Lowewald (1960), stating that <i>'[the] psychoanalytic process [as] the
significant interactions between patient and analyst which ultimately lead to
structural changes in the patients personality'</i> p.16 that <i>'integrative
experiences in analysis are experiences of interaction' (p24) </i></span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Method. </span>The
Data.</div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The
first step of any research is to systematically sample the data. As mentioned
there will be 24 images and transcripts to chose from, however the chose of
images will be decided apron in conjunction with another Psychoanalytical
reader from four main observations or strategies, to focus on the actual area
of intersubjectivity that is the main focus of the production and theoretical
basis of this thesis.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The
focus will be on twelve or these pieces of work and their interpretations. They
will be chosen to illustrate the process of the intersubjective process resulting
in the production of the final exhibition and the written thesis that
underwrites it. The twelve images will be chosen by how easy it feels to
integration the interpretations into the work, how adaptive this secondary
process is, more specifically they will have:-</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Shared theory of
interpretations of understanding made by maternal and paternal readers, a
consensus of opinion between readers.</span></div>
<div class="Body1" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Artists intent
experience portrayed by one or both readers.</span></div>
<div class="Body1" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica;"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Recurring themes,
psychopathology or specific defences highlighted.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The
documentation of this process is to illustrate what is being communicated, how
these are communicated and interpreted how they are interpreted into the
creative process and they are linked. Also, any combined or repeated projections
will be isolated and described as auto biographical nuances of the readers and
form an important part of the study.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Data
analysis. Discussion: Implications for the Psychoanalytical interpretation in
Art Practice and Research</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><i>'Psychoanalysis,
like any other field, requires careful descriptive work.'</i> (Kaechele et al., 2006 p. 811 Secondary reference)</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US"><o:p></o:p></span></i></div>
<div class="Body1" style="text-align: justify;">
The
research set out to explore and document the change of narrative, viewed in a
collaborative nature, of the interaction between art process and it's interpretation;
self reflection is met with language and responded to by creative production.
Using methods to explore and support the empirical dialogue between and
psychodynamic relationship between artist and viewer, mirroring the
turn-by-turn encounter in the therapeutic interaction, it focuses on the
intersubjective. In this therapeutic conversation artist and reader as speakers
in engagement and anticipation, employ strategies to achieve there own,
projection, defence, autobiographical needs; also veiled are the strategies
with which the readers struggle (notes on additional communications) throughout
this process of this shared environment.</div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Psychoanalysis,
as with art presentation is not a simple dyadic experience, it is also a
intersubjective shared social process, I have chosen to integrate elements of
this shared experience into the making of the work. It highlights the internal
world of the artist as the artist offers up revealed defences and also the
internal world of the reader projected upon the work.</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This
research will demonstrate that it is possible to observe and document the
dynamic process of a collaborative art exercise, from a turn-by-turn process of
development of ideas, enriching the ideas of Psychoanalytical theory and
clinical practice in the realm of image making; using images as a means to
offer an understanding of the role of intersubjectivity in the art process. As
the title suggests, an inference to parenting is made, as a mutually
constructed process by which the reader interprets the intention and an ongoing
dialogue ensues, allowing my practise to gain, as with Freud's reference to
dreams, another 'Royal road to the unconscious' (Freud 1899)</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Spencer Rowell 2012</span></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div class="Body1" style="text-align: justify;">
<br /></div>
<div style="mso-element: footnote-list;">
<div style="text-align: justify;">
<br /></div>
<!--[if !supportFootnotes]-->
<br />
<hr size="1" style="text-align: left;" width="33%" />
<!--[endif]-->
<br />
<div id="ftn" style="mso-element: footnote;">
<div class="Body1" style="text-align: justify;">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> The term
pragmatics refers to the field of study which spans philosophy, psychology and
linguistics. 'the science of language as it is used by real live people, for
their own purposes and within their limitations...' (Mey, 1993, p. 9)</span><span style="color: windowtext; font-family: 'Times New Roman';"><o:p></o:p></span></span></div>
</div>
<div id="ftn" style="mso-element: footnote;">
<div class="Body1" style="text-align: justify;">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn2" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[2]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> The language of
psychodynamic psychotherapy, is used as a descriptive mechanism of communication
as paralleling the client /psychotherapist relationship.</span></span><span style="color: windowtext; font-family: "Times New Roman"; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
</div>
</div>
<!--EndFragment-->Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-48912954412873914362012-08-17T03:14:00.001-07:002012-08-22T13:37:49.585-07:00A New Projective Test<div style="text-align: justify;">
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<br />
<div class="Body1" style="line-height: 150%;">
In this essay I shall describe the research in the context
of it being a development of the Projective Test - that the written assessment
are but projections of the reader. I will argue that the photographs produced
in conjunction with their analytical reports, along with the remaking of the
final artefact (which often includes an integration of the text) becomes a new
narrative, that of a combination of the projections of the reader and their
re-introjection by the artist.</div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The starting point of this project was originally
acknowledged as an attempt to reveal an internal world of the artist. Through
production of self-portrait photographs, in combination with their
interpretation or analysis, a way of accessing, the revealing of and
documenting aspects of the artists unconscious pre-verbal past - also, how
these images and text based interpretations by trained psychotherapists, might
influence future productions of images and through the<span style="mso-spacerun: yes;"> </span>documentation of this process, create a
new narrative; in doing so revealing new knowledge. </span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">However, through the collaborative nature of the research,
this process of analysis has become as much about what is projected on to the
images by their analysis, as much as achieving a level of understanding of the
internal world of the artist made from the reading of the photographs. The
project has not only begun to reveal aspects of an understanding of the
readers' internal world, but the combined phantasy of a how knowledge and
understanding reveals itself through a shared reality; a combination of the
viewer and the author and how these interpretations entwine themselves with the
artist's visual world.</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">For the reader, the frustrating experience of writing about
the photographs and not getting anything back</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn1" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> creates a paradox.
In this relationship we need to ask, what are the interpreters possibly<span style="mso-spacerun: yes;"> </span>writing about? Is it the photographs
and what they represent, the readers notion of the photographer and what he
might be saying, his unconscious communication; or is it perhaps simply their
fantasies - something the images emote from their past? It is possibly more
accurate to suggest that it is a documentation of all these things, emerging
from a position somewhere between the two. Winnicott used the term The
Potential Space</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn2" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[2]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> to describe this
process of intersubjectivity. How does their expression fits into this m</span><span lang="EN-US" style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica;">ê</span><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">l</span><span lang="EN-US" style="font-family: "Arial Unicode MS"; mso-ascii-font-family: Helvetica;">é</span><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">e of affective
meaning? The interpreters are undoubtably writing about what I am trying to
say, there is a genuine attempt, on my part to give meaning and 'realness' of
expression,<span style="mso-spacerun: yes;"> </span>to communicate aspects
of my past through the images. However for the readers, not getting anything
back requires that they must surmise, risk, guess even, what the image
represents. They do this through the process of projection and introjection of
their fantasies within this Potential Space, using the image as a mirror.
Through the writing of the text, a description of this shared experience is
revealed. In this realm of intersubjectivity, all three participants, the
artist and both readers, share the same language of psychoanalytical theory and
practice, share a familiar journey of clinical practice in their training and
influences.</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn3" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[3]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> In psychodynamic
terms, the responses are familiar, accurately highlighting some elements of the
artists pathology. I will be looking at the concept of the shared creative
experience, the potential space, the intersubjectivity of shared experience, in
a future essay. </span></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Am I transferring my feelings on to the reader and in turn
the reader is documenting through projection and introjection their desires,
needs and frustrations reflected back from the image. What is reflecting back,
in the psychodynamic realm, is an interchange between these two things. Through
creative play and this process of projection and introjection, important
aspects of the relationship are revealed.</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">For the purpose of this essay, I will discuss from the
position of the artworks being a specific type of projective test and in doing
so, a way of accessing aspects of the readers' projections. I will research
further the notion of intersubjectivity within this project and with this
knowledge, in conjunction with a review of the artist intent and documentation
of the remaking of pieces produce the final conclusions.</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The projective test is a concept used in psychology. The
test uses visual modality of the patient, along with interpretive responses
from the psychologist, as a way of gaining insight into the psychopathology of
the patient. In it, the subject is asked to respond to images, which are described
as 'vague material', visual, non-specific, ambiguous images that would induce a
narrative from the patient, these responses can then be interpreted. These
tests are usually presented in a therapeutic environment, interpretations are
written up as the test progressed. Through their stories and from these
interpretations, along with other aspects of the subjects personality, patients
are assessed. These assessments reveal unconscious motivations and defences on
the part of the projector. Further understanding of these stories are made by
the reintroduction of the patient to their narratives by the interpreter.</span><br />
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjjT3oRn1FSSGeIr-NRpHGaIT23EkSkX1xq2WaPSlhqZtl3xHWo5mNksh9ec4bUdnlc_ZAYmPRzOC9UfpT846mPOwU9m3oGCC-9nFBk7Ukl_g2gELKpMiKzkCS6i_ScqhrouEZ9-ZU6hne/s1600/gemd_02_img0090.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjjT3oRn1FSSGeIr-NRpHGaIT23EkSkX1xq2WaPSlhqZtl3xHWo5mNksh9ec4bUdnlc_ZAYmPRzOC9UfpT846mPOwU9m3oGCC-9nFBk7Ukl_g2gELKpMiKzkCS6i_ScqhrouEZ9-ZU6hne/s320/gemd_02_img0090.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Rorschach Inkblot Test</td></tr>
</tbody></table>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Probably the most famous of such tests is the Rorschach
Test, otherwise known as the 'Inkblot Test', where near symmetrical shapes,
produced by folding a sheet of paper containing wet ink, in half and presented
to the patient in sequence are used. Developed by the Swiss psychiatrist
Hermann Rorschach in 1921, the test developed into 10 specific inkblots. The
resulting shapes, printed on to card, are shown to the subject in order and
responses made by the patient noted verbatim. Describing the ambiguous nature
of the designs offers an insight into the subjects personality, characteristics
and emotional functioning. In the 60's the test was widely used, usually in a
therapeutic setting, often with the subject sitting with his/ her back to the
interpreter in a relaxed yet controlled atmosphere. Responses to the cards
where seen as a form of free association and these initial responses are
documented. There is an opportunity to re-engage by re-presenting the cards,
offering an opportunity to discuss what they originally saw and explain why.
This is known as the enquiry stage.</span></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The results are used to gauge motivations, response
tendencies, cognitive operations, affectivity, personal and interpersonal
perceptions. The series of cards offering an opportunity to observe clustering
process, highlighting defence mechanisms and recurring affects. The external
stimuli in the enquiry stage will induce needs, base motives and conflicts.</span><br />
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje4mY7ARXyNYzEWIahZnKi9v8JL04loXY0CNGiFkMKMQxAscF35bpmi_oVCw-gQjkAa1q6spBQJtpdeDnCgsmuU2nfCTTVP37cLGObfTSXfmrdgBG8RaP3NvIvGmbhvSV3uiji5KfuUUYc/s1600/tatpic21.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje4mY7ARXyNYzEWIahZnKi9v8JL04loXY0CNGiFkMKMQxAscF35bpmi_oVCw-gQjkAa1q6spBQJtpdeDnCgsmuU2nfCTTVP37cLGObfTSXfmrdgBG8RaP3NvIvGmbhvSV3uiji5KfuUUYc/s320/tatpic21.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small; line-height: 24px;">The Thematic Apperception Test </span></td></tr>
</tbody></table>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The Thematic Apperception Test (TAT) was developed in the
30's by Henry A. Murray and Christiana D. Morgan at the Harvard University.
Less ambiguous in nature, situations, in the form of illustrations, could be
interpreted by the reader in relation to past experiences and current
motivations, this is seen as a more psychodynamic approach than the Inkblot
Test. The illustrations devised for this test derived from magazine photographs
of the day, it was noted that the decision to use illustrative versions of
photographs, as more simplified illustrations, provided more deviant stories,
that where more negative. Patients where able to associate with content that
comprised people and places, they would tell a story more easily and in doing so,
their defences would be lowered and needs and motivations would be highlighted.
Because the cards where provocative, yet ambiguous being asked to comment on
the outcome of the description of each individual card was an important way of
creating a unique narrative from the pictures. The main questions at the outset
of the test are stated as,</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%; margin-left: 0cm; mso-list: l0 level1 lfo1; text-indent: -9.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica; mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">What has led up to
the event shown</span><span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><o:p></o:p></span></div>
<div class="Body1" style="line-height: 150%; margin-left: 0cm; mso-list: l0 level1 lfo1; text-indent: -9.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica; mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">What is happening
at the moment</span><span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><o:p></o:p></span></div>
<div class="Body1" style="line-height: 150%; margin-left: 0cm; mso-list: l0 level1 lfo1; text-indent: -9.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica; mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">What the characters
are feeling and thinking</span><span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><o:p></o:p></span></div>
<div class="Body1" style="line-height: 150%; margin-left: 0cm; mso-list: l0 level1 lfo1; text-indent: -9.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="mso-bidi-font-family: Helvetica; mso-fareast-font-family: Helvetica; mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">What the outcome of
the story was</span><span lang="EN-US" style="mso-text-raise: -1.0pt; position: relative; top: 1.0pt;"><o:p></o:p></span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Again clinical understanding was made of the responses; of
the clients projections and although there are scoring systems in place, as
with the Inkblot, these are rarely used. Clinical interpretations would be made
of the narrative and these used in conjunction with other observations.</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The TAT projection test, along with the Inkblot are still
used quite extensively in areas of dream interpretation and although not seen
as scientifically important provides and creates another extended use of
projective evaluation,</span> developed and mainly carried out in a
therapeutic environment as a way of learning and getting qualitative data about
a patient<span style="mso-spacerun: yes;"> </span>in the form of
unconscious motivations that revolved around relationships in the world of the
patient; these ambiguous scenes initiating creative play and in doing so
accessing creative thoughts and emotions. As interpretations can clearly vary
from one examination to the next, the scoring of such tests have always been
highly subjective and have always been seen as problematic to extract
quantitive data from such encounters. Empirical viability and validity of TAT
and Inkblot test was not accepted as reliable in isolation, however used in
conjunction with other therapeutic contact this form of projective testing can offer
viable and reliable information. The interpretations would indicate meaning
based clinical judgement rather than an understanding from presumptions about
meaning; which would be the case of a more objective test.</div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">These tests are popular in the field of psychology as a way
of beginning of an understanding of a client, although they show no supportive
evidence in a scientific realm, the lack of any scientific evidence is why
these reports offer a "projective paradox". Although difficult to quantify,
as with much qualities data, these tests are seen as having<span style="mso-spacerun: yes;"> </span>access to unconscious motivations
within the subject otherwise hidden from conscious awareness. Both the
Rorschach Inkblot and the Murray TAT projective tests would be therefore seen
as 'free responsive tests' as opposed to 'objective tests' (A multiple choice
questionnaire for instance). It is augured that the test has produced evidence
of clarity around dependency, studies on hostility and anxiety, also providing
a valuable resource in communication with schizophrenics and seen as a valuable
vehicle in the communication between client and therapist offering a route to
insightfulness, empathy and sensitivity to the therapeutic process.</span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">Conclusion</span></div>
<div class="Body1" style="line-height: 150%;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">The moving from indiscernible shapes, as with the Inkblot
Test, to illustrations that are less ambiguous with the TAT (that uses the
language of humanity that of the human form in context of his/her environment)
to this project, shows an extension of projective testing to a specific art led
process. The importance is the ambiguity of the stimuli that enables the data
to emerge and how this is integrated into the overall pathology of the artist
integrating with the interpretations. </span><br />
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtFLE76y-YH25izqur8eouKNpQ8eivhGddFOfy5sZZ2XXimvJcBvsnInFrdxBp-DbWDL0vQXAPxTc978wiq3f1OddpGWa1Wgsuc69-M7RucG9zo7J0nkglWERTmn-uMaGgJnHYw7uwn5Lo/s1600/Duratrans20x16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtFLE76y-YH25izqur8eouKNpQ8eivhGddFOfy5sZZ2XXimvJcBvsnInFrdxBp-DbWDL0vQXAPxTc978wiq3f1OddpGWa1Wgsuc69-M7RucG9zo7J0nkglWERTmn-uMaGgJnHYw7uwn5Lo/s320/Duratrans20x16.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Session X</td></tr>
</tbody></table>
<div class="Body1" style="line-height: 150%; tab-stops: 283.0pt;">
<span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";">This project offers a new
projective technique, an extension of the Inkblot and TAT tests. By maintaining
a relatively narrow focus</span><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftn4" name="_ftnref" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[4]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> on chose of
readers, of their theoretical understanding, their use of language and interpretations
made through the lens of psychoanalytical theory, a shared understanding of
latent content is made. When these images are presented for analysis, they are
in a relatively raw, unfinished form, using free association, the primary
process, as spontaneously as possible and by incorporating as many elements of
the primary processes as possible (see future essay). Having been assessed, I
will re-make the work for final presentation. This will represent a purely
secondary process of integration of the artwork and the text into the final
piece. This final piece will represent an accurate image of the artists intent,
in collaboration with the readers phantasies of my intent, a shared reality.</span></div>
<div class="Body1" style="line-height: 150%; tab-stops: 283.0pt;">
<br />
Spencer Rowell 2012</div>
<div style="mso-element: footnote-list;">
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn" style="mso-element: footnote;">
<div class="Body1">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn1" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[1]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> I have noted the
concept of the blank screen and how this frustration can reveal itself in a
previous essay; the notion of the unconscious communication between a living,
feeling and present (although perhaps silent psychotherapist), in the presence
of a client, is very different form of encounter as an unresponsive blank
screen photograph. How in the case of the artwork not giving anything back,
projections of the interpreter are probably the main source of feedback.</span><span style="color: windowtext; font-family: 'Times New Roman';"><o:p></o:p></span></span></div>
</div>
<div id="ftn" style="mso-element: footnote;">
<div class="Body1" style="tab-stops: 383.0pt;">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn2" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[2]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> Winnicott
described this space of creative play between mother and child and indeed
client and analyst as the Potential Space. An area of shared intersubjectivity
where individuals can play together; in this shared space new knowledge and
understanding an emerge. </span><span style="color: windowtext; font-family: 'Times New Roman';"><o:p></o:p></span></span></div>
</div>
<div id="ftn" style="mso-element: footnote;">
<div class="Body1">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn3" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[3]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> The work is
described through a shared language of the British Independent School of thought
and language; for instance the references to theory are definable through a
shared interest in the interpretations and they present aspects of the artists
internal world, insight into the artists psychopathology.</span></span></div>
</div>
<div id="ftn" style="mso-element: footnote;">
<div class="Body1">
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818#_ftnref" name="_ftn4" style="mso-footnote-id: ftn;" title=""><sup><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]-->[4]<!--[endif]--></span></span></sup></a><span lang="EN-US" style="mso-hansi-font-family: "Arial Unicode MS";"> The self-portraits
are presented in a certain frame (the term used literally and in the
therapeutic sense), produced by an artist in training that parallels that of
the readers, the text is offered in the language of the British Independent
school of psychoanalytical theory, creating a focus to the research project and
in some way of enabling an understanding of the projections and how they are
integration of the readers input.</span></span></div>
<div class="Body1" style="line-height: 150%;">
<br /></div>
</div>
</div>
<!--EndFragment--></div>
Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-1648489727116314992012-08-15T04:54:00.001-07:002012-08-15T04:54:53.666-07:00<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-32518408433053100472012-08-04T09:18:00.002-07:002012-08-04T09:18:58.562-07:00<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-45434158993901383102012-07-11T13:53:00.001-07:002012-07-11T13:53:20.915-07:00Knowledge from Uncertainty?<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<i>John Cage and W.R.
Bion: An Exercise in Interdisciplinary Dialogue</i></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">Adela Abdella (2011)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><i><span style="mso-spacerun: yes;"> </span>‘I was destroying something for them,
and they where destroying something for me’</i> (Kostelanetz, 1988, p.131) said the
musician John Cage, while working in collaboration with his orchestra.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">The purpose of this
paper is to gain some understanding of the nature of the concept of negative
capability (coined by the poet John Keats in1817), and its relation to my
project. Negative capability is the concept of the fostering of uncertainty, or
having openness to the unknown and to embrace the value of an uncertainty of
outcome while engaged in this collaborationist research project. The author
converges psychoanalytical theory and practise with the production of self-portraits
and their interpretation, this mimics the process in the consulting room and it
is here where it is common for the analyst to tolerate this unknowing, holding
both his own and clients anxieties while in search of new knowledge. During
this process of thinking, new ways of experiencing are offered, a journey to
more authentic experiences and of personal growth.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><i>‘Creative people who
possess the capacity for negative capability in high degree seem to conceive of
themselves as part of the macrocosm and to lack that sense of opposition
between their ego and both the outside world and their own unconscious which
renders the majority resistive to their own imaginative potentialities. This
enables them to allow themselves to make imaginative statements which have both
private and universal meaning’</i> (Rycroft p,167)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">The therapeutic
exchange is a form of interdisciplinary dialogue, but describing it in terms of
both comprehension and understanding is but a dangerous illusion. This is a
thesis of both an artist and psychotherapist who seeks to enter into a dialogue
between these two fields of knowledge, the holding of an auto-reflective attitude
towards photography, which demands the freedom to use and recreate inherited
knowledge in a personal and innovative way. It proposes also to use this
creativeness in analytical thinking with that of the interpreted photographic
self-portraits and their display.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">In discussing two
seemingly different practices, that of analytical practice and music composition,
in her paper, <i>John Cage and W.R. Bion: An Exercise in Interdisciplinary Dialogue</i> (2011), Adela Abdella discusses some creative similarities,<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"> </span><i>‘…looking for meeting points, listening
to other disciplines and to our own echo during this dialogue, putting our
theories and models to work in such a way as to let them grow through contact
with other fields of knowledge’</i> p475<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">In this paper, Abella
draws comparisons with the work of the psychoanalyst Wilfred Bion and John Cage,
a composer of avant garde music. Abella argues that in both cases, they propose
that spontaneity is an illusion while searching for a new and the unknown (p.
480), a disruptive state where physic pain is synonymous with creative and
psychic growth. The contrary reluctance to face the unknown ’<i>taking refuge in
certainty’</i> (Bion 1967a p. 158) has a defensive, disruptive character without potential.
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">Cage states that the
<i>‘changes that had taken place in this century… are such that art is not an
escape from life but rather an introduction to it</i>’ (Kostelanetz, 1988, p. 226).
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><i>‘I want to give up the
traditional view that art is a means of self expression for the view that art
is a means of self-alteration, and what it alters is mind… We will change
beautifully if we accept the uncertainties of change’</i> (p. 230)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">In comparison, Bion’s
view of psychoanalysis is </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">‘<i>In psychoanalytic methodology, the criterion cannot
be whether a particular usage is right or wrong, meaningful or verifiable, but
whether it does, or does not, promote development’</i> (Bion1962b p. ix)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">Bion and Cage are
advocating the suppression of the creativity of the artist to allow in that
which is the creative in the reader; as also happens in the therapeutic
exchange. Then the project becomes a collaborative project as the joint narrative
unfolds.<span style="mso-spacerun: yes;"> </span>Cage would acknowledge
that the performer allows for the self expression of the audience, Bion would
restrict the intervention of the analyst’s activity, a non-expression or silent
attitude of the analyst, in order to leave as much space as possible for the
patients personal worlds.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">The function of the
images produced and the documentation of their reception is not to seek awareness
per se, but to change the mind so that they can be open to experience, to allow
other possibilities; those that haven’t otherwise been considered. This is the
nature of the search for new knowledge, to open our eyes to the complexity of
personal imagery, to work in an environment that cannot be simply or quickly
satisfied. Openness to the new and unknown, free of memory, although taking
advantage of it. Images that are too emotional or too intentional try to
dominate people, they try to engage the readers to such an extent that they cut
off this unconscious interdisciplinary dialogue. Of course, <span style="mso-spacerun: yes;"> </span>one of the problems with
interdisciplinary comparisons is that there will be different results when
realised among other fields; the same idea can have different destinies,
depending on the creative personality of the one applying it and the one who
reads, the medium of the field allowing different realisations of the same
artwork.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">In Cage’s thought
provoking statement <i>‘The function of art is to hide beauty; that has to do with
opening our minds, because the notion of beauty is just what we accept’</i> (p 85),
highlights the importance of drawing conclusions too soon of a collaborative
process. Bion would say the trying to search for the patient’s truth, instead
of resting on the dangers of known truths. ‘<i>We are incapable of learning if we
are satisfied</i>’, indicates Bion. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">‘<i>The verbal expression
can be so formalised, so rigid, so filled with so many existing ideas, that the
idea I want to express can have the life squeezed out of it’ Bion 1967a, p.
141) Although art production and awareness fosters curiosity, the problem for
Bion is that the use of language impedes. ‘The over stifling nature of words
can create there own illusions’. Cage says ‘when you succeed in defining and
cutting things off from something, you thereby take the life out of them. It
isn’t any longer as true as it was when it was incapable of being defined” </i>p119<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">A disciplined attitude
to the work, allowing discovery, uncertainty and being in unfamiliar territory
will open up new opportunities, the need to avoid too quick, too superficial
and thus too partial understandings is unhelpful, the paradox of mental discomfort
keen to contribute, struggle to read, to frustrate the process of the revealing
of knowledge or not. ‘<i>The shaking up of certainties to reveal ready made truths
enliven a blunt and stifled mind’.</i><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">The work of this
thesis is to provide or underpin a piece of interdisciplinary dialogue, both
enriching and also in this process limiting it. Questions raised will be, are
there substantial convergence between the production of self-portraits and
there interpretation and are these on a superficial level or do they, viewed
through the lens of psychoanalytical theory, convey some fundamental aspects of
thinking of both producer and reader?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">Keats’s theory of
negative capability, where the ability to allow oneself to be ‘in uncertainties
of emotions in universal terms, distinguishing between the universal and the
individual’, is the nature of this project and having negative capability as the
intuitive process of being in an uncertain state, in that the hope that new meaning
as outcome will emerge, is of value. where art meets life.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-ansi-language: EN-GB;">Spencer Rowell 2012<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<!--EndFragment-->Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-10658428390989964662012-07-11T03:43:00.000-07:002012-07-11T13:54:24.271-07:00Creative Imaginings. The Objectivity of Dreams<br />
<div class="MsoNormal" style="text-align: justify;">
Charles Rycroft. <i>The
Innocence of Dreams</i> (1979)</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
As a society, we set
such high value on verbal and written expression of language. Outside the artists
environment of art and poetry, little attention is made to the interpretations
of dreams or other forms of unconscious communication, seeing them perhaps on the
one hand irrational, imagined symbols, against the other, the rational language,
the world of the grounded and realistic. Of course we are all communicating in both
these ways, creative interplay is rife, and as an artist and psychotherapist, it
is I who wants to document this process of where image becomes language.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Our dreams, which I
shall call creative imaginings that we present to the world, are free from
conscious manipulation; they are where we wish to be, what we wish for or hope to
be or not to be. They are places we once knew, or states we would want for are
imagined, a place to share with people we love and warn against places we might
find ourselves with those we wouldn’t want to be with. Imagination can be
interpreted as an awake version of dreams experienced in sleep. We lose the
ability too recognise the importance of these affective messages as images or
symbols; these messages free from the veils of our defence. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Rather than sleeping dreams,
this project consists of gaining insight from the visual representations of hypnagogia
and hynopompic experience. It is the realisation of images that emerge from a
dream-state, those images that might appear while falling asleep or images immediately
accessed upon awakening. This ‘threshold consciousness’ as it is known, can be
described as a point at which ego boundaries are loosened; it could be
described as when one might have more openness to sensitivity or to be in a
state of a more heightened suggestibility. It has long been thought that t<span lang="EN-US">he hypnagogic state can provide insight into a problem. The
best-known example being August Kekulé’s realisation that the structure of
benzene was a closed ring while half-asleep in front of a fire and seeing
molecules forming into snakes, one of which grabbed its tail in its mouth. Many
other artists, writers, scientists and inventors—including Beethoven, Richard
Wagner, Walter Scott, Salvador Dalí, Thomas Edison, Nikola Tesla and Isaac
Newton, have credited hypnagogia and related states with enhancing their
creativity.</span></div>
<div class="MsoNormal" style="text-align: justify;">
These creative
imaginings can be used to allude to ideas, narratives, recollections and
feelings. During these transitional states, this semblance of undefended
imagination, as they travel from unconscious to a pre-conscious state, loose the
capacity for reality testing - they are initially seen as hallucinations,
however there is within them an act of knowingness, a display with indifference
that is uncontaminated by self conscious will. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The self-portrait is a
way of observing these phenomena that we make for ourselves. These images, freely
associate and to an extent are free from defence, (which may come into play to
disown responsibility), they create an opportunity to get more of an objective
look on our innermost feelings. To be, in the words of Rycroft, ‘<i>a momentary glimpses of the dreamers
total imaginative fabric, glimpses into the fabric, where are woven all memories,
expectations, wishes and fears</i>’. (p. xi) <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
There is an aspect to these
images that are alien to me, that they are my dream-self as someone other than
myself. Initially there is no connection; they could not possibly reveal
anything of myself. They are as aspects of myself that hasn’t yet been
assimilated into myself. Jung, Calvin Hall and others have recommended that
dreams should be studied not singly, but in a series.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
These unassimilated
parts of self are sent for assessment, a form of fractured objectivity about
oneself. If these individual images have any meaning or message, then the way
these messages are communicated must apply to the process as well. A self-conception process begins; enhanced
by making others witness these un-assimilated parts, (as we do in therapy), a
way of discovering different aspects, or symbols, that are not initially understood.
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Freud would describe
dreaming more in terms of hallucinations, a mechanism to repress wishes. The symbols
produced would be described as a neurotic symptom, created from this repressive
agency. The two distinct types of mental functioning where Freud described as
primary and secondary processes - the primary process being characterised by
condensation, displacement and symbolisation, the secondary process being
governed by logic, speech and language. These primary processes described by
Freud are a mode of thinking very different from conscious thinking, they are
the mechanisms of the unconscious mind; they are both primitive and archaic.
The internal agency would distort, repress dream imagery into unrecognisable
and generally unrecognisable parts, this agency he called the censor and later
the super ego. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Condensation and
displacement are the prime mechanisms of the primary process, these are no more
than wish-fulfilment hallucinations and are, according to Freud, characteristic
of unconscious thinking. Condensation is where two or more images are fused together
to create effectively a composite, who’s meaning is from both. It is common for
people to be fused, often with aspects of self and others. When an object or
feeling is displaced on to something it symbolises or refers obliquely to something
else, becoming a symbolic substitute. Displacement is the process of symbol formation;
it can also represent creations of figures of speech such as a metaphor in language.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
If in `Freud’s terms
dreams are the product of a neurosis, then all daydreamers are neurotic. The
question arises, what is it within the artist accesses these symbols is able to
use artistic expression to act as such a representation of the human condition,
without implying that it is simply the pathology of the creator. It is this lack
of image integration of these un-integrated parts that in our imagination
resembles our dreams.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
So a dream to Freud
was a repressed wish that was veiled, to produce manifest content from latent
content, an interpretation was needed; to unscramble these bit-parts and
distortions imposed on by the censor. Free association is the technique Freud
used to access this latent content. By following the first line of
communication or idea in the analytical situation the journey to manifest
content begins. The translated content from this primarily visual content expressed
in discourse Freud called secondary revision. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The Jungian term for
secondary revision would be amplification. Jung placed more importance on
dreams and considered them as much a product of the dreamer as of the collective
unconscious. The fractured images re-combined, fragments from external images, along
with universally occurring experience. He also considered us dreaming
continually while awake, the chatter of consciousness simply drowning them out.
More to do with psycho-physical rearrangements and integration, than with hallucinatory
gratification and of repressed wishes that Freud believed. But what of the
creative imagination of the viewer? These images create transference between the image and the
viewer and as a series, the part objects can be formed into a more rounded
picture, they become part of the combined experience projected on to the
photograph. This combined knowledge is a mental picture created of the
intersubjective space between the object and viewer. By observing the
narrative, over time, discerning meaning from previous work; this becomes the knowledge
that underpins future interpretations.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Connection between
creative imagination and dreaming long recognised by writers and artists
themselves however legitimate to discuss the nature of this relationship. This
project can seen as a fusion of concepts of images ideas, (condensation)
replaced by language (displacement) and symbolising other representing another symbolisation
in the presence of the viewer, observing the relationship between these two
selves in dialogue, the unconscious revealing, the transition to consciousness,
the narrative of primary processes becoming of communication to secondary
processes.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
The self-portraits I
produce are not dreams, however they come from this place of half-light, as an
intra-personal communication, a communication between two aspects of the same
person. These could be seen as messages from one part - self to the other, symbolic
messages. Interpretation could bring an intuitive understanding of these metaphors
and symbols, a reflexive mental activity, one part observing, one of reflecting
upon; an internal discussion with objectivity. To amplify or create a secondary
revision, analysis of these images becomes text and this is used to make a set
of statements about a combined narrative, a constructed metaphor, the project
becomes an interpersonal communication when assessed. </div>
<div class="MsoNormal" style="text-align: justify;">
Biography imagined,
becomes a shared biographical experience. <o:p></o:p><br />
<br /><br />
Spencer Rowell 2012</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-75567855943033415672012-07-10T11:14:00.003-07:002012-07-11T13:54:37.868-07:00Self-Portrait as Phantastic Object<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWq7zHNK3syENwE_WAt2_rBWXxzuPGW8tiSZmXlmvqZYMaCpexmyw6OUfrjc0d1WolgMnWWjB9C8BJotZaPXdwFR9bfct9qUbq4qq1CCjcN5aY1VxDuVmvdOopJT7-mrFSSKxzhaVI_CnW/s1600/album135.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="145" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWq7zHNK3syENwE_WAt2_rBWXxzuPGW8tiSZmXlmvqZYMaCpexmyw6OUfrjc0d1WolgMnWWjB9C8BJotZaPXdwFR9bfct9qUbq4qq1CCjcN5aY1VxDuVmvdOopJT7-mrFSSKxzhaVI_CnW/s200/album135.jpg" width="200" /></a></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
Much of psychoanalytic
thinking has, as its starting point, the infantile sense of wishful thinking; omnipotence
visualised through the medium of play as a way to reveal the relative awareness
of the truths of experience. Freud speaks of this process in terms of a
compromise, where ones capacities to express our place in the world are
mediated, via language, to a sense of reality. This could also be said of art
production, as generally the artist knows what is real and conscious, however
during this state of production, there outcome can be seen initially as perhaps
having a sense of unrealistic wishful thinking.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘As people grow up,
then, they cease to play, and seem to give up the yield of pleasure which they
gained from playing. But whoever understands the human mind knows that hardly
anything is harder for a man than to give up pleasure, which he has once
experienced. Actually, we can never give anything up; we only exchange one
thing for another. What appears to be a renunciation is really the formation of
a substitute or surrogate. In the same way, the growing child, when he stops
playing, gives up nothing but the link with real objects; instead of playing,
he now phantasies. He builds castles in the air and create what are called
daydreams. I believe that most people construct phantasies at times in their
lives. This is a fact which has been long been overlooked and whose importance
has therefore not been sufficiently appreciated.’</i> (Freud 1908, p.144)<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
This thesis sets out
to explore whether psychoanalytic thinking, based on interpretations of
photography, expressed via language, can illuminate pre-verbal expression through
the production of self-portraits. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Since standard
psychoanalytic thinking significantly differs from other ways of the
understanding of human psychology, (Tukett and Taffler 2007 p.389), it is
suggested that this methodology may have a unique contribution to make to this
area of research. The author suggests that with this psychoanalytic approach, language
from interpretations can act as an interface between the image representation
and affective knowledge; that it can also explain aspects unconscious
functioning around art production, its realisation and appreciation.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
I will introduce new
ways of seeking to understand images psychoanalytically; and specifically within
the realm of the self-portrait. A strength of this argument put forward is that
it relies on widely accepted clinical thinking about the workings of the
unconscious mind in clinical work; in both that of the artist and the viewer in
this new dynamic. It will examine
the nature of unconscious phantasy and psychic reality, the relationship
between these states of mind - the expression of the internal world of the
artist and of the reader, the understanding of those internal worlds and how
they interrelate. It has become an increasing area of interest, as the project
has progressed, of the role of the viewers and interpretors in this process -
the importance of an increasing understanding of this new intersubjective
dynamic. The thesis will examine their role in detail, paralleling the relationship
of the therapist/client in a therapeutic engagement, to enquire about the notion
of what might be called a ‘blank screen’.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
I will describe the artefacts
in the context of them being ‘Phantastic Objects’, (coined by Tukkett and
Taffler, 2003) and as such are the objects used in this process in an attempt to
achieve a sense of perceived reality, derived from two psychoanalytical
concepts. Object, which is used in the sense as in philosophy; as a mental
representation, or a symbol of something that is not the thing in itself. This
could also represent a part object or combination of internalised
relationships. And the word Phantasy, as Freud speaks of in his quote above, as
an imaginary scene in which the inventor represents the protagonist in the
process of having latent (unconscious) content or wishes, fulfilled. (Laplanche
and Pontalis, 1973, p.314)<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
This project, as
indeed therapy can be described as, is a documentation of the developmental
struggle between the ‘reality principle’ and the ‘pleasure principle’. In the
therapeutic engagement much is given to this interplay, the conflict between
these two basic principles. The production of the photographs represent a
negotiation of the resolution of (or partial resolution of) the conflicts of
these two states of mind into which, in Freud’s words, ‘<i>a new principle of
mental functioning was thus introduced</i>’ so that <i>‘what was presented in the mind
was no longer what was agreeable, but what was real, even if it happened to be
disagreeable</i>’ Freud 1911, p219. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘At the heart of the
psychoanalytic understanding of reality is the assumption that individuals are
always in some degree of unconscious conflict: in fact, we develop a sense of
mature reality by finding an individual way to accommodate the ongoing and
potentially creative conflict between our wishes and our real opportunities,’ </i><o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Freud 1911, p.399<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
This series of self-portraits
as Phantastic Objects, analysed, allows the artists deepest desires to be
fulfilled. The artist in a state of infantile omnipotence, where the
visualisation of conflicts and the inevitable display of antagonism between
these two states that are reflected upon in the interpretations, offers insight
and affective knowledge of internal worlds. <o:p></o:p><br />
<br />
Spencer Rowell 2012</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com1tag:blogger.com,1999:blog-2787068930689009818.post-1509450030084602492012-06-23T15:21:00.001-07:002012-06-24T03:35:40.643-07:00Self-appraisal of presentation made at the AMD/ASD PhD Student Conference 14th June 2012.<br />
<div class="MsoNormal" style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkJK4nMPik9BYz63fEVtPCe9A0RC26mIHGWVvVgXU01o-DAJnhyphenhyphenE_KE0Jbj4qpk82WtCdEhDUWM1WdUui9N_jMD1kRTKttRiIPAQIZJ5EvK5S3nE9RSbyQL6Wg3R3frddpqX4hhEYY_ZXM/s1600/PhD+Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkJK4nMPik9BYz63fEVtPCe9A0RC26mIHGWVvVgXU01o-DAJnhyphenhyphenE_KE0Jbj4qpk82WtCdEhDUWM1WdUui9N_jMD1kRTKttRiIPAQIZJ5EvK5S3nE9RSbyQL6Wg3R3frddpqX4hhEYY_ZXM/s400/PhD+Poster.jpg" width="282" /></a></div>
<span lang="EN-US">14th June 2012.</span><br />
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">I was nervous, feeling I was trying to deliver
too much information. The more successful presentations, in my view, were more simple and tried to keep focus on the research question and methodology. Generally
I felt that I was having a difficulty defending my presentation. This was due
to the fact that I am still unsure of my question and how it will add to future
knowledge. Quite a drawback! </span><br />
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">However, having talked to Stuart Evens and Nick after the presentation, I was led to believe that this was not so unusual and they seemed
quite positive, Stuart explaining that the presentation was interesting, having lots of
‘bits’ that needed simplifying and that I just need to find the ‘glue’ and Nick suggesting that the outcome could be of value to other therapists working in the area of photo-therapy.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">These where the questions posed in my
presentation:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Research Question</i> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Can the documentation of image production
through the use of the camera as a therapeutic tool, deepen our understanding
of human functioning? By paralleling the therapeutic engagement in the
consulting room, can it create a new narrative, its process documented through
continued assessment and adaptation?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Research Method</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Mixed. The reason for combining both
quantitative and qualitative data, is to better understand this research
problem by converging both quantitative images (broad theoretical trends) and
qualitative data (detailed views), as with the language emerging from the
images.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">(John Creswell, Design research, 2009
p.135)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The intent of this concurrent mixed method
study is to document the production of self-portraits alongside their
interpretation by the author and other trained psychotherapists. Throughout
this study, a third party collaborator (psychoanalytic reader) will be asked to
measure the relationship between the analysts subjective comments and the
artists self-portraits, over time. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Methodology</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">To achieve a higher level of abstraction,
where patterns, themes and clusters of knowledge can be seen and documented. Psychoanalytic
theory is used as a lens, through which to observe this data of both image and
text. New images create interpretations which in turn creates a new narrative.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Aims and Outcomes</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Through production of these photographs, I
will give external form to inner states. My concern as an artist are with the
ways in which the production of these photographs, their reception, analysis
and relation to analytical theory, can be incorporated into an on-going art
practice. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">I offer this project as a way of
introducing the reader to the concept of pre-verbal communication and its
importance in both aesthetic production and art appreciation, how this is
translated into language and documented.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>My Assessment</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">To work towards the “making of an original
and significant contribution to knowledge and understanding in the relevant
field of study as judged by independent experts applying accepted contemporary
international standards”.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">And it is not:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">"The degree is not awarded as an
expression of the aesthetic value, social worth or cultural significance of
particular achievements, i.e. for high professional competence and peer
recognition alone." (Biggs, 2000).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">And one of the statements made about it in
the University of Queensland Doctor of Philosophy Handbook (page 1) reads:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">“The doctoral thesis provides evidence of a
contribution to knowledge with a level of originality consistent with 3-4 years
of full-time study and supervised research training”.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>A Few Key Questions</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">I would like to clarify the actual research
question and whether its practice based or practice led. Why my methodology and
not another, justify my methods? The contribution to knowledge, who takes this
research on? What sorts of contribution are typically made in dissertations? </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">It can be seen as:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">A re-contextualization of an existing
technique, providing language, to gain awareness from content (images), as
opposed to providing language and knowledge from a therapeutic engagement.
Language that can be established as offering insight and new knowledge. The
image offers affective meaning and affective communication from the artist.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Implementation of theoretical principle:
showing how it can be applied in practice; making a physical representation of
established psychoanalytical theories.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Empirically based (or language based)
characterisation of a phenomenon of interest (therapeutic value of photographic
production)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Well-founded critique of existing theory or
evidence (e.g. correlating the results of a number of existing studies to show
patterns, omissions or etc.)</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>'Art-practice-led' or 'Art-practice-based'</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">If a creative artifact is the basis of the
contribution to knowledge, the research is practice-based. If the research
leads primarily to new understandings about practice, it is practice-led.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">"Research which is initiated in
practice, where questions, problems, challenges are identified and formed by
the needs of practice and practitioners; and, secondly,</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">‘That the research strategy is carried out
through practice, using predominantly methodologies and specific methods familiar
to us as practitioners in the visual arts and design." (CRIAD, 2000).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">My Art-practice involve the making of
artwork (Practice based), and is a major part of the research process.
Information is derived from the images (Practice led). This process is
documented, however, in context of a narrative produced (the image informs the
next) this part can be seen as a Practice-led project.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Practice-based Research is an original
investigation undertaken in order to gain new knowledge partly by means of
practice and the outcomes of that practice. It includes artefacts in the form
of photographic images, whilst the significance and context of the claims are
described in words. A full understanding can only be obtained with direct
reference to those outcomes. These outcomes from the research process will be
included in the submission for examination and the claim for an original
contribution to the field are held to be demonstrated through the original
creative work.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The outcomes and primary focus of the
research is not to advance knowledge about practice, or to advance knowledge
within practice. So I conclude this is not a practice –led thesis.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>Notes</i></span><br />
<span lang="EN-US">Is everything practice led? May involve
practice. The project will be enhanced and modified. The camera is used as a
research tool. Practice based ... Theory led project. Practice informed….
Informed by knowledge of practice. Modify, practice based to theory led Practice
feeds work Meaning comes from theory.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<i>Conclusion (suggested in the form of an 'elevator pitch')</i></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">My research is a combination of my interest
in the self-portrait photography and psychotherapy. How a lens-based artist might exhibit their internal world externally through the combination of photographic self-portraits and their interpretation, how this can be documented over time, thus paralleling the process in
psychoanalysis.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Through collaboration with The Guild, I<a href="http://www.blogger.com/blogger.g?blogID=2787068930689009818" name="_GoBack"></a> produce self-portraits that area interpreted as sessions,
by two analysts, once monthly over two years. </span>With these interpretations the images become represented as language. The documentation of this process (1)as
individual encounters and 2) a narrative over time) is described through the
lens of psychoanalytical theory.</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Spencer Rowell 2012</span></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com1tag:blogger.com,1999:blog-2787068930689009818.post-39989730976938060572012-06-16T08:37:00.000-07:002012-07-04T12:56:37.109-07:00<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfbXI0Cs3BIdaYHtj2fG-sFTKFkaybp4FOEZqKP-exPKWu0BspEdLxScZZDdQ9b1Xwp72pmfMcG9Myk1moyp2r2U8Dq-F3kemOUW6wRx3Nhe8zhciX6fGmVuiU0pWqlS1GNhFeVV8Bd9ls/s1600/HenOneCF008289.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfbXI0Cs3BIdaYHtj2fG-sFTKFkaybp4FOEZqKP-exPKWu0BspEdLxScZZDdQ9b1Xwp72pmfMcG9Myk1moyp2r2U8Dq-F3kemOUW6wRx3Nhe8zhciX6fGmVuiU0pWqlS1GNhFeVV8Bd9ls/s320/HenOneCF008289.jpg" width="281" /></a></div>
<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-69569067389698001452012-06-09T13:56:00.000-07:002012-06-23T15:44:19.107-07:00Externalise Me, Internalise You.<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="MsoNormal" style="text-align: justify;">
Projection, Identification, Projective
Identification. Edited by J. Sandler (1988)</div>
<div class="MsoNormal" style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5C85hBOwsvw-JVyE7FA_P8eYzRGyyIkYZl9pNofDFWRJsDGQRmdYpsaiYN30UFVPYHMSQFkVdS9uTnfuOd9c_UI_2xjpj8aTgpcz-OKGJ5jcSm-VOBOdKDMIHb-viYqDmOW7W_IlCMP5/s1600/ProcessOneCF007724B-Wa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5C85hBOwsvw-JVyE7FA_P8eYzRGyyIkYZl9pNofDFWRJsDGQRmdYpsaiYN30UFVPYHMSQFkVdS9uTnfuOd9c_UI_2xjpj8aTgpcz-OKGJ5jcSm-VOBOdKDMIHb-viYqDmOW7W_IlCMP5/s320/ProcessOneCF007724B-Wa.jpg" width="320" /></a></div>
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">As much as psychoanalysis is concerned with
the interaction between the outer world and its relationship with an inner
world (how we take in and make sense of external events and how we put our
inner thoughts and understandings back out into the outer world), I am
intrigued how this parallels photographic self-portraiture along with its
assessment as a form of internal self-expression. This project and the
production of self-portraits and their assessment offers an opportunity to
build aspects of the self and observe how they relate to external objects from
a more objective viewpoint. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Is this work simply a form of self-imposed fragmentation
followed by reparation, or through the temporary loss of inner self, diffusion
and re-identity? Do I display my images, because of my incapacity to
differentiate subject (the photograph) and object (me), from reality (the
print) and phantasy of the image, (what it is about?). Through what process do
I, as the artist, discard unwanted parts of myself, in the form of photographs,
and value taking in, in the form of language, interpretations. Also, what of
the interpreter in this mêlée? In losing my state of independence, through dependence
on the analysts’ responding to my work, how do I, in phantasy, transmit my
thoughts into their minds; do they contain those thoughts and return them to
me? As I ponder these reflections of theirs’ and I offer more images that in
turn, have potential of more discoveries and awareness to my inner world, does
an alternative picture emerge, a narrative of sorts, in me and also perhaps, a
narrative of them? </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The Guild becomes the container and the
frame, where the image is scrutinised by the examiners. In an attempt to
understand the complexities of the interactions between these internalisations
and externalisations and the subsequent modification of the sequence of images
produced, will the documentation and the final exhibition show by means of visual
representation and use of text, a more accurate image of internal
representation?</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
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<span lang="EN-US">A sequence of these images over time offer
perhaps, more of an opportunity for reflection, but how is this image really
me, you may ask? Self-portrait photography as a method of communication can of
course be the act of making more concrete that experience of our internal world,
a way of putting undigested bit-parts of experience and other inner experiences
into an object, the print to be viewed. Self-portrait photography can display
that interchange of self and non-self, the act of creation, in picking up bits
that are in existence and re-forming them into something original, a form of photographic
communication, used as a way of getting these experiences understood and along
with there interpretations, to have them returned in a more manageable and
different form, that of language. Does this project give me the opportunity to
discard affect into an ‘other’? Externalise it perhaps temporarily, and once outside
of self, give me the capacity to think and reflect, does it becoming a de-toxifying
process? The process of documenting this Projective-Introjective dance, the
former as an image sent to The Guild, then re-introjected in the form of
language as it returned from The Guild, along with the assessors projections could
be one way.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Projection and Introjection are seen as
representing opposite sides of the same coin, an unconscious form of communication
and the basis of art appreciation and interpretation. In this context I will suggest that Projection and Introjection,
used in this mature way, is more than simply an opportunity to appreciate and gain
another level of understanding, between the artist and the photograph, the
photograph and the assessor, an opportunity to understand something of the
viewer.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Projection and Introjection is the process
by which we can describe interactions between the inner (including
intra-relativeness) and outer worlds of artist and viewer, a place where they
merge and interrelate. This communication of aspects of self is ‘<i>a rapid
oscillation of projection and introjections’, </i>says Money-Kyrle (1988), ‘<i>unconsciously
acquiring affective experience’</i>. This process has its roots in early
infant/mother relations, the infant cannot say how he feels, he simply makes
his mother experience the same feeling. This communication is seen as them connecting
in a deep and unconscious way, the mother will react that will facilitate the
infant's psychic growth; the same happens in the therapeutic setting between
analyst and analysand. This project seeks to engage with the viewer in a
similar way, to engage on this unconscious level through Projection and
Introjection.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Projection takes aspects of one's internal
world and puts them onto external subjects; an unconscious process of excretion
and expulsion. In this project, we include the reverse enactment; where the
internal world of the viewer is incorporated into the image being viewed, it is
projected also. It is this 'output' from the viewers’ internal world into the report,
the viewers’ own projections, which can be seen as 'input' into the final assessment.
Projection and Introjection is an intercommunicative process of shared
understanding, it is a creative interplay of shared experience. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The process as it occurs in child
development can be dissected into three phases (Ogden, 1982):</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">1) The projector rids himself of unwanted
bits;</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">2) Deposits them into (not just onto) the
receiver;</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">3) Recovers a modified version of his
projected bits.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Without this third phase, the process is
not therapeutic or helpful to the projector.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The above therapeutic process parallels that
which is undertaken by this project:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">1) Where the photographer disposes into an
image un-resolved, un-differentiated parts of his pre-verbal past;</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">2) These messages are placed via a print ‘into’
The Guild;</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">3) The artist recovers a modified version in
the form of language.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">From this third phase the photographer
seeks more awareness from subsequent portraits.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">So projection and introjection are a
related process, the communication of relationships between internal objects
and with that of the outside world and vice versa. It regulates the individual’s
interaction with the outside world and the observations of which in the
therapeutic situation, will build a picture of that internal space. In both analysis
and in the viewers’ interpretation of my work, this is done by the process of formulating
internal boundaries, it involves creating an image of self, of that self’s
relationships and the interaction between the two. When confronted by this
image, the viewer often is in an initial state of confusion; an unconscious personal
representation is called for. A boundary is set; <i>‘this is I’ and ‘that is he’</i>.
This is a disidentification process, where the ego says, <i>‘I distinguish between
self and object, I will create a boundary’.</i> (Sandler, J. 1988) pxx. By instigating
the notion of play alongside often intense concentration, the viewers’ boundaries
become merged and temporally suspended with the image. Here the viewer brings
life experience to the engagement, there is a sense of the artist analysing the
viewer. This process is what Sandler calls ‘<i>sorting out</i>’, where ‘aspects of the
object–representation are incorporated into the self-representation and vice-versa.’
(1988) p26. This process is the basis for empathy in the consulting room.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">To look at Projection in its broadest terms
we see it, along with Introjection, as an organizing structure, in constant
interplay across shared boundaries. A bringing together of un-differentiated
differences, it is the way the artist sees the world and that of how the viewer
perceives the same world, that together they have the capacity to bring them together
and ask questions. Through this process we describe the world in subjective
terms, by testing, inherently organising an continually unconsciously
reflecting on the individuals internal world. Projection without Introjection would
be a pointless affair, no comparison, no feedback, even in phantasy. Creativity
is inhabitating these cross borders, it is the art of playing in a combined
experience, The creative development comes from the constant interplay of Projective
and Introjective structures in this shared environment.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">But in context of the analysts’ interpretation
of these photographic images, it is the reaching beneath the surface into what
is the subterranean world of the artist in combination with the viewer, that is
this unconscious process. The ‘<i>sorting out</i>’ from which we want to gain
knowledge of the internal space, this is the shared world of artist and viewer,
it is this externalisation of the work and expectations of a response that
could be described as creative interaction. As viewers, don’t we go to art
galleries to give and to receive? The viewers experiences coupled with the
ideas of the artist (often misunderstood, confused expressions) are locked in
an unconscious conversation, in phantasy, enabling union and a level of
understanding, this is a re-enactment of a pre-verbal, or early infant experience.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The artwork also acts as a temporary
container, where this lack of initial understanding is held, my need to return
to the artwork for further understanding, or to relate to it as being part of a
sequence and through the reverie of the engagement with the assessments, gain
access to a direct descendant of inner worlds, a pre-verbal state that I am
attempting to disentangle. One role of the analyst is to simply hold on to the therapeutic
content while the patient process it, a temporary container, enabling the
client to maintain an ability to think. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The viewing of the work is a difficult
process for the analysts’, it involves them getting caught up in the affectual
nature of object relations. Many of the images will not ‘<i>pierce</i>’, to use
Barthes term, they will dissolve, counter, overlap and often create ambivalence
of the viewers’ experience of communication. Though this play and interaction, I
am asking them to see something; a representation of my internal world and in it,
how theirs intertwines with it. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">The viewer therefore creates and crosses
these boundaries set up by the artist and through internalisation and
externalisation responds to the work. Projection and Introjection must be seen as
a developmental and in a differentiating perspective on image engagement; it is
this concept that is behind creative engagement.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><i>‘The interplay of introjective and
projective mechanisms weaves a pattern of relatedness’s to the world of objects
and provides the fabric out of which the individual fashions his own self
image’</i> <i>… ‘Out of this interplay also develops his capacity to relate to and
identify with the objects in his environment.’’</i> (Sandler, J. 1988) p35</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Through interpretation, and over time
however, as in therapy, from a combined narrative, awareness emerges. It is
essential to acknowledge the importance of the observers’ projections in the
formulation of conclusions for this project as it being of a shared experience.
Art appreciation requires projection.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">Spencer Rowell 2012</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-13205942659353080532012-06-03T10:27:00.002-07:002012-06-24T11:19:30.988-07:00Trueprint 1978<div class="separator" style="clear: both; text-align: center;">
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<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-80824959748035852252012-05-27T03:18:00.004-07:002012-06-03T11:31:54.354-07:00Oedipal Struggles Expressed Through the Viewing of Larry Sultan<br />
<div class="MsoNormal" style="text-align: justify;">
A Psychological investigation of the
work of Larry Sultan ‘<i style="mso-bidi-font-style: normal;">Pictures</i> <i style="mso-bidi-font-style: normal;">from</i> <i style="mso-bidi-font-style: normal;">Home’</i> (1982-92)</div>
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<br /></div>
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</div>
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<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
Larry Sultan, in an interview
with Sheryl Conkelton (Flintridge Foundation Awards for Visual Arts 1999/2000)
said,</div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘When I was working on ‘Pictures
from Home’, my parents’ voices – their stories as well as their arguments
with my version of our shared history – were crucial to the book. They called
into question the documentary truth the pictures seemed to carry. I wanted to
subvert the sentimental home movies and snapshots with my more contentious
images of suburban daily life, but at the same time I wished to subvert my
images with my parents’ insights into my point of view’.</i></div>
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<div class="MsoNormal" style="text-align: justify;">
The family album is a visual
record, but also a volume of inter-relational family experiences, generally constructed
and presented as historical truth; a picture of, certainly to their owners, of
both visual and emotional reality. This document bears witness to our
connectedness with family, humanity and ourselves; for most of us it is often
the only proof of our existence. It tells the viewer what there is and how it
was, our own inventory of life. It creates a link with both the past and the
future and eventually, it provides the one and only link between ‘us’ and ‘there’
or ‘them’ and ‘then’. Cameras go with family life; they escort us around so
that we can prove that we where really here at all. A family’s photographic
album is generally about us now, but becomes a historic document of the
extended family and often, is all that remains of it. It seems you cannot claim
to have seen anything, been anywhere or ‘belonged’ unless you have photographed
it. It proves we had relationships.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The family album has its truths
of course, but the justification that it show how it really was, is not so
clear. It is a worthy document, however it also has a role as a defence against
our anxieties. Family albums actively promote nostalgia; one could argue that
photography, far from documenting the truth, succeeds more in hiding it, than
it does the revealing of it. Larry Sultan states,</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘Photography is there to
construct the idea of us as a great family and we go on vacations and take
these pictures and then we look at them later and we say, ‘Isn’t this a great
family?’ So photography is instrumental in creating family not only as a
memento, a souvenir, but also a kind of mythology.’</i><i> </i> </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I would like to discuss that
photographer Larry Sultan and his series of images that he published in 1992, ‘<i style="mso-bidi-font-style: normal;">Pictures from Home’ </i>are his family
photographs of his truth, outside the mythology of family. I attempt to disclose
more about his relationship with his parents, to read into the images something
of his inner world that initially the images don’t show to us. Sultan
acknowledges that he is producing a document of family images from his point of
view and that he shows, through them, how he gains awareness of the ‘mythology’
of the family document. We see also his need to ‘subvert [his] images with
[his] parents’ insights into [his] point of view’.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Sultan was very aware of his involvement,
of the fact that he was colluding and appearing symbolically, and not
literally, in the pictures in which he produces. In his words, the images
became a portrait of ‘us’. He goes on to say,</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘The daily practice of a
photographer is to be distanced, to have a little bit of room between what you’re
doing and how you see, what you look at. For me the biggest surprise was that
the distance I thought I needed as a photographer slipped. It wasn’t about ‘these’
people it was about ‘us’.’</i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
The words of Larry Sultan
describing his production of this series of images photographed for a decade up
to 1992 for me show so strongly, and certainly when viewed through the lens of psychoanalytical
theory, an exhibition of a son attempting to force himself into the family
portrait. This is his Oedipal struggle visualised through photography. Not the
first attempt, one could imagine, but with photography, he shows us his need to
gain insight into his Oedipal dilemma. Larry Sultan again,</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘What drives me to continue this
work is difficult to name. It has more to do with love than with sociology.
With being a subject in the drama rather than a witness, and in the odd and
jumbled process of working, everything shifts: the boundaries blur, my distance
slips, the arrogance and illusion of immunity falters. I wake up on the middle
of the night, stunned and anguished. These are my parents. From that simple
fact, everything follows.’ </i> </div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
Although he doesn’t appear in
these images, his presence is felt. What we see is the son who was left out,
who still remains outside, beyond the dyad of the overbearing father who
disallows access to his protected mother. In Merriah Lambs essay on this series
of pictures, entitled ‘<i style="mso-bidi-font-style: normal;">Reconstructing
family: Larry Sultan’s pictures from home’, </i>provides an insight into the
use of the camera to enquire into family dynamics and as the title suggests, a
rebuilding of the family unit.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘Sultan understands the camera’s
function as the family’s primary instrument of self-knowledge and
self-representation by which family memory perpetuates, using it to re-examine
family, but also undermining any claim that photographs and their arrangements
are necessarily an accurate form of documentation of family life’.</i></div>
<div class="MsoNormal" style="text-align: justify;">
She goes on to say,</div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘Pictures from home is the sons
account, a representation of the trawling through of these memories and what we
see is quite disturbing. Through the production of the family album, we want to
idolised the image of our world and our place within it and more importantly
our relationships throughout our existence’. </i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
The first thing to note is that the
traditional role of the family albums production is reversed here. The son
photographs the parents. The story will be different, the social norm is for
the parents to display their interpretation of history, their sense of power, edited
and presented, to be used as an aid memoir but also it is the story of the
compilers of this story, to corroborate one persons recollection. Sultan has an
opportunity here, to engage with this album dynamic once again, but this time on
his terms. On the surface, he gives his sitters a voice, literally and aesthetically,
but the most present person is the photographer; in these portraits, he makes
up his own experience of the events.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I would like to bring an Oedipal
interpretation to these images, in association with a phantasy of my view of
what Sultan is saying. There is a physical space he occupies in these pictures,
between his parents; it is of an elevated status, his size and strength is
noticed, there is an achievement of some kind. Sigmund Freud introduced the
concept of the Oedipal Struggle in his ‘<i style="mso-bidi-font-style: normal;">Interpretation
of Dreams’,</i> (1899). It is his theory of relationships, gender assignment
and sexuality. Although Freud believed this was a stage of psychosexual development
to be negotiated during the Phallic stage (3-6), the psychoanalyst, Melanie
Klein, would place this stage at much earlier, as early as the oral stage (aged
1). What is seen, in the pictures, is a renegotiated Oedipal struggle,
re-visited perhaps because of its failed resolution in early age or simply an
illustration of his recollection of that experience; a photographic symbol of
the echo from an earlier experiences of a difficult phase of development. Can
this Oedipal concept be seen within the work of Larry Sultan? Are these images
a visual metaphor describing a son’s competition for his mother? Does he view
his father as a rival for her attentions and affections? </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
If this stage is not negotiated,
or only part negotiated then, a continual struggle ensues. Repressed feelings
from failed attempts form conflicts and throughout life an attempt is made to seek
out its resolution. In the case of these series of images, Sultan attempts
again to negotiate its resolution. The Oedipal dilemma can be seen simply as a
realisation of the dynamics within a triadic relationship moving from a dyadic
one, or can be a more dramatic visualisation of a painful process of reconciliation
of a conflict, essentially, in wrestling power from dad and gaining access to
mum. In other words, from the state of ‘me’ to realisation of the ‘other’, or a
more dramatic outburst of repressed resentments held back from earlier failures
of it’s negotiation. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
As initially conceived by Sultan,
the project was to be about <i>‘what happens when – as I interpreted my father’s
fate – corporations discard their no-longer-young employees, and how the
resulting frustrations and feelings of powerlessness find their way into family
relations.’ </i></div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: center;">
<i><span class="Apple-style-span" style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNi0MB2JmdPgpP2qNhrhpKtEauRQWkBO47-xPlAj3IMhZKof-EjRiHji1xcs_2crZaw-eCQ8ubEVBeZyISt66QIgjGsdggut-NjWVOVYWOT_lncEmm7bxVuLm7CaCthiG1roGPrbsLv8a/s1600/larry-sultan_mominthegarage_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNi0MB2JmdPgpP2qNhrhpKtEauRQWkBO47-xPlAj3IMhZKof-EjRiHji1xcs_2crZaw-eCQ8ubEVBeZyISt66QIgjGsdggut-NjWVOVYWOT_lncEmm7bxVuLm7CaCthiG1roGPrbsLv8a/s320/larry-sultan_mominthegarage_large.jpg" width="320" /></a></span></i></div>
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i></i></div>
<div class="MsoNormal" style="text-align: justify;">
<div style="text-align: center;">
<i><span class="Apple-style-span" style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnY5QRVSYu1Ep7RHLaUyat7iFAijJH0GJb1bPnKAxVgYW2Oqwgq9nYT3CfNmcmU_B223ogxZFxrTowC8dioHGAuyXCHvUZ0n5dMdVGsgUW-XNm8rVR71Ghwa_VE2hMq_caYu_Zdb_PFgoD/s1600/92405441_20f6ebfcdb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnY5QRVSYu1Ep7RHLaUyat7iFAijJH0GJb1bPnKAxVgYW2Oqwgq9nYT3CfNmcmU_B223ogxZFxrTowC8dioHGAuyXCHvUZ0n5dMdVGsgUW-XNm8rVR71Ghwa_VE2hMq_caYu_Zdb_PFgoD/s320/92405441_20f6ebfcdb.jpg" width="320" /></a></span></i></div>
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
These pictures, have been taken
at a time when his father was forced into retirement; his patriarchal power is on
the wane, an ideal opportunity for such an unconscious attack, for the son to
gain access to his mother previously denied. To gain access to a mother denied
for so long. The situation of the weakened father coincides with mother’s newfound
power (her business was in the ascendancy).</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The images are of the everyday, located
in their home, however there is a sense of a wedge being forced between the
main protagonists, is it simply the wedge of the obtrusive lens? No, it is the
presence of Sultan Jr. we see, and this is what interests me in this series. It
is more than a document of his parents, his background; the photographs show an
interaction between them which indicate more that what we see on the surface. The
boy is present in these images and it is a boy who wants access. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
While describing the series for
the Independent Michael Collins 2010 says,</div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘The most magical and redeeming
quality of photography, especially given the vulgar and superficial way it is
so often employed, is that a photograph will reveal, subtly or otherwise, how
the photographer was engaging with the subject. Our reading of family pictures
is the most sophisticated of all, because our familial relationships are the
most complicated, critical and contrary of all.’</i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
The infant attempts an
understanding of his relationship with that of his parents and his position in
that dyad, at many stages of his life. Upon the realisation of the existence of
the other, which may be manifested in his father’s rage and jealousy, he
negotiates this place. These images are Sultans need to get between the two
main protagonists, a photographic illustration of the attempt to engage with
them both after the original ousting from the primal scene. Now is another
chance, through photography, of making sense of his position of power in this
triad. We are looking at Sultans Oedipal conflict revisited, for it will be his
only opportunity, as Sultan Jr. was to die of cancer in 2009 in his 63<sup>rd</sup>
year. As we stare into this world of his parents Sultan reveals the
psychological concept, that of the Oedipal dilemma. One that Collins alludes to,
but does not name as such;</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘And yet, this was his parents’
home, the site where all those fraught hopes, understandings and
misunderstandings, securities and insecurities, would be encountered over and
over again, in an endless search, a longing, for a resolution of family and
home.’</i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
In this following statement
Sultan admits to the inability to name what he is trying to do, the exchange
below also illustrates clearly that father is still very much the patriarch,
maintaining his authoritarian and dismissive tone.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Sultan Jr.</div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘A lot of the time it doesn’t
make sense to me either. All I know is that every time I try to make a
photograph, you give me the steely-eyed look. You know it: penetrating but
impenetrable, tough and in control. Or you shove your hands in your pockets and
gaze off into some mythical future, which for some reason is about 45 degrees
to my left. It’s like you’re acting the role of the heroic executive in an
annual report, or in a diorama on success. Maybe you’re looking for a public
image of yourself and I’m interested in something more private, in what happens
between events – that brief moment between thoughts when you forget yourself.’</i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
Sultan Snr.</div>
<div class="MsoNormal" style="text-align: justify;">
<i>‘That sounds good but I think it’s
a load of crap. If anything, the picture shows how strained and artificial the
situation was that you set up.’</i></div>
<div class="MsoNormal" style="text-align: justify;">
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i></i></div>
<div class="MsoNormal" style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FgWHH_SkGz6xGF0N46faJFkybaFVnvYBgIm2i7qpCcld2P_IxeY95HfVxjEU2Yo4oeGDMNqttO9Uf3MHoRqok7tq2bNbl5rrYdGPX7cNI2fDWLTsvTn9AEbxK1uFq61sBsmx7DU8MVnN/s1600/sultan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3FgWHH_SkGz6xGF0N46faJFkybaFVnvYBgIm2i7qpCcld2P_IxeY95HfVxjEU2Yo4oeGDMNqttO9Uf3MHoRqok7tq2bNbl5rrYdGPX7cNI2fDWLTsvTn9AEbxK1uFq61sBsmx7DU8MVnN/s320/sultan.jpg" width="320" /></a></div>
<i><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
In phantasy, I am suggesting that
early attempts of access to mother are swiftly put down by Sultan Snr. The boy
is humiliated and shamed, not let in, resentment builds and I am suggesting
that the work is a visual representation of these struggles. In Freudian theory
the father will metaphorically castrate the boy as punishment for his attempt
on desires for mother, so these unsuccessful attacks on father will harbour
resentment, he will pick his time more carefully next time. There is a temporary
resolution, in the form of identification with father and his super ego is developed
further, perhaps as a punishing and more critical inner moral authority.
Resentment is repressed until such time the son can mount another attack. These
lost battles with father foster more resentment and his need to kill off his
father and gain access to his mother are again delayed. </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
The underlying resentment and
wish for revenge in Jr. and the illusion of power within the patriarchal Snr. is
maintained. It finds itself peacefully and subtly embedded into the work,
unnoticed by his parents, perhaps not fully resolved by the boy. Sultans Oedipal
struggle is part-resolved, his strength to repel against parental authority
without identification, is his ultimate goal of his art. This anger towards his
father is now directed at both parents, he has gained a contact with reality
through peaceful means. He has entered the primal scene at last, on his terms, producing
the family photograph he wants to present to the world. He has confronted to a
degree, the relationship between the three of them, resolving a certain amount of
the anxiety. </div>
<div class="MsoNormal" style="text-align: justify;">
Here we see a visual
representation of the conflict approaching resolution, a form of figurative
emasculation. Here, photography is used as the therapeutic tool in the resolution
of the Oedipal Dilemma.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Spencer Rowell 2012<span style="color: #161616; font-family: Georgia;"> <span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-72083013553673348362012-05-15T04:54:00.007-07:002012-06-04T11:44:08.113-07:00Self-Portraiture Seen As An Emergence From An Artists’ Retreat<br />
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;">Self-Portraiture Seen
As An Emergence From An Artists’ Retreat<o:p></o:p></b><br />
<b style="mso-bidi-font-weight: normal;"><br /></b><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwmPZA0yQJvsLlpaet7sD8mCFkOD8dCA1UFayqiN9UQWQz5S8arQGGy5Aco96XnETG_bj76_MxpJeKoZ8gyjnGPJLfHIREUg8NUSSgMN3iePRhk-sm2KO7aZogk9B7LJ8oo3WIt4ItqGh/s1600/album18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfwmPZA0yQJvsLlpaet7sD8mCFkOD8dCA1UFayqiN9UQWQz5S8arQGGy5Aco96XnETG_bj76_MxpJeKoZ8gyjnGPJLfHIREUg8NUSSgMN3iePRhk-sm2KO7aZogk9B7LJ8oo3WIt4ItqGh/s320/album18.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><br /></b><br />
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal" style="text-align: justify;">
Seeing And Being Seen. Emerging From A Psychic Retreat<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
John Steiner (2011)<o:p></o:p><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
I see this project, through the use of photography and the
production of self-portraits, as an artists’ way to reveal an inner self, to
move from a position of being psychically hidden, to a place of being observed.
The process of production of artefacts and their presentation may be viewed as
an artist’s emergence from this place of psychic retreat to what may function as
a position of awareness. Can this use of the camera combined with the mediation
of the viewer, be seen as a therapeutic process?<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
The presentation of images attempts to peer over the parapet
of these defences, to be in a place of the gaze of ‘other’; having felt
contained and protected behind the lens, an attempt is made to reveal oneself in
a conspicuous, exposed way, in front of the lens. Along with vulnerability and
potential humiliation, it can reveal, among others, the defence of narcissism,
a defence that comes into being because of self-consciousness, brought about by
the original gaze, of recognition by the other. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Often, artists will express themselves through
self-portraiture, as a way of gaining awareness of inner states – a way of facing
these depressive anxieties. Through this process defences, until now sheltered
from view in isolation, can emerge. The objects of shame are in shadow, so to
speak, shielded from view from both internal reflection and external
observation. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
The project also involves a process of bringing together
parts, the complete person perhaps until now cannot be seen in one light. Viewing
these distorted parts in isolation can maintain a sense of incompleteness, in a
part sheltered position, hiding an internal world made up of many lost objects.
Each individual image offers a snapshot into these worlds, when these lost object
representations are viewed as a whole, the internal world may become as real to
the artist as his external world, these internal objects come to life, vividly
brought into reality through interpretation and exhibition. Will this process
of being seen and exposed, bring the artist out to face a new reality?<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;">The Observing Figure<o:p></o:p></b><br />
Vision, offers an important role, as with projection and introjection
of these part objects. Consciously and unconsciously, it is essential for exchange
and building of object relations.</div>
<div class="MsoNormal" style="text-align: justify;">
<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Steiner (2011) writes; <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">‘Later in development
the eye takes over some of the functions that had previously relied on
proximity senses. In particular, projection and introjection becomes mediated
by the eyes, as for example when gaze becomes capable of penetrating and can be
used to enter the object and identify with it’ p10<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
The power of the gaze is also used to mediate hierarchy in
family dynamics, for example, the father who looks down on the son, using this
as weapon of humiliation. When this is exercised in a cruel way, the child may
resort to narcissistic traits to attempt to reverse this humiliation. Status is
all-important in family dynamics and if the Oedipal conflict is not or only
part negotiated, then this can lead to the harbouring of resentments and a need
to eventually seek revenge against this internalised persecutory object. Under
the gaze of these persecutory others, defences emerge and the psychic retreat
of the artist begins. There begins a process, which is the nature of this
enquiry, an attempt to reverse humiliation through resentment and to seek
revenge; as away to resolve the original conflict. To produce the very images
that will be projected onto the viewer is a way of dealing with such feelings.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">‘Projection and
introjection now come to be mediated by the eyes, and the gaze becomes capable
of penetrating and can be used not only to observe the object as a whole, but
also to enter the object and identify with it. The excitement associated with
entry transforms the child’s position from that of an observer into that of a
voyeur’ p38<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;"><br /></i></div>
<div class="MsoNormal" style="text-align: justify;">
If the observing figure is seen to be hostile, so the
introject becomes hostile and one feels inferior in the presence of these
persecutory objects. Individuals do shame others as a form of feeling superior;
power dynamics often involve elements of and the role of the gaze in
humiliation and shame.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Art plays a crucial role in the expression of these internal
affects, the artists sensitivity to and the viewing of and presentation of
these images support the idea of shame surfacing in self-portraiture, for
example, the distorted images of Bacon and the feelings of shame and humiliations
that emanate and is richly illustrated in his work. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
The gaze confirms the development of sense of self, the mother’s
approving gaze is at the core of the building of self-esteem and the essential role
of mirroring in the therapeutic engagement is a technique to replicate this
experience, often highlighting its lack. Affirmative views of self are seen in
the eyes of the observing object, this builds on this core, however often they
come to characterise or embody the persecuting eyes of the father, the dominant
super ego that becomes destructive.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;">Oedipus</b></div>
<div class="MsoNormal" style="text-align: justify;">
The infant, confronted by this Oedipal triangle is central
to this notion of being seen in the view of this third person. Finding it
difficult to readapt to a dynamic that essentially excludes, the realisation
that the parents have a relationship with each other and that now is not made
of even two separate dyadic experiences. As the infant recognises this
relationship from which he is excluded, of the mother, once his primary object
of desire onto which he projects his feelings of hate and love, being separate
from the secondary object who makes his presence known and felt, would
typically become the child’s critical superego; as the observer and judge of
the relationship and ultimately all his future relationships. If this is not
resolved sufficiently, it can often involve the child engaging with each parent
separately, always excluding one or the other. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
The gaze from outside the mother-child unit, if
non-nurturing and not relating through persuasion but power and authority, becomes,
in classical thought, the threat of castration and along with intimidation of
the child, creates conflict. And so begins the retreat from what is psychic pain.
A compromise is ultimately reached where the struggle of power is lost and the
boy searches outside of the family, he relinquishes his need for the mother,
however, the resentment is mealy temporarily displaced. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;">Narcissus<o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: justify;">
The original narcissistic relationship is the ‘I’, the
omnipotent child that sees only himself in the mothers face. Winnicott asks
(1967), ‘What does the infant see when he looks into the face of the mother?’ ‘Ordinarily,
what the baby sees is him or herself’.</div>
<div class="MsoNormal" style="text-align: justify;">
This is the version of Narcissus, the approving glance from
mother (his own reflection) that continues to confirm a valued internal view of
self, a picture of self-nurturing, mediated mainly through vision. The view
from the other disrupts this.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<i style="mso-bidi-font-style: normal;">‘In my view it is this
introduction of the third observing and often authoritarian object that gives
the superego such persecuting qualities associated with humiliation’ Steiner
(2011) p30<o:p></o:p></i></div>
<div class="MsoNormal" style="text-align: justify;">
The prospect of being seen through, of being looked at but
not seen, terrifies the narcissist, however offers a function of narcissism; as
a way of preventing the experience of separateness of object and subject. Exposure
to gaze of the other validates or contradicts the child’s original image of
oneself. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;">Conclusion<o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: justify;">
These images are the artists starting point on a journey
consisting of a variety of manoeuvres to attempt to reverse the original
humiliation and resolve the Oedipal dilemma. The observer along with the
therapist or the engaged viewer in the gallery, attempts to understand what is
being said - this is different from the aggressive, dismissive, superego of the
internalised object, a manifestation of the original internalised other. The
photograph becomes a projection where gaze becomes the central role. This
experience of exposure to the gaze leads to discomfort, embarrassment, shame
and humiliation, however, the self-portrait becomes a need to emerge from a
psychic retreat and face internalised objects more realistically. <o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
Perhaps the journey towards an exhibition is the notion of
bringing the parts all together to be known. Where good and bad qualities can
be recognised, from a distance perhaps. The anxieties are at their worst in the
phantasy of being seen as a whole, as complete, where inconsistencies and
negative aspects of self are brought together. This struggle for power in the
Oedipal situation relates to the family structure and these conflicts are
visualised within the traditional family album and how it is represented in the
external world. Through the creation of an alternative family album, this
series of images may represent the resentment that has become revenge, or the
start of reparation and resolution of the Oedipal dilemma.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Spencer Rowell 2012 <o:p></o:p></div>
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<br /></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-39415513193731220232012-05-06T05:20:00.003-07:002012-06-27T10:49:44.594-07:00J.M. Barrie -Peter Pan 1928<div style="text-align: justify;">
<i>“Mrs. Darling first heard of Peter when she was tidying up her children's minds. It is the nightly custom of every good mother after her children are asleep to rummage in their minds and put things straight for next morning, repacking into their proper places the many articles that have wandered during the day. If you could keep awake (but of course you can't) you would see your own mother doing this and you would find it very interesting to watch. It's quite like tidying up drawers. You would see her on her knees, I expect, lingering humorously over some of your contents, wondering where on Earth you picked this thing up, making discoveries sweet and not so sweet, pressing this to her cheek, as if it were a nice kitten, and hurriedly stowing that out of sight. When you wake in the morning, the naughtiness and evil passions with which you went to bed have been folded up small and placed at the bottom of your mind and on the top, beautifully aired, are spread out the prettier thoughts, ready for you to put on.”</i></div>
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span></div>Abstracthttp://www.blogger.com/profile/09461698577970453456noreply@blogger.com0tag:blogger.com,1999:blog-2787068930689009818.post-56894242663681410132012-04-10T04:07:00.006-07:002012-05-30T06:16:25.598-07:00The Blank Screen in the Room<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQgzGJU4ciBBxhUekqiJ_zAzsZ-0keJyRug89Ce1FFWvXkLJ6TXQ5Tbgb9Zz5kkEIEsudddnp7WxVfZ4CDVm9FzfmyyEI494J_cjkM6q0yuF_r48KIFdb2MsVkYaqkFPppNMlZC4dZxi-n/s1600/465px-IKB_191.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5729741793450564578" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQgzGJU4ciBBxhUekqiJ_zAzsZ-0keJyRug89Ce1FFWvXkLJ6TXQ5Tbgb9Zz5kkEIEsudddnp7WxVfZ4CDVm9FzfmyyEI494J_cjkM6q0yuF_r48KIFdb2MsVkYaqkFPppNMlZC4dZxi-n/s320/465px-IKB_191.jpg" style="cursor: hand; cursor: pointer; display: block; height: 320px; margin: 0px auto 10px; text-align: center; width: 242px;" /></a><br />
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Yves Klein, IKB 191, 1962</div>
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<span class="Apple-style-span" style="font-size: small;">The email exchange below, between myself and the therapists analysing my work (referred to as DB and LB), highlights an interesting area in the process; that of the role of counter-transference. There is also an ethical angle to be acknowledged and considered. Being confronted by an image, that couldn’t/wouldn’t respond was evidently causing conflicts within the examiners; what was happening to the viewer seems to be very much an important part of the data collection. Was the therapist being probed by the work? Or perhaps I, in the guise of my own self-portrait, was analysing the therapist? <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Message from LB<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">Dear Spencer<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">I agree that to start an email dialogue is out of line with what you're doing here BUT did have a thought I wanted to send. I wondered if there was any way of the pieces "replying" to the comments, to make it more of a conversation - although I imagine this would mean they were less finished pieces. Of course, this may be something you have considered and discarded for good reasons. Or perhaps it is already happening. Anyway, in the interests of not turning this into an email communication, don't feel the need to reply to this. I just wanted to put that thought across. LB<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Message from DB<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">Dear Spencer<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">It must have taken its toll on me the last image, as seem to be struggling to send this to you. Forgetfulness, busyness, sure but also something else. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">I hesitate because I worry about how this might affect you, and me. I’ve managed to be frightened by the power I have to guess your meaning. This tips psychotherapy on its head and only acts to vandalise your meaning, you attach to your photography. I hesitate I think because I’ve realised the project warps my understanding of psychotherapy / counselling / psychoanalysis. It’s interesting so I’d like to continue, but it is also deeply troubling for this relationship with a static, unreactive product of yours left at the Guild to be scrutinised, to be called psychotherapy. You produce it, leave it in the corner then, in because of its lack of words, it encourages a flurry of interpretation – no guesswork – from a trainee therapist. I realise this can’t be doing psychotherapy any more than discussing a paper on psychotherapy can be confused with actually doing therapy. I worry perhaps that aside from the impossible question of doing good, I can’t rule out doing harm. Maybe I think too much of myself… DB<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Response to DB and LB<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">Dear DB and LB<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">I write to you both as I would like to acknowledge that both of you have indicated a need to not perhaps question the process, but perhaps not feel as engaged. There is a sense of lostness, a questioning of this process (performance?) and perhaps even a feeling of an unsettling nature. Perhaps this isn't analysis, assessing, or even photo critique; perhaps we do not have to put a name to it at all. I do know that if you can continue being frank, honest and thoughtful then whatever it is, it feels interesting and worthy of documentation. What has also emerged is the importance of also documenting your feelings about the project; if you feel something (or of course nothing) about the work, please say. It is invaluable additional material knowing your process as well. Can I leave it there, for a while</span><br />
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<span class="Apple-style-span" style="font-size: small;">‘Absolutely. It's your project. It was just a thought.’ LB<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">‘Yeah, shall we let it develop and see what comes up? I agree it makes sense to hold off for the moment naming what we are doing.’ DB<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">The artwork were certainly unearthing something of interest within the viewers, but was this information about the artist, the representation of the artist, (the photograph), the process or the therapist. Was it questioning the unique creative consolidation of all these, that comes about from any engagement with art. It came to mind that the work was more than simply a ‘blank screen’, a term familiar with any therapist, that here was a disruption, something emotive and worrying emerging. These engagements have been called ‘Sessions’ although they are effectively inert objects that do not say anything. The email exchange affected me also, as the author, I have left a break before delivering the next piece of work, in fact, as I write this, I have two pieces ready for delivery and two more in production that will be ready for presentation to the ‘Guild’ very soon.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">The blank screen concept, would indicate a unilateral process of engagement and although generally discredited in the field of psychoanalysis, the UKCP website, describes the process of Psychodynamic Psychotherapy as follows:<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">‘The client is encouraged to talk about childhood relationships with parents and other significant people, the primary focus being to reveal the unconscious content of a client's psyche in an effort to alleviate psychic tension. The therapist endeavours to keep his own personality out of the picture, in essence becoming a blank canvas onto which the client can transfer and project deep feelings about themselves, parents and other significant players in their life’. <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">In this description the concept ‘blank canvas’ is used to describe an aspect of the therapeutic encounter; what to expect for the unsuspecting new client, a way also of introducing psychodynamic work and differentiating it from more directive therapies. By using this metaphor, it also introduces the concept of a more creative process of the interaction between the client and therapist as they engage. Are the assessors of the work fearful of their own projections placed upon these inert pieces of artwork? Is the blank screen, the photograph, confronting them?<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">In 1977 I visited the Pompidou Centre in Paris and sat for many hours in front of Yves Klein’s IKB19I, essentially a canvas painted blue of approximately three by four feet in size (illustrated). I wondered what I was looking at; as the viewer I wanted to know what I was experiencing, what was the artist communicating to me? It was a frustrating experience, with so little to go on, I was at a loss feeling that there was something that this encounter could reveal or inform, perhaps show something of myself. I understood Yves Klein was making me question myself, a wise other within me, who would show the importance of this encounter, there is a possibility that perhaps this is what LB and DB partly experience being confronted by these photographs. In the case of my encounter, it evoked in me the internal voice of my critical father, a negative, authoritarian, dismissive tone, questioning the value, ‘what was its point’; I was left feeling angry and unfulfilled. <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Yves Klein was also clearly also frustrated by the responses of some of his viewers.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">‘From the reactions of the audience, [Klein] realized that...viewers thought his various, uniformly coloured canvases amounted to a new kind of bright, abstract interior decoration. Shocked at this misunderstanding, Klein knew a further and decisive step in the direction of monochrome art would have to be taken’. (Weitemeier, H. 1994)<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">It occurs to me that for DB and LB, the above analogy might describe quite well their feelings of what faces them in their encounters with my work. Yves Klein, for me, and perhaps my project with DB and LB, brings us all face to face with expectations of our project together and the reality of the fears and frustrations ahead, this may leave them as I was left, confused, frightened and perhaps unfulfilled. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">The classical approach to psychoanalytical treatment would have been a unilateral process; the patient working towards awareness in the presence of the all-knowing therapist and in this process could be offered respite from psychic pain. Now, the analyst’s experience is seen as an important part of this process and is no longer simply, in the words of Glovacchini (1994), ‘the direction of treatment flowing from the patient to a blankscreen analyst’. The notion of scrupulous neutrality and non-responsiveness of the therapists’ past or present being involved with the workings of the patient’s internal mind is now seen as a hindrance to understanding. As Langs (1978) writes, ‘the patient is constantly monitoring the analysts countertransference attitudes and their associations (my associations with the assessors feedback) can often be understood as “commentaries on them”’, (p509) <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Fenichel believes that the suppression of countertransference in the therapeutic engagement is equivalent to the suppression of human feeling and the concept of countertransference is seen as a vital tool in which to describe the very early interaction of mother child attunement. ‘This recognition of the importance of a reciprocal relationship and its integration into contemporary psychoanalysis has spelt the death knell of the blank screen method’. If these responses are suppressed, or not conveyed, through interpretations of the work, will this affect the data collection in this research project?<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">I had transferred my desire, as a viewer of the artwork IKB 191 to gain insight and knowledge from the encounter, when I didn’t get anything back I had the experience of frustration and a sense of loss. However the reality in a therapeutic engagement with a client, a meeting with a thinking and feeling other, is of course a very different situation. This is not a unilateral engagement as in the photographic assessments, but a far more complex intersubjective, creative dyadic experience. As artists, the question is, how do we reveal parts of ourselves through exhibition, and how does the viewer experience this engagement? Do they see on this blank screen, an opportunity of creativeness (use), a shared experience, or do they see their own projections and defences, perhaps distorted reflections of their own? <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Winnicott (1982) ponders the difference between simply ‘object relating’ and ‘object usage’ and that the capacity to use an object is very different from that of object relations. The continual projection on to a screen and introjection of those reflections, is a crucial part of the client work, however this could be seen, as simply setting the therapeutic framework for the more important role of object use. It is the survival of the therapist through these exchanges that develops object ‘use’. The object becomes more meaningful; its survival (continued project) becomes this new-shared reality of client /therapist, viewer/artist. This ‘use’ becomes a shared experience and not simply a screen on to which has been bombarded projections. In Winnicott’s term, ‘part of a shared reality, not a bundle of projections’ (p118). <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">When one talks to a patient, they are aware I am listening, however if we create an image or symbol that resonates with us, through interpretation, they will sense I am in touch with them (this is also the nature of art and its affect on the viewer). Responsive dialogue involves a match, or ‘fit.’ However, when this isn’t achieved, what then? Wright (2009) says the artist, in this space, is poised on the edge of ‘no mother’ (the un-attuned mother), so hence the artists compulsion to go on creating or the viewers urge to go on searching for meaning.<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">Through this project, I try to put my inner psychic experience into images for assessment. I describe my own work and compare this with the interpretations from the examiners through the lens of psychoanalytic theory; in offering these artworks to be viewed, an attempt to imagine what is this inner state being experienced, is. Can this empathy and identification be achieved through the viewing of photographic artwork? Are counter transference and the interpretative responses an important part of the process, as the assessors feel their way into the meaning of the work, just as the therapist would feel themselves into the intra-psychic world of the client. Is this is what I am actually asking of LB and DB.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;"> ‘When the medium gives the artist what he needs then he experiences joy and self-realisation. The panic of facing the blank canvas is a re-enactment of the primitive anxiety of the non-adaptive mother, the distracted mother’. (Wright 2009)<o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">The viewer that gets too frightened is re-enacting this concept of an un-adaptive mother also. He/she may be frightened of the blankness that confront them, trying to get a response, the non-smiling, silent face, that makes the client feel he is not recognised. The client doesn’t know what you are thinking, in part they want you to be this blank screen; in this state it may be familiar, from this place, they can think the worst (of themselves or the artist). <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">This communication of aspects of self is a rapid oscillation of projection and introjections, says Money-Kyrle, unconsciously acquiring affective experience. As the ‘normal’ form of interaction, this builds the therapeutic alliance and leads to an understanding through interpretation. Loosing the thread however, can produce certain anxieties within both client and therapist; this is where periods of interaction overlap with experience that have not been resolved in the therapist; I sense of losing touch or grip, a break in the empathic bond. The email exchange indicates that perhaps LB fears losing grip and DB may have already lost it. In a therapeutic situation, if we cannot tolerate the client that cannot be understood, the patient can be shut out, feeling abandonment; this creates a ‘further bar to understanding’. <o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-size: small;">So, I offer a screen onto which the viewer can project, collude and be frustrated, the artwork is at times the ‘no-mother’ to my examiners. In my encounter with Yves Klein, I transferred my desire for knowledge and insight of myself, but when I didn’t get anything back I felt frustrated and at a loss. (Yves Klein, in producing IKB 191, was perhaps compensating for his own deficiencies in attunement, making reflective forms of his own, and through this process, gaining an ability to exist and feel real). <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">A part of me is in the room with the assessor and the viewer’s countertransference is therefore a very valuable access point to this world of the artist. However, even without facts, the viewers reveal much of themselves, in their interpretations. Being passive, as the artwork is and to some extent persecutory, will leave the observer feeling as I did in the encounter with Y. Klein, angry and unfulfilled. However there is a form of dialogue building in the form of the continuation of the project, a shared creativity. Future images, although as yet unproduced, will reveal yet more from the producer and viewer, the artist will adapt, this becomes over time, the dialogue between artist and examiner. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: small;">Spencer Rowell 2012</span></div>
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