Creating Art: A four-week long self-study

Art is an important way to express oneself and plays a role in releasing our emotions. I spent four weeks conducting a self-study where I used art as a means of self-expression. There are three steps to this process all of which were documented weekly (each time I expressed myself artistically, the quantity of which varied from week to week. For brevity’s sake, only one instance from each week has been documented and analyzed here).

The steps are as follows:

1.) Assess and record my emotional state

2.) Paint/draw

3.) Assess and record my emotional state (post-expression).

Each of these steps was followed for each artistic experience. One final step is needed to complete this self-study and that is an analysis of each individual painting, each painting experience, and the relationship between the two; each painting chosen from the four weeks will be analyzed here.

The aim of this study is to assess the validity of art as catharsis and to understand aspects of myself that would otherwise go unnoticed.

To assess my emotional state I used the PANAS-X  (Watson,D., & Clark, L, A., 1994)[1] a psychometric tool used to measure positive and negative affect states, as well as four basic negative emotions, three basic positive emotions, and four more complex affective states. Each score has been assessed and those that are of importance for each week will be displayed (pre and post-expression) alongside an analysis of the individual piece.

The PANAS-X uses a nominal 1-5 scale to rate emotions and affect, 1 for very slightly or not at all to 5 for extremely.

Week 1: “Fragmented”

fragmented

Fragmented, self-portrait

In the week leading up to this painting I was feeling sad, lonely, and blaming myself for my feelings of despondency/loneliness. I set the environment by listening to music that reminded me of home –this generated strong feelings of sadness. I did not plan what I was going to paint; I let my creativity flow naturally influenced by my mood and the music.

“Fragmented” is a self-portrait representing how I viewed myself. I am faceless because I no longer knew who I was and I was unable to identify qualifying features of myself (how do I identify myself in relation to a city and culture I have never experienced before, and do not feel at home in). Further I have no eyes because I Was unable to determine what my future looked like, or where I was headed in this city – I am essentially blind, emotionally and mentally. I felt disconnected from myself, and a big part of that feeling stems from the relationships and connections I left behind.

The image is simple yet bold, clearly expressing my inability to identify with the city I am in, or the people in that city. Sandra Turner outlines this feeling in “Encountering what is possible – the impact of role development in facing existential crisis”: “When anything fundamentally threatens our way of being in life, the manner in which we each know ourselves, this becomes an existential threat. This threat potentially brings a loss of a way of life often coupled with a loss of the community to which we have made a commitment. We can no longer act as we normally would and this brings a loss of confidence […]” (Turner, 2002). Although Turner is referring to psychodrama and roles within psychodrama, this sentiment can be applied to my situation.

The act of creation for this piece generated a wealth of emotions – I began crying throughout the process, and found myself still crying post-painting. Staring back at the image of a faceless self I realized how fragmented I truly felt.

After creating this piece I did experience a significant emotional breakthrough, which made it easier to talk about my feelings with my significant other. I was able to understand where I was emotionally and why I was feeling this way. This helped me assess my current life situation and discuss changes I could make in my life to make my transition easier. It opened the pathway of communication about our hometown and it was comforting to know that I was not the only one experiencing these emotions. I had let my emotions completely take over my life, and being able to express how I was feeling allowed me to clear my head, see the bigger picture, and make necessary changes. Not only did the process act as a cathartic experience for me it facilitated continued emotional outlets – by communicating with friends, family and my significant other – I was able to deal more effectively with my emotions, and be more readily able to identify what I was feeling in the moment.

As we can see from the graph below a significant number of negative affects and emotions represented on the PANAS-X were typically experienced at a 1, 2 or 3, more often than at a higher rate. However, those affects that were most strongly felt were more interrelated than others recorded. An overwhelming amount of emotions were centered on dissatisfaction, anger, or blame towards the self, which influenced other significant emotions such as feelings of sadness, loneliness and being downhearted.

It would only make sense that during a time where I was concerned with feeling disconnected and estranged from my self, my friends, and my hometown, I would be experiencing feelings of sadness, dissatisfaction and loneliness more so than I would be experiencing feelings of fear, hostility and guilt. As we can see I did experience these feelings, just to a much lesser extent than the other more salient emotions outlined.

untitled

In comparison to the positive affect scale, I was feeling significantly more negative emotions. If we look at the graph below demonstrating the positive affect, we can see that for the most part my rates were ranging between 1-2, meaning there was no significant differentiation between positive affect states, but there was a significant difference between my negative and positive affect states. The negative emotions I had been feeling did have an effect on my positive emotions influencing the likelihood that I would experience them. For instance, confident, enthusiastic, and happy were all rated at a 1, which is uncharacteristic of my average affect. This indicates that my negative affect significantly influenced not only how I experienced negative emotions, but also how I experienced positive emotions. Since the strength of my negative affect was so strong this actually influenced the likelihood that I would experience positive emotions.

positive1

An important part of this experiment was measuring my affect pre and post expression and comparing the scores. Taking a look at my scores post expression I still ranked experiencing negative emotions and affect more so than positive ones, but to a slightly lower degree. Further, my positive affect increased by 1 point on affects and emotions that had been rated higher in the pre-expression assessment. However, my affect did not change for those scores that were rated lower, possibly because my negative affect was still felt relatively strongly, and possibly because feelings of joyfulness, and cheerfulness were not strongly felt prior to painting. This suggests that the artistic experience did help me emotionally, but it is hard to determine whether it was catharsis or my feelings towards the resulted image that influenced this change in affect.

positive2

These changes suggests that artistic expression does impact affect – it helped me express what I was feeling in a concrete, physical way, which helped facilitate conversation about my feelings.

The change in my negative affect can be explained by my newfound understanding of my emotional and mental state – upon completion of the piece I was able to see the whole picture. After completing the image the reason my negative mood states decreased, in particular feelings of loneliness and downheartedness, is because I was able to put into words how I was feeling and I was able to share these feelings with a confidant. As mentioned before, the painting represents a physical manifestation of my emotions in regards to my self, my relationships and my hometown. As we can see in the graph below, similar to the positive affect scale, not all affects were affected or altered.

negative2

It is of particular interest to note the changes in my feelings of anger, sadness and loneliness – because they all interact with and affect each other. Since the painting experience acted partially as catharsis I was able to express some of these feelings of loneliness and sadness in my image. Once these feelings were expressed I was able to understand them better and the source of these feelings. This of course made it easier to communicate my feelings, which further acted as catharsis.

Limitations to this process include that I cannot determine whether my emotional expression was better facilitated through the music, or if my resulting emotional state was due to painting, listening to music, or a combination of both. Regardless, this process made me introspect a great deal, focusing mainly on my negative emotional state in the previous weeks leading up to the experiment. My emotional state was significantly more potent directly prior to the expression (within 2 hours), but averaged the week prior.

 Week 2:”Floating”

floating

Floating

The process for this particular piece was in contrast to “fragmented” – I did not need music to motivate my emotions or memories, in fact, the expression was very much a result of my environment and current life events. By environment I am referring specifically to my apartment and the influence the rooms and noises outdoors had on my emotional state. The time of day, the activities I was doing at the time (drinking coffee, writing), and the sound of the street mixed with the birds reminded me of home. This made me feel very much at ease, relaxed, and tranquil, and played a significant role in my overall affect. Of course, because I was thinking of home and feeling more connected to my home I undoubtedly experienced negative emotions as well as positive ones – the difference is that the negative emotions were felt less strongly than the positive emotions. For instance, while painting I was focused more on my positive feelings: feeling proud, happy, inspired and so on, than I was on my negative emotions.

As we can see in the graph below the negative affect scale averaged a score of 1, whereas the positive affect scale averaged a 3, which translates to “moderately felt” on the PANAS-X affect scale. It is interesting to note that even though I felt positive emotions and averaged a much higher positive affect than negative, I still felt negative emotions, and these surely impacted the expression of my positive affects.

If I were to have not felt negative emotions to the minor degree that I did (for instance, while I was rating my inspiration, pride and happiness around a 3 or 4, I was simultaneously rating my feelings of loneliness and downheartedness as a 2), my positive affect would not have been affected so greatly. That is, had I rated my loneliness and downheartedness at a 1, my feelings of inspiration, happiness and so forth perhaps would have been rated between a 4-5, making my positive affect much stronger than my negative affect.

negative3

positive3

What we should also consider is how my general positive affect further influenced other aspects of my emotionality. For instance, my ratings on the self-assurance dimension were quite strong as well in comparison to the week prior, where my scores of confidence, pride and strength were around a 1. The average score for the self-assurance dimension was 2.83 (rounded up to a 3), indicating that my positive affect had a significant influence on other dimensions of positive emotions, particularly aspects of self-assurance (my feelings of inspiration and happiness influenced my feelings of confidence and strength of ability).

selfassurance

When we look at the image “floating” itself, we can see each of these positive emotions reflected. The reason this image was so easy for me to paint was because I was feeling very expressive physically, and so it was easy for me to direct that passion and energy into creating this piece. The image displays myself floating with balloons – showing a lack of gravity.

This demonstrates how I did not feel held back by anything at the time – particularly my emotions. This image represents a sense of free-floating lack of attachment – to my surroundings and to any given situation. I felt so strongly connected with my home that I was spiritually, or emotionally transported to a time and a physiological as well as psychological state reminiscent of those experienced on a similarly positive day in Ottawa. These feelings of floating were also influenced by the fact that I had received positive news, which essentially made me feel “on top of the world”, which is reflected in the image.

After the painting was complete I completed the post PANAS-X and found that the majority of my ratings did not change much from the pre PANAS-X. This can be explained by the fact that I was not experiencing negative emotions or mood states that needed to be altered or shared. Typically, when we experience negative emotions we want to return to baseline – which are neutral or positive mood states. When we experience positive mood states however, we have already achieved what we are aiming for. It makes sense then that my affect did not change much after completing the image.

The only difference between scores was found in the negative affect but was only reflected in the ratings of upset, downhearted and sad – which only changed by 1 point. The reason for these changes can be explained through reflection upon the piece. Although I was still generally in a positive mood state and experiencing feelings of pride and confidence, I was still feeling disconnected from my home and a lack of connection to my current environment. Therefore, upon reflection, I was able to ruminate more on my feelings of sadness and downheartedness in regards to missing my hometown which, generated these feelings even more.

Week 3: “Caught Between Two Worlds”

caught-between-2-worlds

Caught between two worlds

The process for this image was similar to that of floating in that it was very much a product of my emotions motivated by my current emotional state. What I had discovered at this point in my experiment is that the majority of my emotions have been centered on and influenced by my feelings towards my hometown and my strong desire to return home. I have discovered a lack of rootedness, which as Fromm declares, is one of our eight fundamental human needs (Fromm, 1941).

The image presents myself caught between Ottawa on the right, and Halifax on the left. It evokes a strangely calm and serene acceptance, an acceptance that no matter whether I remain in Halifax or return home, I will invariably be caught between both worlds. Should I return home, I would be more content because my roots will surround me, I will be comfortable, and fall back into my regularly occurring routines. However, should I return home, I will also be left with ruminating feelings of loneliness and sadness because the majority of my family will be in Halifax while I am in Ottawa –defeating the purpose of returning home. Should I remain in Halifax I will maintain the feelings of emotional stagnation but remain close with my family – which is incredibly important. My unresolved feelings towards Ottawa will keep me from growing roots in this new city.

Ottawa is painted in much more lively colours than Halifax is – the reason for this being I am much more attached to and drawn to Ottawa than I am to Halifax. The majority of my experience while in Halifax has been very emotional, leaving me feeling sad, lonely and detached much of the time. I am also quite fearful of water and being on boats, which plays into this image. I feel much more grounded in Ottawa hence the choice of parliament to represent Ottawa, whereas I feel very scared, and unsure of my surroundings while in Halifax, hence the use of water as the defining image.

All of the colours in this image work together to demonstrate my current emotional state. Although the colours draw a clear line between right and left dichotomies, and which emotion is felt for which city they are still relatively muted expressions of my feelings. This demonstrates the calmness of my sadness, loneliness and yearning. At this point in time I had been experiencing these and similar emotions and had quite some time to ruminate on them. In fact, the emotions that I had been feeling up to this point in time had essentially petered out. I am still feeling the same emotions just at slightly less intense levels. For instance, the emotions related to Ottawa and yearning to return home is still felt, and the majority of the emotions that I rate more strongly have been expressed each week. If we take a look at the graphs below we can see that I have experienced a mixture between negative and positive affect with a tendency more towards sadness than anything else.

I believe at this point my feelings of positive affect have strengthened, possibly because I have come to terms with my negative feelings. My negative and positive affects will undoubtedly continue to influence each other, but my feelings have calmed to a certain degree.

neg4pos5

As I mentioned the majority of my high ratings were found on the sadness emotion scale, similar to past weeks. Although I was still experiencing feelings of sadness and loneliness I was simultaneously rating my positive affects at more median rates, while my sadness emotions were rated at more median rates as well.

sad

This is the most interesting week so far in regards to my affect. I experienced relatively muted and mixed emotions. I experienced sadness while simultaneously feeling inspired or interested. Which leads me to believe that my emotions do generate creativity, and that by directing them into a productive outlet this facilitates further understanding of said emotions and affect states.

This piece facilitated communication between my partner and myself and I felt even more secure upon completing this image. The security I felt was linked to my desire to return home and the final decision I had made. I have come to realize that environment influences my contentedness, and that I should not be living to fulfill other peoples dreams or wishes.

What I learned throughout this experiment is that my feelings are stemming mainly from one source and are generated through thoughts attached to this source, environments that remind me of my friends, memories attached to Ottawa, and my past experiences. I discovered that I am much more rooted to Ottawa than I had previously thought.

My post expression scores on both negative and positive affect scales did not change significantly enough to graph the results and present them here. I believe that this lack of change is due to the fact that my affect was already so muted; expression in this case did not alter my emotional state much.

 

Week 4:“My Creative Mind”

mycreativemind

My Creative Mind

In the final week of my self-analysis I found that my emotional state from the previous weeks had muted significantly. In the first week of the experiment I was feeling very lonely and downhearted, in fact, I was taking these feelings out on myself and I was blaming myself for feeling such a way. I had led myself to believe that I was feeling negatively towards myself because of internal aspects instead of external aspects.

In this week the majority of my art works were expressive of my own creativity, and very much an appreciation for the evolution of my artwork. Based on the form and colour, you can see a direct change in emotionality. This image in particular is expressive of my creativity and I employed a limited number of colours. The colours that I did use were expressive of calm, contentedness and serenity. The colours elicit a feeling of general calm that has come over me throughout the four weeks. This calm is in direct relation to the resolution of my feelings of loneliness and disconnectedness felt in the first two weeks.

My brain is painted in similar colours as the surrounding image, representing a calm felt at the cerebral level— these feelings of calm emanate throughout my environment but are also felt within myself.

As we can see below my negative and positive affect scales are similar to the preceding week. I was still feeling sadness, downheartedness and loneliness but these were muted in nature. I believe that these feelings were more muted in comparison to previous weeks because I had an opportunity to deal with the underlying issues.

neg6

As we can see my general negative affect was rated quite low with the majority of scores being rated as a 1, and the remaining scores being a 2. When these scores are compared to my positive affect we can see that I was experiencing positive affect more so than negative affect and at greater intensities. Each of the positive affects were closely related to each other – that is, my feelings of inspiration were correlated with my feelings of determination, enthusiasm and strength. These scores had changed from the first two weeks because I dealt with my negative affect throughout the subsequent weeks.

pos6

For this week I felt it was important to show both my sadness emotion scale scores and my serenity emotion scale scores. My sadness emotions were rated lower than the previous weeks, but I was still experiencing feelings of downheartedness and feeling blue, which I believe is due mainly to my missing my friends and hometown.

sad2

In comparison my serenity emotion scale indicates that although I was still experiencing underlying sadness emotions, my serenity emotions were quite high. My feeling of relaxed in particular is important to note. I believe that this emotion was rated so high because although I was still dealing with negative emotions I have come to terms with why I was feeling these emotions, and I developed a plan to alleviate these feelings.

At the beginning of this experiment I was overwhelmed with my emotions and had a difficult time verbalizing the issues I was facing. Now, at the outset of this experiment I have a better understanding of my emotions and their source. This helped alleviate some stress and anxiety.

With the increase in my general positive affect and the decrease in my general negative affect I have been able to mediate my emotions, and have become much more content. Of course, just as the positive affect scale, the emotions rated on the serenity emotion scale are very much interrelated, which could explain why my scores did not differ much. Since my feelings of relaxation were so high so too were my feelings of being at ease and calm. Again, these feelings and the positive affects are interrelated, which could explain why the scores on both scales were rather similar.

serenity

The post expression scores did not differ significantly enough to display here. Although I was feeling lower levels of downheartedness and upset, these changes were not even significant enough to indicate nominally (the changes would have been between .25-.5, and the PANAS-X uses a 1-5 nominal scale). Therefore, although there was a slight difference between scores they were not significant enough to mention.

Conclusion

There is a positive relationship between my use of art as a form of expression and my affect states. Over the four weeks I came to understand my emotional state on a deeper level, and came to understand the root of the majority of my emotions/affects. In assessing my affect state both before and after artistic expression I was able to assess the potential immediate impact the expression had on my mood state. I found that for the most part my mood state did not improve significantly directly after the artistic process, rather that the act of artistic expression acted more as a facilitator for further communication and analysis. Post expression was more oriented towards analyzing the underlying emotion states and how to deal effectively with them.

This four week process was interesting for me to notice the changes in my affect and emotion states, particularly because I found myself dealing primarily with one main issue that had been effecting my mood state for quite some time. I was able to focus on this issue and explore different ways to deal with it, which led to improvements in my overall emotionality.

As an additional effect, I found that painting actually became a source of improved mood and I began seeking it out and looking forward to the opportunity to paint throughout the day. Therefore, there were three main effects: improved mood, catharsis and communication, all of which were interrelated.

Limitations

This is a self-study and therefore lacks external validity. Further, there may be confounding variables (the use of music), which may interfere with our assessment of the usefulness of artistic expression in facilitating catharsis and dealing with emotions. As a final note, this study was based entirely on introspection, which is not easily tested and not entirely reliable.

 

References:

Fromm, E. (1941). Escape from Freedom. New York, NY: Farrar & Rinehart.

Turner, S. (2002). Encountering what is possible –The Impact of Role Development in Facing Existential Crisis. ANZPA journal, vol. 11, 31-37.

Watson, D., & Clark, L, A., (1994). The PANAS-X: Manual for the Positive and Negative Affect Schedule. Retrieved from http://ir.uiowa.edu/psychology_pubs/11/

[1] Permissions to use the PANAS-X were granted me by David Watson. The PANAS-X is copyright David Watson and Lee Anna Clark (1994) at the University of Iowa.

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How We See Art Helps Explain Our Psyche

In our assessment of art as a creative, emotional and psychic expression, we can understand its nature to be based almost entirely on the innermost workings of our personal psyche. Art, just as dreams, can be completely meaningless, simply a mixture of nonsensical images, colours and lines. However, upon further analysis these may represent archetypes, unconscious and internalized problems, or act as a mode of wish fulfillment. As an onlooker, we are unable to fully understand the meaning behind an individual’s artistic expression – in fact we analyze it in such a way that we ascribe our own unconscious feelings and conflicts onto the image. Jung illustrates this in Modern Man in Search of a Soul when he says: “whatever we look at, and however we look at it, we see only through our own eyes” (Jung, 1933). This portrays that although there may be multiple interpretations of a particular image, our analysis of the image will assuredly express more an aspect of ourselves than any aspect of the artist.

Jung summarizes archetypes and their meanings in his book “The Archetypes and the Collective Unconscious” (Jung, 1969) and though these may assist in our initial assessments we should not rely on them to get at the core of the image. Just as what we see in an inkblot helps determine our internal processes, so to does our assessment of another person’s art. Therefore we should allow for projection in our interpretations. Through this projection of our self in the assessment, we can be led to understand ourselves more through the viewing, and analyzing of others art. What we assess as an artists motives, are more closely our motives.

This is not to say that in our assessment we may not get at, to some degree, a better understanding of the artists personal motives (for by chance or human nature, we may share the same or similar motives as the artist under analysis. In fact, if we are to follow suit with the idea of the collective unconscious and our understanding of archetypes presented by Jung, it is not too far off to say that our assessment, although I am speculating it will mainly be our own self projected onto the piece, will in fact have some element of truth to it). We will not be able to determine what an image is expressing without asking the artist himself. Even then, we may be at an impasse, because our question may be met with trepidation. Perhaps the artist has created a most intimate piece illustrating his inability to fulfill his self in any realm of his existence – and this is embarrassing to express. An alternative scenario; the image in fact, means absolutely nothing. It is absolute nonsense, and this too, is embarrassing to express. We hold our artists in absolute reverence, we put them on a pedestal and see them as higher beings with greater insight and understanding of the human psyche – they are more in tune with themselves, with nature, with their fellow man. Why then, would an image an artist create mean absolutely nothing? We automatically feel the need to ascribe meaning to an image. In fact, even in its nothingness, we still find meaning – “artist A created an image of lines and boxes, circles and splashes of paint. He indicated that it means absolutely nothing, with that we can deduce that he feels that he is absolutely nothing and life has no meaning.” These statements are not entirely erroneous, but they are unfounded. They are based entirely on speculation.

A pressing issue we need to address in regards to interviewing the artist about the meaning behind the image is that introspection is not entirely scientific. Although Wundt demonstrated its importance through his voluntarism (Wundt, 1894), it lacks reliability and we are unable to measure or quantify it. If we consider the scenarios above, although the artist is of course, capable of introspection, he can very easily modify what he finds in his psyche. That is, we may ask “what does this image mean” and he may be embarrassed to share the truth, therefore, he may alter the truth and we may receive an inaccurate understanding of the image. Therefore we should not focus on understanding what the image means from the artists eyes, but instead we should allow our analysis to help us better understand our own psyche, through the projections we make in our analysis.

Though archetypal images may suffice to supplement our depiction of the images we should not rely too heavily on them, and in the process of analyzing images we should use them solely as motivating forces. If we rely too heavily on them we will be faced with resistance. When we are met with resistance surely this indicates that what we have uncovered is not only true of the image, but also true of our selves. Though we may be encouraged to protect our egos through this resistance, we should not work against it. In fact our resistance indicates that we have uncovered a truth about our selves previously unknown. This truth may frighten us to some degree, hence we will respond with resistance. Resisting the truth will not result in a protected ego, as we are wont to believe; in fact, it will result in a fragmented, damaged, and fearful ego. Fearful of what we are aiming at discovering – our true self.

It is easier then for us to determine the meaning behind an image using an archetype because we can separate our self from the interpretation. There is no aspect of our psyche in an interpretation that relies solely on archetypes.

How then, should our interpretation follow if we are to focus our attention mainly on our unconscious psyche? This interpretation would be similar to our assessment of a Rorschach inkblot; assuredly, our interpretation of art can be used as a projective measure involving Freudian free-association. To the reader who is confused in the importance of our allowing these deep, potentially dark truths being revealed to us through our interpretations, the answer is simple. We uncover these truths so that we may face them and deal with them. We uncover these truths so that we may consolidate them into the whole of our being, in order to actualize and find congruence between all the selves –the perceived, real and ideal.

As humans we use art to express ourselves and to connect with others, and for this reason it is one of, if not the most, important ways we can understand the self.

Let us take for an example one piece of art along with my interpretation of said piece of art. I have provided my affect state and preoccupations prior to my interpretation so as to provide a reference point for my interpretation.

I have also provided a previous interpretation I have made on the same piece of art in order to compare the two interpretations, and determine the extent to which my affect and preoccupations have had on the interpretation.

Current affect/general feeling:

  • Proud (of what I have achieved in the past few weeks)
  • Confident
  • Content
  • Reserved
  • Insecure

Current preoccupations:

  • Self image
  • Others perceptions of myself and body
  • The change of seasons
  • Creativity and being successful through my creativity (recognition from others, acceptance from others based on my artistic abilities, being recognized as artistic and creative)untitledSalvador Dali “Dream caused by the flight of a bee around a pomegranate a second before awakening”

The image above is by Salvador Dali, and I have interpreted this image before, nearly a year ago. The main focus of the image is a nude female figure prostrated on the stone floor exposing her self, seemingly proudly. Her form seems to be based off of an ideal figure, and the gaze is very focused on her body rather than on her face. The soul can be found through looking into someone’s eyes, which demonstrates to me the potential that this woman is idolized as the perfect female figure, without her internal aspects being taken into consideration.

On the other hand, if we look at this from a female perspective, we are able to understand the image more so as a woman being proud of herself, (we could still apply the same understanding of the soul here, and say perhaps that she is proud of what society has told her to be proud of, namely, her body, while shunning “unfeminine” aspects of herself – her mind, her creativity, her self).

If we look closely we can see there is a rifle pointed at her face. Perhaps this is a “shaming” her for being so expressly proud of her self, and failing to be modest. The tigers fall in line with this understanding as well, and can be seen as an extension of the rifle. They are leaping towards the woman in a rather aggressive fashion – their mouths agape. This could represent another form of shunning – telling women how to behave, how to dress, how to demonstrate her pride (or to not do so).

What is interesting to note however, is that the focus is still on the woman –regardless of whether other aspects of the image are pointededly demeaning her for her confidence, pride, and immodesty. This to me indicates that although women are told on various occasions in various different ways how to behave or how to feel about their bodies and minds, they still continue to persevere, and are able to determine if they will be proud, and how they will express said pride. There is a constant battle between woman and societal demands indicating what is and what is not “feminine.”

My previous interpretation was made August of 2015, and can be found below.

My initial interpretation was made from a Freudian perspective; that is, I assumed the guise of Freud, and my interpretation followed in suit of his dream analysis approach. Therefore, there was none of my own psyche being reflected onto the image.

The image is riddled with sexual desire and motivation. The woman is prostrated on a rock exposing herself to the oncoming tigers (representing men); begging to be devoured. The fact that tigers represent men here demonstrates their animalistic tendencies and their express interest in the female figure represents the carnal urge of eros. We must also pay close attention to the pomegranate from which the tigers are springing. The pomegranate is a representation of the female womb; the female womb bears fruit, that is, provides life. Here then, we can see a life cycle in action; men come from women, and spring to women following their carnal urges, in order to perpetuate the cycle. Similarly, the fish too, often represents the woman.

The atmosphere of the image as a whole supports this idea of sexual reproduction. The main focus in the background of the image is the body of water which is a life force, a source of baptismal renewal, rebirth. Water is found to be necessary in every instance of life – we as humans need it to survive, as do animals and plants.

Further, the rifle could be seen in two ways: holding the female figure hostage against the male advances, or, as shaming the female figure for submitting to male advances. Should we consider this from a modern societal perspective, we can see how true the latter is. Women tend to be held hostage in their own bodies: they are met with a plethora of demands – demanding them to be sexual beings while simultaneously maintaining their modesty (because their worth is linked very strongly to their chastity). Therefore, in this image the woman is simultaneously submitting to the male desire and being shamed for it.

The reason I am not providing an affect scale or preoccupations for this final interpretation is because it was completed from a Freudian perspective, therefore it was not influenced by my personal experience.

If we look at the first interpretation provided and compare it with the affect scale provided, we can see just how related they are. At the time I mentioned feeling quite preoccupied with my personal worth, based predominantly on my physical appearance and how others perceived me. In my interpretation of the image I focused on the female figure and her exposing herself to the viewers (namely society). Further, I found it easy to associate her turning her face away from us as viewers as a demeaning of her cognitive, internal functions (her intelligence, soul, creativity). As we can see, I mentioned I was preoccupied with my own creativity – being creative while obtaining appreciation and acknowledgement for my creativity and ability.

In this instance then I was seeking said appreciation and acknowledgement (hence the audience of tigers ascribed in the image). Tigers are a wild animal characterized as vicious therefore it makes sense that I would interpret these tigers as society (society being any onlooker, not necessarily society as a whole. It has an additional connotation). Although I am seeking validation (validation of my appearance, acceptance as an aesthetically pleasing being, as well as validation in my creativity), I am simultaneously trying to survive without it. I acknowledge my want to express myself freely, to accept myself (the inner and outer aspects of my self) without relying on the approval of others while waiting for said approval; hence the female figure prostrated on the rock for all to see (and be judged and shamed for her exposing herself both physically and psychically). There is a dichotomy in the interpretation, as well as in my preoccupations and affect states (as is normal for us as humans to experience.)

For instance, my affect states were noted as content and confident (in my creative abilities, and the past successes I had made) but also referring to my body and aesthetic. I, as many women, struggle with accepting my body and with seeing myself as “beautiful” or worth recognizing as such. Typically my feelings of self-worth fluctuate, as does my confidence in myself as an aesthetically appealing person. It is interesting to note that my confidence in my internal abilities fluctuates, but not as often as my confidence in my external qualities. It makes sense then that I should not only be focusing mainly on the external aspects of the female in this image, but too that my affect state of confidence/contentedness would be juxtaposed with reservation and insecurity. In fact, this is relatively normal for me. Although I may feel confident with myself, there tends to be an underlying feeling of insecurity in my body. I mention too that the female figure seems to be idealized; perhaps unconsciously I was comparing myself to the image of the female figure already calling into question my current confidence.

As we can see, my interpretation of Dali’s image falls closely in line with my current preoccupations and affect states. Does this indicate that my hypothesis is correct, and that we should be right in assuming that our personal interpretations of art may uncover unconscious aspects of our psyche? Perhaps, but as mentioned before, we cannot conclude with any certainty that this is correct, because these speculations are relying very strongly on introspection. Introspection is helpful, but as already mentioned, cannot be quantified, and therefore cannot be scientifically studied. This is not to say that we should not be using art interpretation as a way of understanding others and ourselves.

Consider our dreams, which Freud determined were manifestations of our wishes and desires (typically of an erotic nature). These help us to understand aspects of our selves that may be buried within our unconscious, and through interpretation may come to light so that we may incorporate them positively into our self. The same can be said of our interpretations of artistic pieces (they, like dreams, are comprised of symbols, archetypes, images that denote specific meaning). There are a plethora of different meanings we can ascribe to an individual image, just as we can ascribe to a dream image, or a poem. Found within the meaning we ascribe to the image are aspects of our unconscious, aspects of our psyche that may have not been fully consolidated into our self – bring them to consciousness and we may incorporate them into our self, or should they be of an entirely neurotic nature; deal with them appropriately.

Just as the Rorschach inkblot test acts as a projective measure, our interpretations of artistic images can act in the same manner, providing us with another venue for understanding our self and coming closer to actualization.

 

References:

Dali, S. (1944). Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening [Painting]. Retrieved from http://www.dalipaintings.net/dream-caused-by-the-flight-of-a-bee-around-a-pomegranate-one-second-before-awakening.jsp

Jung, C. G. (1933). Modern Man in Search of a Soul. New York: Harvest. p. translators’ preface

Jung, C.G. (1969). Archetypes and the Collective Unconscious [sic], Collected Works of C.G. Jung, Volume 9 (Part 1), Princeton, N.J.: Princeton University Press.

Wundt, W. (1897). Outlines in Psychology. Trans. Charles Hubbard Judd. Leipzig, Germany.

 

 

The Role Mozart Plays in Psychodynamic Psychoanalysis

 

Sigmund Freud first introduced psychoanalysis in the 1890s and its basic tenets are as follows:

  • A person’s development is largely determined by forgotten, or repressed events from early childhood,
  • Attitudes, thought and behaviours are influenced by irrational drives found in the unconscious,
  • Conflicts between the unconscious and conscious can manifest in neuroses, and
  • Alleviating neuroses from the unconscious mind is done so by bringing these thoughts, memories and ideas into the conscious mind.

Since the approach was first presented, things have continued to change and evolve, including different schools of thought, and different theories. Psychodynamic psychoanalysis is typically regarded as the least successful/useful form of therapy, particularly due to its founder and his theories and ideas relating to the unconscious mind. Most regard Freud and his theories as hyper-sexualized, and relying too heavily on psychosexual development, and said development as the reason for most if not all neuroses.

The nature of Psychoanalysis is to delve into a person’s psyche, to present to them what the root of the issue is. This makes it so a client who says they are feeling depressed is not given a quick fix, rather, they see what is causing those feelings and focuses on dealing with that, as to avoid the feelings reoccurring. The techniques used are as follows:

  • Anamnesis: recalling past memories and bringing them to the forefront of our minds. The patient is to remember facts, behaviours or emotions related to the occurrence of the symptoms. (By remembering the antecedent of a symptom, we may find the answer for why the symptom presented itself to begin with.)
  • Free Association: The patient is asked to lie on a couch, (in order to create a relaxing state/mood) and is asked to say anything and everything that crosses their mind, without restriction. This act of free association is to allow ourselves to avoid censure, which means we will freely speak of immoral, unethical, neurotic and narcissistic things that cross our minds. By allowing ourselves to freely speak of things, we offer the therapist a way to better understand our condition. This method does not end when the talk stops, rather, it is the therapist’s role to analyze these thoughts, and find the associations between the talk and the condition.

The act of free-association was argued by Freud to be more helpful than anamnesis in bringing thoughts and feelings from the unconscious to the conscious mind. Essentially, through free association, the client is revealing his psyche to the therapist, and his self. So what role does Mozart play in all of this? Music has been found to influence a person’s subjective emotional state (Georgi, R.V., Gobel, M and Gebhardt, S, 2010), effects neocortical structures associated with analysis and synthesis, as well as subcortical structures associated with the processing of both negative and positive stimuli, (Georgi, R.V., Gobel, M and Gebhardt, S, 2010). This supports the idea that music significantly influences mood, and understanding of that mood.

With this in mind, by way of using Mozart throughout the therapy session, then the act of free association may become much easier for the client. By activating emotions, and essentially opening the clients psyche more so than if we were to rely solely on free association, the client may feel more in tune with themselves, and may feel more open to express themselves. It may also help the client understand why they are saying what they are saying –and may be able to “come to a realization” during free association.

Why Mozart in particular? As Norman Doidge points out in his most recent book “The Brain’s Way of Healing”, Mozart’s compositions provide the most continuous sounds that are “easy on the ear,” and it motivates the emotional flow of language (Doidge, N, 2015). Further, the music used in sound therapy enhances the connection between brain areas that process positive reward and the insula, which is involved in paying attention. Music rewires the “noisy” brain, which Doidge defines as an overactive brain that fires neurons senselessly and without direction (Doidge, N, 2015). By re-wiring the brain and these neuronal connections, the brain, and the mind, are quieted and cleared in such a way that enhances clarity, focus and attention. All of which are essential for recalling repressed and unconscious emotions.

Why combine Mozart with psychoanalysis, instead of having patients listen to Mozart outside of therapy? The combination will work in such a way that the client becomes much more open to their past memories and current emotional availability, so that free association will occur with more direction than before. Further, the music will allow the client to be in a more relaxed state, which is essential in free association. Although some have found it necessary to choose one type of therapy, and argue its validity and efficacy, I believe that we should incorporate and rely on more than one form of therapy for the treatment of neurotic symptoms. If music proves therapeutic for some patients, and offers a sort of lucidity, why not pair it with a proven form of therapy, such as psychoanalysis?

 

 

 

 

 

 

 

References.

 

 

Blood AJ, Zatorre RJ, Bermudez P, Evans AC (1999) Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience 2, 382-387.

 

 

Blood AJ, Zatorre RJ (2001) Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences 98(20), 11818-11823.

 

Brown S, Martinez MJ, Parsons LM (2004) Passive music listening spontaneously engages limbic and paralimbic systems. Neuroreport 15(13), 2033-2037.

Freud, Sigmund. (1895). Studies on Hysteria.

Griffiths TD (2003) The neural processing of complex sounds. In: Perez I, Zatorre RJ (eds.) The cognitive neuroscience of music. Oxford, New York: Oxford University Press, pp 168–177.

Krumhansl CL (1997) An exploratory study of musical emotion an psychophysiology. Canadian Journal of Experimental Psychology 51, 336-352.

McFarland RA, Kennison R (1989) Asymmetry in the relationship between finger temperature changes and emotional state in males. Biofeedback and Self Regulation 14, 281-290.

Nyklicek I, Thayer JF, van Doornen LJP (1997) Cardiorespiratory differentiation of musically-inducted emotions. Journal of Psychophysiology 11, 304-321.

Panksepp J, Bernatzky G (2002) Emotional sounds and the brain: the neuro-affective foundation of musical appreciation. Behavioural Processes 6, 133-155.

 

Schubert E (2001) Continuous measurement of self-report emotional response to music. In: Juslin PN, Sloboda AA (eds.) Music and Emotion. Oxford: Oxford University Press, pp 393–414 Schubert E (2004) Modeling perceived emotion with continuous musical features. Music Perception 21(4), 561-585.

 

Sloboda JA (1991) Music structure and emotional response. Psychology of Music 19, 110-120.

 

Tramo MJ (2001) Music of the Hemispheres. Science 291, 54-56.

 

Vaitl D, Vehrs W, Sternagel S (1993) Prompts – Leitmotiv – Emotionen: Play it again, Richard Wagner. In: Birbaumer N, O ̈ hman A (eds.) The structure of emotion: psychophysiological, cognitive, and clinical aspects. Seattle: Hogrefe and Huber, pp 169–189.

City Break-Ups: our attachment to hometowns and what they mean for our sense of self

Navigating our identity is cumbersome. We are asked a number of questions at a young age that are meant to define us: are you a boy or a girl? How old are you? What do you want to be when you grow up? Where do you live? These questions, and our answers to these questions, undeniably stay with us throughout our lives, no matter how hard we try to define ourselves in alternative ways. But we really shouldn’t be shying away from these questions, because they actually do help define who we are, and help us form our identity. Understanding ourselves as male or female, does not necessarily mean that we have to adhere to societal constructs of what makes someone male or female, but it does help us understand who we are, from a baseline perspective, without which we could not grow and develop. What we will be discussing here is the importance of where we live and the culture that surrounds us.

Where you live is very important for your sense of self. It helps define your socio-economic status, the culture in which you developed, and even your political leanings. How can something as simple as your address define who you are, and have such a significant impact on almost all aspects of your life?

Let us start with the easiest, and most obvious aspect – your socio-economic status. The city in which you live helps define this status, which depends on job availability and accessibility. If you reside in a small town where there are not a great number of job opportunities; there is not a lot of job security, and little to no room for advancement. This lack of security will motivate you to stay in a job where you feel stressed, unmotivated, and exhausted from the amount of effort you exert, and the lack of acknowledgement you receive. There is little to no reciprocity in these kinds of careers. You feel stressed because of a lack of recognition for a job well done, and stressed because the only time you are recognized is when you have made a mistake that damages the company. These positions offer you no room for advancement because your role is to make the company significant amounts of money, while you receive little to no recognition and less than a living wage. This begins a constant cycle of struggling to make enough money to manage your life, feeling stuck in a dead-end job, and feeling no motivation. All of these things combine so you feel stressed constantly, which not only puts strain on you and your mental health, but makes it difficult to have fulfilling relationships because you tend to lash out at others. This may come across as selfish because your needs are not being fulfilled, therefore, you are constantly thinking about your needs and wants and how to fulfill them. Further, you find little to no time for yourself, and you do not have the luxury of an emotional outlet, whether that be a hobby, or a health resource such as a therapist, massage therapist, mindfulness exercises or the like.

On the other hand, those who are in a bigger city tend to have more job opportunities with more room for advancement. It is easy to see that these kinds of positions are the stark opposite of what has just been outlined above. People in these positions feel more at ease, because they are recognized for a job well done, have the opportunity to make more of a contribution, and are offered above a living wage. This leaves these individuals feeling more fulfilled; all of their basic needs have been met, and they have more time to fulfill their relationships, and themselves, through hobbies that they can afford (time and money wise), and emotional outlets. These individuals are more likely to feel a sense of pride, success, and self-esteem than those in lower paying jobs, with no advancement opportunities.

It is easy to see how your socio-economic status contributes to your sense of self. Maslow declared that based on the hierarchy of needs, we are unable to advance beyond our basic needs should they not be met (Maslow, 1943, 1954, 1962).

Figure1

Here we can see that those in lower socio-economic status groups will be struggling between levels 1 and 2 almost constantly (please refer to figure 1). As you can see, levels 3 and 4 (love/belonging and esteem) are very difficult to achieve should there be other stressors keeping you from advancing. If you are unable to make enough money to buy food, and pay rent, you will be stressed, and more than likely have feelings of worthlessness. These feelings will ruminate, causing somatic symptoms to develop, and individuals to lose sleep. This loss of sleep will cause the individual to become more stressed, which will reflect in every aspect of their lives. They will find it difficult to communicate effectively with others, ultimately pushing others away (including their family and friends) making it difficult to maintain and foster current relationships. This will contribute to a persons feeling of worthlessness, which will lower their self-esteem. We can see how important our socio-economic status is in fostering our sense of self.

Our culture is another significant component in the development of our selves. Heine states that our human activity is wrapped up in cultural meanings; all of our actions and decisions are shaped by our culture (Heine, 2010). There are profound cultural differences things such as the need for self-esteem, approach-avoidance motivations, and perceptions of fairness, (Heine, 2010). Our behaviour is strongly linked to our identity – how we act, the activities we participate in, and who we associate with helps us form our sense of self. Should we be more likely to participate in sports, we will see ourselves as more athletic and we will seek out these sorts of activities. Should we be more likely to attend art galleries, paint, and write we will see ourselves as more artistic and participate in these sorts of activities in the future. The culture in which we live helps us determine the activities we will participate in. although I would like to declare that I am an artist, and I was born with an artist’s soul destined to be attracted to painting and writing; I do not believe this is the case. Perhaps my parents fostered this love in me and to some degree it was innate, but I have been motivated by my culture. Living in Ottawa there was a number of opportunities to foster this part of my self. For instance, there are a number of art galleries, my university has an excellent art history program, and there are a number of businesses which display local art. This undoubtedly motivated me to perform well. In fact there were a number of opportunities to test out new artistic mediums – painting, modeling, poetry, essays. The culture I was living in motivated me, and contributed to my understanding of my self as an artist.

This occurred in more ways than one. It was not simply that the opportunities were there, although that plays a large role, it was also the acceptance and admiration of art in all its forms. As a culture, we admire artists, and their ability to create – these feelings of acceptance and appreciation contribute to our esteem (referring back to Maslow’s hierarchy), as well as our ability to form relationships. As artists we are social creatures, drawn to people and nature, and motivated by the beauty that we see. This culture of acceptance helps us in our understanding of our selves. This does not only apply to artists. It is true for athletes, musicians, doctors, poets – anyone and everyone is influenced by their culture, especially in understanding their self.

If the culture in which we live helps define our sense of self, why is our attachments to hometown[1] felt much more strongly? I believe that this is because we not only form a better understanding of our selves through our culture, but it also makes us feel more connected and rooted. Erich Fromm (Fromm, 1997) postulated eight basic human needs, two of which are rootedness and relatedness. In fact, all eight can be attributed to how connected we feel to our hometowns,[2] but for brevity’s sake, we will focus solely on rootedness and relatedness. Our feelings of rootedness are established early on in our hometowns, and are difficult to sever. We form an intimate bond with the people in our communities, the activities our hometowns offer us, and the culture. We are like trees growing roots, forming bonds and relationships outside of the security of our family unit. This is significant in relation to our selves. We are safe and protected inside our family unit, and to find the same safety and protection outside of our family is just as imperative – because it demonstrates to us that we are able to form important bonds, and that we are able to survive on our own. This rootedness is very closely linked to our relatedness, especially when it comes to forming bonds with other people. When we form bonds with other people in our hometowns, our connection to the actual city grows even stronger. We feel a sense of belonging, and this contributes to our self-esteem, (which, if you remember from figure 1, is essential to our developing self).

What happens when we break up with a city that has been so significant in our development? We do not break down completely, we do not shatter into fragments of our former self, but we do, undoubtedly, become fragmented. A large part of our sense of self, our identity, is this city, this culture into which we have taken root. We have developed in relation to this particular city – we have found who we are in these streets, these trees, and the faces of all the people. To leave is to say goodbye to a part of who you are. That is not to say that we are no longer the person this city helped us become. No, we are still who we have come to know ourselves as, but it is the same as leaving your parent’s home and living on your own for the first time. Just as your parents home acts as a safety, a place to escape to and be your true self, so too is this city.

When we leave, we are severing ties that have been nurtured for years, ties that may never fully break. We will always feel connected to our hometowns, and I think we will always feel a small yearning to be back where we feel we belong the most. It’s where we felt our safest, our most free to express who we are, our most accepted. So when we break up with our city, we are saying goodbye to all of these things. When we move on to the next city, we will try to make the same bonds as we did before, but it will be more difficult. Because when you uproot a tree, its roots don’t grow the same as before.

 

 

References:

Fromm, Erich. (1997). On Being Human. London: Continuum.

Heine, S. J. (2010). Cultural Psychology. Handbook of Social Psychology. John Wiley & Sons Inc. chp 37. Pp. 1423-1464.

Heine, S. J., Lehman, D. R., Markus, H. R., & Kitayama, S. (1999). Is there a universal need for positive self – regard? Psychological Review, 106, 766 – 794.

Henrich, J., Boyd, R., Bowles, S., Camerer, C., Fehr, E., Gintis, H., et al. (2005). “Economic man ” in cross – cultural perspective: Behavioral experiments in 15 small- scale societies. Behavioral & Brain Sciences, 28, 795 – 855.

Jung, C.G. (1969). Archetypes and the Collective Unconscious [sic], Collected Works of C.G. Jung, Volume 9 (Part 1), Princeton, N.J.: Princeton University Press.ISBN 978-0-691-09761-9

Lee, A. Y., Aaker, J. L., & Gardner, W. L. (2000). The pleasures and pains of distinct self – construals: The role of interdependence in regulatory focus. Journal of Personality and Social Psychology, 78, 1122 – 1134.

 

 

[1]                  When I refer to hometowns, I am not simply referring to a place in which you grew up. I am also referring to the place in which you felt most at home in, the place in which you identify most strongly with.

[2]                  The eight basic needs are: relatedness, transcendence, rootedness, sense of identity, frame of orientation, excitation and stimulation, unity and effectiveness.