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The Conversation
Contents:


  1. Fredonia Foundations Classes By Themes
  2. Surrealism
  3. Artists | art & science
  4. The Outcomes of Ingroup Favoritism
  5. Feb 2nd 12222 | 10:00 am - 6 pm

This is mine. The focus of art work is on gender based female and socio-cultural topics. An important task is the female body and the outgoing connection to created symbolic meanings of gender in history and nowadays. A main emphasis is on performative works. Milan Pajk — photography, Prof. Sre o Dragan — video and new media in the year It is possible to explain and define art through psychological theories and models, as well as to create art through these basic thoughts about constructing humans, life, and society.

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Fredonia Foundations Classes By Themes

For instance, in video pieces that I created, I am interested about relations between man and woman as gender constructions. Since our society and in particular gender relations are defined by who possesses the power and is in control, the theory of the male gender possessing language, gaze, and power, with this being phallic, explains a lot about dominant gender discourses. While restrictions and patterns from controlling mechanisms e.

Personally, I find psychological theories very interesting, and so e. Or, how can we face unconscious structures, making the non-visible visible, when not through art? Leaving traces of unspoken dialogues, within beings and the connexion? The "id" being made up of unconscious energy that satisfies the basic urges, wants and needs and the "ego" representing the individual's sense of pride and accomplishment for an action.

It 's the basis of creativity in general The Artist has the initial desire to create an artwork, a painting or sculpture It doesn't matter, once the Artist starts. This "initial desire" becomes a need as the piece develops into a tangible object and the Artist will transform this object into a work of art, once his sense of accomplishment is satisfied.

It happens all the time You are just not aware of it. When viewing an artwork, one cannot resist the temptation to analyze the art that is presented to them. Aesthetics, is the first thing that comes to mind Do I like it? In painting, the artist intentionally applies several elements of imagery, color and texture to convey an intended message to the viewer and whether or not he or she has done it successfully, reflects in its appeal towards the audience.

This is a painting of a red apple Apples are predominantly red, the viewer subconsciously is aware of this and the appeal of the painting in many cases is positive. If that apple were to be blue The case would take on a whole new dimension with the viewer wondering if something was wrong Was the artist depressed? Was the artist high when creating this altered state? Or was the artist insane in presenting such an abomination of fruit-hood. Either way, the artist had achieved what all artists seek, a reaction from the viewer. This "reaction" has the viewer thinking, " Why did the Artist paint this?

This communication is the basis of what an artist would deem, makes a work of art, successful. It fulfills the "ego" part of the artist's personality. This subconscious communication can be intentionally applied to greatly affect the audience. The Intersection of Art and Psychology "Film before a film: a period of time for a suicide victim" Synopsis— meta-conception Descriptive Line — suicide metaphor; meta-forms; reasons; after-effects; the given things in Baltic countries, interjecting the story of perspective young Estonian artist, "Laur Tiidemann", creation, adventure and tragic death by self-immolation story as a motif for making a solid composition; at the same moment unifying the medias of a film documentaries and acting.

The rhetorical questions. What is the purpose of life? Where does the worth of living lies? And the others… More than half of questioned young people in Lithuania, approximately, aged from 16 till 36 years old, had a thought about suicide. Did they make it already? Will they? Maybe they are doing it right now?! It is a film for a film including a rhetorical question to ourselves We think that the Third World War will never begin Together we can save lives of young people in this post soviet countries Direct suicides — sudden death.

Meta - forms. Abortions as far as I know, in Lithuania the number of them is one of the biggest according to countries scale. Usage of goods, things…people. Audrius V. Plioplys; All rights reserved painting on canvas, 5 x 12 feet; print on paper 20 x 46 inches Valley Peacefulness from the Metamorphosis series Copyright Audrius V. Plioplys; All rights reserved painting on canvas, 5 x 12 feet; print on paper 20 x 46 inches Art of Consciousness For 35 years, Dr.

His art work is neo-conceptual: a metaphorical investigation of thinking and consciousness. With 34 individual exhibits and 86 group shows, his works are displayed in museums, universities and major art collections internationally. Plioplys has transformed the artist's studio into a neurobiology research laboratory: he has merged neuroscience with art.

His artistic education is entirely self-taught. When I left medicine, I had no intention of returning. What changed my mind was steadily growing guilt: I was not helping others with my neurologic training. When I returned to neurology, I realized that I must combine my artistic explorations, with my interests in cognitive processes, an activity that has continued over 30 years.

Surrealism

Taylor says: "Plioplys's art inspires viewers to navigate the architectural landscape of their nervous system and ponder all of the elements that define our humanity. Neuroscientific concepts can be challenging to absorb, but Dr. Plioplys's artistic investigations foster a sense of wonderment and philosophical exploration. His neursocientific art is proof that scientific research has no boundaries and that art and science no longer have to be mutually exclusive entities.

Plioplys; All rights reserved painting on canvas, 5 x 12 feet; print on paper 20 x 46 inches Veil from the Cosmic Consciousness series Copyright Audrius V.

Artists | art & science

My art is neo- conceptual: a metaphorical investigation of thinking and consciousness. I have transformed the artist's studio into a neurobiology research lab, merging neuroscience with art. My art works are archival-quality, digital paintings. The underlying images are based on previous photographic art works. I transform them into exotic forms, just as our memories transform visual impulses into vast neuronal web-works. Multiple layers are assembled, modified and blended. My own MRI brain scans and electroencephalograms brain waves are interweaved.

Science Of Persuasion

From neuronal complexity words, thoughts, and consciousness emerge. Artistically, I am fully self-taught. The seed of art was planted by a childhood friend in Toronto. During medical school at the University of Chicago, I started painting, and the passion for art grew uncontrollably. After internship, I left medicine entirely, to create art full-time.

Three years later, after many exhibits and positive critical reviews, I started to feel very guilty that I was not helping others with my knowledge of neurology. I realized that I must return to medicine, and at the same time, combine my art with neuro- scientific investigations.

I have had 34 individual art exhibits and participated in 86 group shows. In Minneapolis, eight of my works, including large scale ones, are on permanent display in the American Academy of Neurology headquarters, which opened a year ago. My paintings are in many museum collections internationally, and a suite of my art books are on permanent display in a modern art museum near Marseilles, France, which opened three months ago.

In recognition of my work organizing the year-long Hope and Spirit program, a commemoration of the 20 million victims of Stalin's atrocities, I was designated Man of the Year for by the Balzekas Museum of Lithuanian Culture in Chicago.

Past Residents

My neurologic investigations concentrated on cognitive disorders, from autism in children, to Alzheimer's Disease in the elderly. For twenty years I worked to improve the quality of care provided to severely disabled cerebral palsy children, and reported the world's best survival rates.

I retired from neurology four years ago, and am, again, engaged in art full-time. Subsequently, I will then investigate the emergence of the Shadow in images produced in a personal experiential session, followed by an examination of the Shadow in work produced by a client in the therapeutic environment. Firstly, I would like to introduce briefly the research and literature that I have found to be beneficial in undertaking this thesis.

These include a brief synopsis of historical factors in art psychotherapy that have shaped the practice as we know it today, followed by more recent neuroscientific research, which demonstrates and supports how art therapy and art psychotherapy can benefit cognitive and emotional brain functions in individuals.

Finally, I will present the reader with two case vignettes that I consider exhibit the connection that is made between the conscious and unconscious in Child Art Psychotherapy, how the Collective Conscious is demonstrated, and how the Shadow can emerge and be incorporated in the therapeutic environment. The first vignette is from a personal experiential, and the second, comprises the totality of therapeutic work completed with one client in particular who I have named Stephen. At this time I would like to clarify why I have chosen to include an example of my own experiential work.

After much personal debate throughout my training, I feel it is only fair and just to explore my own work created before hypothesising about the work of clients. Moreover, I believe it gives further insight when investigating ones own work first, to know oneself better, before engaging in the therapeutic process. I will attempt to convey the presence of the Unconscious, Collective Unconscious and the Shadow in two clinical cases for this purpose. Initial Considerations II.

The clients name has been changed to Stephen, but significant details pertaining to Stephen have remained the same. These include his age, his history, his familial relationships and his referral to Child Art Psychotherapy. Any other information that could be perceived as distinguishing to the client have been modified or removed in order to protect his identity.

Chapter 1: Introduction For the purpose of this body of work, I would like to take a look at the role of the Unconscious, the Collective Unconscious and the Shadow from Jungian psychology in Child Art Psychotherapy. The modality devised by Vera Vasarhelyi in which we work facilitates the connection between the conscious and unconscious, and the aim of this thesis is to further support this theory by investigating aspects of Jungian psychology in relation to the images and events experienced in the therapeutic environment.

Chapter 2: Research and Review of the Literature When researching this thesis, I found it helpful to reflect on the origins of art psychotherapy. One comes upon a plethora of studies that are method-specific in art therapy and art psychotherapy when embarking on an exploration such as this, as art in therapy is useful in so many instances.

Historical Elements in Art Psychotherapy Art can be traced back as far as prehistoric times, coming before language, and used as a tool of expression. Visual art used as a therapeutic ritual instrument can also be seen in cultures around the world today, for example, in Navaho sand paintings Fig.

Margaret Naumberg is considered by many in the profession to be the pioneer of art therapy, another influential figure being Edith Kramer. Naumberg practiced first as a teacher, then psychotherapist, and later as an art therapist, and established the Walden School in New York City in The philosophy of this institute was to encourage children to express themselves creatively as a means to educate.

Naumberg was influenced greatly by the work of Jung and Freud, as their theories infiltrated across Europe and the US. She implemented their psychoanalytic mode of working into her own practice as an art therapist. That is to say, she combined the potential of accessing the unconscious through images with verbal therapy. Centre for Health and Healing, Although art therapy was being practiced by a number of individuals, Naumberg distinguished her practice by referring to her work as Psychodynamic Art Therapy Naumberg, Edwards, D.

In , Navratil opened the Centre for Art and Psychotherapy, a residential community comprised of patients who he considered artistically talented. Wernerberg Museum, Art therapists began to emphasize the therapeutic potential of art as a therapy, whilst art psychotherapists combined this capacity with the therapeutic structure of psychotherapy. Therefore, in brief, the art psychotherapist avails of the psychotherapeutic environment, meaning a safe place is provided for the client to explore their unconscious through images and verbally, if they so wish.

Today, three main types of art therapy are practiced Hogan, The first Hogan lists as Analytic Art Therapy, derived from analytical psychology, specifically psychoanalysis. This particular form of art therapy focuses on the transference relationship that develops between client and therapist. Secondly, Hogan speaks about Art Psychotherapists, but notes that it is a difficult therapeutic practice to define as it at times combines visual and verbal therapeutic techniques, but this should not be assumed.

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Thirdly, she discusses Art Therapists, explaining that verbal analysis is not a necessity as the emphasis in the therapy is on the image. Neuroscientific Research and Art Psychotherapy While there is a lack of experiential research in art psychotherapy, this may be a result of it being a relatively young, yet burgeoning form of therapy.

It has been highlighted by McNiff , Malchiodi , and Kaplan , , that there is an absence of both qualitative and quantitative research in the art therapy profession, and that this must be addressed in order to fully comprehend the benefits of art in therapy. However, this appears to be changing, as neuroscientific researchers appear to be recognizing the positive effects of art therapy and art psychotherapy in the treatment of cognitive and emotional disorders. As stated by Lusebrink , art therapy concentrates on the relationship between the visual and somatosensory.

In other words, imagery is an expression of emotional experiences, and art therapy aims to explore how these experiences can affect our thoughts and behaviour. Research has found that art therapy has benefitted the rehabilitation of physical injuries Kaplan, ; Menzen, , along with assisting mental and emotional healing Kaplan, ; Malchiodi, a, b.

Furthermore, art therapy can augment cognitive and emotional growth Kaplan, ; Menzen, ; Rosal, It is worthy to note that the emotional release, catharsis, and healing experienced through the process of art therapy has been conveyed by Malchiodi and Hiltebrand In understanding how image making works in the brain, Lusebrink explains that the individual creating the image uses complex cognitive activity, including decision-making and internal imagery.

In turn, this activates the sensory channels and motor activity Schorr, The right side of the brain is associated with visual imagery and memory, and the left side, verbal and reasoning. The genome, which carries the entirety of our hereditary information, Wikipedia, is at the source of Dr. This, in turn, suggests that art psychotherapy could modify our genetic make-up, Husky, Vital to neuroscientific research is the effect that art therapy has on the amygdala, the thalamus and the anterior cingulate cortex of the brain.

Carr writes: Art therapy practices seem to engage the ACC [anterior cingulate cortex] as well as complex regulatory centers in the PFC [prefrontal cortex] that utilized explicit and implicit memory to problem solve and create novel ways to diminish expressed conflicts.

Multimodal contexts available during art therapy invite creative, comprehension-orientated and expressive possibilities that avoid becoming simplistically linear or impulsive. The bilateral orientation of art therapy draw upon the functional differences in both hemispheres to facilitate individualized, coherent and integrative resolutions of present, past and evolution based disruptions in self-functioning within a safe, manageable psychosocial context.

He concludes: By engaging intrinsic communication processes facilitated by neurotransmitters and hormones, art therapy seems poised to enable positive therapeutic changes while possibly enhancing synaptic plasticity and creating multi-tiered psychological outcomes. Jungian Psychology Jungian psychology, as with so many others, can be difficult to digest, complicated to understand, and confusing when trying to comprehend. I have found that many of his theories are appropriate and suitable when working in Child Art Psychotherapy. Jung Freud had originally described the notion of the unconscious as being a larger realm in which the conscious resided Edwards and Jacobs, This, for me, is such a poignant, hopeful and divine concept.

The idea that we can, as humans, heal both mind and body through our conscious and unconscious is a profound notion, and it really exemplifies the virtuosity and intellect encompassing Jungian psychology, particularly considering how it is only in recent years that this has begun to be investigated further in neuroscientific research and brain plasticity, as discussed previously. From when Jung was a child, various emotional and psychological experiences had begun to present to him the separateness of the conscious and unconscious, which ultimately led to the conception of his life long body of work.

He noticed erratic table movements, knocks and shaking, all caused unconsciously by the participants. This occurrence, Jung believed, demonstrated the power and ability of the unconscious. Both believed in the concept and powerful nature of the unconscious, but their ideologies often differed, particularly in dream analysis Edwards, Jung, , Edwards and Jacobs, Jung described Active Imagination as being a process of lucid dreaming, where the ego is aware and the unconscious comes to the fore, therefore experienced consciously Ed.

Papadopoulos, However it was not until later, when he began piecing them together simultaneously through archetypes, that he came to realise what these aspirations really meant. These times were covered in the Red Book, and the emblems that the archetypes comprised and their origins can be found in Man and His Symbols. Jung proposed that the archetypes have habitually existed and will habitually live as part of the collective unconscious.

It is often believed that people are uncovering new archetypes. However, they are not really being conceived, but rather discovered, and the number of archetypes in the world is limitless. New archetypes are discovered by seeking deep inside one's self. Fordham, F. They were collective in the sense that they embodied the fundamental characteristics of a thing rather than its exact characteristics. In detail, many of Jung's concepts were common in Athenian philosophy. The archetype idea can be seen as a psychological matching to the philosophical idea of types Princeton.

The psychological forces he experienced provoked Jung to delve into the historical connections between the conscious and unconscious. He described archetypes as deriving from human instinct: the physical and biological impulses that drive humanity. His concern was with bridging the biological and psychological aspects of the individual Munk Tomyai, M. But these are nothing more than conscious representations; it would be absurd to assume that such variable representations could be inherited. Jung, C.

He furthers his explanation of the archetype by comparing and contrasting it to fundamental human instinct. He states: Here I must clarify the relation between instinct and archetypes: What we properly call instincts are physiological urges, and are perceived by the senses. But at the same time, they also manifest themselves in fantasies and often reveal their presence only by symbolic images. They are without known origin; and they reproduce themselves in any time or in any part of the world… Ibid, p.


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In brief, Jung considered the Self to be a spiritual entity that unifies the conscious and unconscious parts of our psyche. In January , twelve high school students from the same school in New York State developed Tourette-like symptoms simultaneously. After much investigation, doctors determined that it was a case of mass hysteria CBS, This leads us into the final element of Jungian psychology that I would like to address in this thesis, that of the Shadow. He writes: On some parts of the ceiling of the caves…were…what pre-historians call negative hands.

To represent hands, prehistoric man used two devices. The simplest was to paint the hand and to make an impression on the wall, leaving a direct imprint. The second was more indirect and sophisticated. Here the hand of the drawer does not draw itself. Instead it is placed on the stone and the paint applied all around it, allowing the colours to spread out, perhaps to rather marvelous effect.

Then it separates from the wall, and the blank non-drawn hand appears. Green , p. However, when considering Jungian psychology, we might speculate that these images came from the Collective Unconscious, and perhaps the negative Green speaks about is representative of the Shadow. In this paper by Green, he follows the impact of the end or death of the emotional bond between a child and their mother.

Could this void, therefore, allow for the shadow to emerge? There are a number of crucial elements when considering the Shadow: our Shadow may be more apparent to others than to ourselves; it is a constant; and individuals do not see their shadow as belonging to themselves, but see it projected on to others Edwards, For example, one may not see oneself as angry, perhaps that anger is repressed, but they may perceive others around them as angry.

As with the personal unconscious and collective unconscious, there is also a personal shadow and a collective shadow. Examples of the personal shadow can include envy, aggression, greed, laziness and jealousy Papadopoulos, The collective shadow can be evident throughout history, an example being that of Nazi Germany and the treatment of Jews, who were portrayed as inferior beings and needed to be exterminated Papadopoulos, In Jungian analysis, the shadow is often the first element of our psyche to be examined Papad. Perhaps the Holocaust, although a radical and dramatic example of the collective shadow, is enough to demonstrate the significance and potential impact of shadow work.

Introduction Child Art Psychotherapy aims to assist children who are having difficulties verbally communicating their emotional conflicts. The issues that Child Art Psychotherapists may work in include cases dealing with children and adolescents suffering with post traumatic stress disorder, depression, eating disorders, anxiety, and ADHD to name a few. Through the use of pictorial language, the child is encouraged to relate their images to their feelings in a therapeutic environment.

For example, the importance of boundaries, confidentiality, the formation of a safe space for the client, and consistency remain considered. However, there are four factors particular to it, which we will now discuss. The Intersection of Art and Psychology 1 Images are used for pictorial communication Communication can be defined as the exchange of information between two entities. Pictorial communication is simply a mode of communication that is unique to the individual. Jung considered art to be a vehicle by which we could manifest our thoughts, feelings and emotions into something tangible: an image.

Our role as therapists in CAP is to facilitate this communication by encouraging the client to bridge their visual manifestations with their emotional through colour, texture, form, etc. It is imperative to recognise that the client creates their own, unique way of communicating through various media. Therefore they are both owner and expert of this non-verbal language, and the therapist the observer and student.

Natalie Rogers further emphasised this when she stated: The person-centred approach to symbols leaves room for educating ourselves as to the meanings of our symbols, but in the final analysis we are our own message-givers. Rogers, , p. Perhaps the client becomes more confident in their ability to create an image once they fully understand the concept of Child Art Psychotherapy, in that it is not an art class or test, but rather it is about them expressing whatever they need to express.

Perhaps they are also becoming more comfortable with the process, and a therapeutic relationship between client and therapist is beginning to develop. An important factor to note when in the therapeutic environment is to always bring it back to the image created. Of course, we need to note what the client is saying, but emphasis needs to remain on the image.

This is further highlighted in our own interpretation of the image. While we are encouraged to do this, we must hold it and not express our personal considerations. This is the clients image and their interpretation, if any, is what is of significance, whether it is voiced or not. What I believe to see may be the actuality, but that is not the point. Something may have been revealed to me in that image, and if so, I must hold it, but I do not take it to be fact.

It is the unconscious, not the conscious, being conveyed, and it is for the client to experience this disclosure, and the therapist to facilitate and support. This allows the client to connect their pictorial language to their feelings, without the influence of the therapist. This is achieved by allotting a period of time with the client wherein the therapist leaves the room where possible, allowing the client to work alone on their image. In turn, this allows the therapist a fresh perspective when shown the image created by the client. This is something negotiated between the client and therapist, and this compromise, I believe, helps to establish the autonomy of the client, and allows the client to begin to trust you as a therapist.

To give that choice and space to the child must be very empowering for them, to have that control over their process and work. In these essays, he examines the purpose of having art exhibited in neutral spaces, or white cubes, and the effect this has on the art itself and the experience of the audience, or in other words, the art becomes free of context. This is how I view the notion of the empty space in the therapeutic environment; that the aim is for the work produced in there to be free of context, allowing it to become its own entity.

It is impossible to clear this space for many reasons, and this transition to a new space affected both the clients and myself. For example, one client even used the phone one day to call reception while I sat outside the room. Another took to copying a Miro painting framed on the wall, and repeated this image a number of times, however, this in itself was quite interesting. But these issues slowly dissipated once the child became adjusted to the new environment.

Yes, it is not the ideal, but once the surrounding clutter itself becomes a constant, and the therapeutic space remains unchanged, it begins to resemble that empty space. In order to tell a story or to describe something, a considerable amount of thought and composition is required. According to Vasarhelyi, pictorial thinking operates in a different manner to verbal communication. The image can present all or some of these tenses at once.

It is not necessarily chronological, and therefore surpasses our concept of time. This timeless component allows the expression of the complex conscious and unconscious modus operandi of the client through the image. There is no trouble about time in the unconscious. Part of our psyche is not in time and not in space. In the initial session, the client is encouraged to depict their self-image. The second session is structured toward the client representing their family unit, and in the final session, the client is asked to return to and illustrate their first memory.

Upon completion of the three sessions, it is left to the client to decide whether or not to continue with Child Art Psychotherapy. The three semi-structured sessions afford the client the time to develop their own unique pictorial language. Within these sessions, the empty space offers the client the opportunity to relate and connect to their images, away from external influences.

Considering these elements, Child Art Psychotherapy is an insightful method once the structure is observed. It allows the child the time and therapeutic space to express themselves, to connect with the self, whilst the therapist supports, listens, observes and encourages. It is a person-centred process, with the hope of ultimately empowering the client through the development of their own pictorial language, and connecting their conscious with their unconscious to help consolidate inner conflicts.

Child Art Psychotherapy is an experience of learning and discovery, for both client and therapist. Chapter 4. Initial Considerations According to Vasarhelyi , there are three types of image making that are analogous to the part of the psyche engaged. They are: --When time appears chronologically in an image, then the psyche is operating on the ego-conscious level. I propose that in both case studies presented, the first being personal experiential work and the second of the therapeutic sessions of a client Stephen, that we are functioning on the level of the individual unconscious.

That is to say, that time fluctuates in the images produced, there is no evident chronological order, and I propose that through accessing and expressing the individual unconscious through our own personal visual language, our personal unconscious shadows become evident. Case Vignette: A Personal Encounter with my Shadow As a mode of examining what I believe to be the emergence of the shadow in my experiential work, I have selected two images from two consecutive experiential settings.

In practicing Child Art Psychotherapy, I have found that to have insight in to my own psyche through experiential work and personal therapy has been of huge benefit to me when working in the therapeutic setting. Jung wrote: The psychotherapist must understand not only the patient; it is equally important that he should understand himself. For that reason the sine qua non is the analysis of the analyst, what is called the training analysis. Only if the doctor knows how to cope with himself and his own problems will he be able to teach the patient to do the same.

Only then. In the training analysis the doctor must learn to know his own psyche and to take it seriously. If he cannot do that, the patient will now learn either. He will loose a portion of his psyche, just as the doctor has lost that portion of his psyche which he has not learned to understand. Jung , p. First I made the observations and only then did I hammer my views. Jung par In many senses, this description is appropriate when considering my experience. I too have allowed my hand to guide the brush, reflected upon the image created, and noticed that there perhaps was a dark instinct behind the creation of the image.

Before exploring this notion further, I would like to talk about the importance of process for me in the experiential sessions, followed by a brief overview of the aesthetic themes in the images produced. Interestingly for me, while I was working on this thesis and began to look at the aesthetics, process and writings from the experiential settings, themes began to emerge that are connected to what are now more conscious thoughts and ideas.

These themes were previously simmering beneath, or unconscious. Although there are many themes from different trains-of — thought, from reflecting on the sessions and images produced, and from reading the jumbled words written in my journal after producing an image, there are those that are more striking that I feel compelled to look at a little more. These will be discussed more in depth in relation to two of the images a little later on. What I have learned about the experiential sessions is that process is of upmost importance to me.

The majority of the sessions have been similar, in that I have picked materials to work with that are simple and basic, I have had no conscious motive in the image-making, and I have endeavoured to work as freely as possible. The Intersection of Art and Psychology There has rarely been a moment of distraction when working, and generally the images have flowed easily. But the process of working becomes what is important. In order to further explain the relevance of the process for me, I have hypothesised that the conscious and unconscious are linked by the subsequent journal entries.

As the experiential session commences, the decision to put a line here, or a mark there, begins to resonate. Excitement builds as these lines and marks make a form, and this form becomes something tangible, like The Giants Causeway, Rolling Hills, or Boiled Cinnamon Sweets.

And these physical forms convert into something else: a thought perhaps, an idea, or a sentence that is sometimes written on the image. For the most part, these images, thoughts and words do not entirely make sense, but instinctively they are appropriate. Perhaps my unconscious is engaging with my hand?

The journal entries are a cacophony of words, of thoughts evoked, of sentiments arisen while working on the image. They are jumbled words on a page, intercepted with segments of what appear to be part of a story, perhaps a fairy tale. They are a stream of consciousness, a brainstorming of verbs and adjectives, and an eccentric rambling of seemingly nonsensical jargon.

But they resonate with me. These jumbled words, I believe, represent a connection between the image produced and the unconscious. They are the link between the hand the unconscious and the image the conscious. Aesthetically, the images possess a similarity, and a developing visual language can be seen to emerge. They are made up of forms drawn in pencil or pen, sometimes charcoal is included, a bit of masking tape, or tissue paper.

The images are bold, definite, and distinct in their motives. The colour, when used, consists of basic primary colours of red, green and blue. Corporeal elements peak through, like a spine or some kind of alien organ, and these organic elements are juxtaposed by the structural forms and colours surrounding them. It is interesting to me that vexillologists who study the history and symbolism of flags also look at flags as an advocate of identity and a tool used in communication, for these images serve a similar purpose.

However there is one aesthetic element that appears in all the images, and that is the separateness within the images themselves. In all, there is a divide or disconnect within the images, a hurdle or a bump that makes the image not quite whole. Next, I will look at this perceived disconnect a little more in depth in an attempt to make sense of it by hypothesising a theory in relation to two images. When reflecting on the experiential sessions and looking at how my visual language has developed, two things struck me. There is a dark element in the images, a suggestion of something strange and unhinged.

In Freudian terms, the concept of the uncanny seems fitting when describing this aspect of the images. There is something uncomfortably familiar about them. Secondly, there is this disconnect that I mentioned before. The images appear detached from one another, and all possess a form or aspect that is assertive and secure, and another form or aspect that is unbalanced and disturbed.

There is a tension within the images, a tension which could be a signifier of conflict in the unconscious. Therefore, I pose the following questions: Are these images symbolic of the beginning of the process of Integration? Are these darker aspects of the images representative of the Shadow? Is this detachment in the images symbolic of the psyche recognising the Shadow, but not identifying with it? Are the confident and solid aspects of the images the Ego? In the first image, Fig. The smaller form appears to be throbbing or emblazoned by the fiery colours used, while the larger form is more solid, with a contoured body and red mark in the centre, which mimics the energy in the smaller form.

Both forms are connected by a cord and broken red outline, and this connection appears strong. It is angry.

Feb 2nd 12222 | 10:00 am - 6 pm

Pythia : Dreams can be so puzzling. Thomas Moore : Because dreams come from a place that is very deep and mysterious. Given our backgrounds that extend so far back in time, and all that stirs in us, as well as our material lives, we are all very deep and profound people. All this comes out in our dreams, so I think it would be weird if they were immediately clear! Thomas Moore : The first thing to do is record the dream, whether writing it down or taping it, as they vanish quickly. I recommend getting a little book and making it a ritual.

This gives dreams a presence in our lives that is special and important. I tell my dreams to my wife, and my daughter tells me her dreams. Sometimes if I have a really special dream I might call up a friend who is quite talented working with dreams and ask them about it—this gives me another perspective.

As there is such a close relationship between art and dreams, it would be a good idea to begin studying art more seriously, or to go to art galleries and museums and contemplate the images there. So even though it looks like a simple dream about what happened, or we think we know what it is, I would encourage individuals to take the dream a step further. Usually the dream offers an alternative to where we are. Pythia : One of the ideas that resonated with me from your book is the idea that we all have spiritually gifted people in our lives.

For example, you write about your Uncle Tom, a farmer. Thomas Moore : If you really appreciate what my book is saying, its message is pretty radical. Pythia : Thank you for this shift in perspective. I agree that confession is the key to come out of guilt. This is just one of the things I like about Christianity. After apologizing, I actually feel very relaxed and light.

More importantly, I was saved from going into depression. Why our immigrant heritage makes us the "last, best hope of the world. Our unpublished interview takes on new meaning in the Trump Era. Back Psychology Today. Back Find a Therapist. Back Get Help. Back Magazine. The New Science of Sleep Experts suggest ways to correct the habits that keep us from resting well.

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