The Big Sleep

ABSTRACT

This paper illustrates the link between creativity and psychotherapy as an art. Clinical examples are given first, followed by significant events that affected this therapist's creative activities. Then personal views of creativity arc described with the conclusion showing different aspects of creativity as applicable to psychotherapy.     

Totalitarianism and the problem of Soviet art evaluation: the Lithuanian case

By taking into account dissident/political and art historical interpretations of Soviet art, I analyze how polemics about totalitarianism in the West, which generally corresponded with Cold War debates and Eastern European dissident thought, shaped the post-Soviet evaluations of national artistic legacies. It is argued that the political relationship with the totalitarian past, like in many post-socialist areas where the immediate past was subjected to radical re-evaluation, affected Lithuanian artists’ and critics’ attitude towards local Soviet art. Because of an obvious lack of underground art in Soviet Lithuania, however, the retrospective usage of political categories here became problematic. Especially in international representations, the complexities of artists’ relationship with officialdom came to be routinely assigned to the phenomenon of non-conformism; this eventually obfuscated the differences between the Lithuanian Soviet art context as somewhat different from the Russian case.

Van Gogh, Chagall and pigeons: picture discrimination in pigeons and humans

The author has previously reported that pigeons can discriminate paintings by different artists. Here, I replicated the previous findings, carried out additional tests and compared discrimination by pigeons with that of humans. In Experiment 1, pigeons were trained to discriminate between paintings by Van Gogh and Chagall. After training, the subjects were tested with different paintings by the same artists. The subjects showed generalization to these paintings. The subjects maintained their discriminative ability for black-and-white paintings and partially occluded paintings. When they were tested with mosaic paintings, the number of correct responses decreased, depending on the level of processing needed. In Experiment 2, human subjects were tested with the same paintings. The subjects showed generalization and decrement of correct responses depending on the degree of mosaic processing. These observations suggest that the visual cognitive function of pigeons is comparable to that of humans. The convergence of higher visual cognition between the two species may stem from similar selection pressures on avian ancestors and our ancestors through their evolution. Accepted after revision: 19 August 2001 Electronic Publication     

The Copenhagen Neuroaesthetics Conference: prospects and pitfalls for an emerging field

Neuroaesthetics is a young field of research concerned primarily with the neural basis of cognitive and affective processes engaged when an individual takes an aesthetic or artistic approach towards a work of art, a non-artistic object or a natural phenomenon. In September 2009, the Copenhagen Neuroaesthetics Conference brought together leading researchers in the field to present and discuss current advances. We summarize some of the principal themes of the conference, placing neuroaesthetics in a historical context and discussing its scope and relation to other disciplines. We also identify what we believe to be the key outstanding questions, the main pitfalls and challenges faced by the field, and some promising avenues for future research.     

Abstract: Scenario Planning,Art or Science?

This article will argue that there is a science of scenario planning; or at least a logos, a logic, a scenariology. Scenario planning is not predictive. But a good set of scenarios, scientifically developed, can reliably and predictably change minds. Scenario planning is both art and science. In joining the club of the sciences, scenario planning calls for a new kind of membership, or a new kind of science, one that, following Stuart Kauffman, relies on the importance of story. Hegel tells us that all stories, all narratives include a conflict between desire and the law, intention, and necessity. Scenarios provide a way for communities to frame their intentions. They thereby effect “downward causality” on the present in order to project the present toward a preferred future. In fulfilling the promise of this new kind of science, scenario planning breaks with positivistic science, but without falling into a postmodern nihilism. Without setting out to do so, the discipline of scenario planning introduces us to a new epistemology, a new way of knowing the truth. Drawing on pragmatism, Wittgenstein, and Richard Rorty, this article reaches the conclusion that, for scenario planners, the future replaces objectivity as the horizon for justification. What is true? We'll see.     

Community, Communication and Multiplicity in Proust

The essay examines the relation between the explicit aesthetic ideology of Proust’s Recherche and the structure of the “involuntary memory” that is supposed to serve as that ideology’s empirical basis. I challenge the apparent solipsism and idealism of the narrator’s aesthetics by focusing on the one experience of involuntary memory that he omits from his final reflections, in Time Regained, on the relation between memory and art: this is the involuntary memory, in the earlier volume Sodom and Gomorrah, of his dead grandmother, a memory that he describes there as an experience of true otherness. Through a close reading of this passage, I argue that Proust’s interest in involuntary memory implies a concept of literary art as above all ethical in nature, in so far as it is the only means by which individuals can emerge from the solitude to which they are otherwise existentially condemned. In both the Sodom and Gomorrah passage and a later passage from Time Regained this emergence is cast in terms of a rhetoric of multiplicity that emphasizes both the disturbing and the productive dimensions connecting literature with life.

Local processing enhancements associated with superior observational drawing are due to enhanced perceptual functioning,not weak central coherence

Individuals with drawing talent have previously been shown to exhibit enhanced local visual processing ability. The aim of the current study was to assess whether local processing biases associated with drawing ability result from a reduced ability to cohere local stimuli into global forms, or an increased ability to disregard global aspects of an image. Local and global visual processing ability was assessed in art students and controls using the Group Embedded Figures Task, Navon shape stimuli, the Block Design Task and the Autism Spectrum Quotient, whilst controlling for nonverbal IQ and artistic ability. Local processing biases associated with drawing appear to arise from an enhancement of local processing alongside successful filtering of global information, rather than a reduction in global processing. The relationship between local processing and drawing ability is independent of individual differences in nonverbal IQ and artistic ability. These findings have implications for bottom-up and attentional theories of observational drawing, as well as explanations of special skills in autism.     

The dirtying of David: Transgression, affect, and the potential space of art

Transgression assumes the crossing of a boundary, a broken line which is either shored-up or redrawn in response; it thus marks an in-between state signalling danger, a pollution of the established order. Calling on the work of Bataille I investigate a two-fold instance of transgression by school students and their art and design teacher in which the sexualisation and violence perpetrated on the human figure through, respectively, drawing and sculpture signals one such breach. I examine the affective states that surround this transgression, in particular the self-censoring mechanism of shame. This is followed by an examination of the dichotomies that transgression may potentially provoke in pedagogic situations, and a consideration of the role of art in mediating the oppositional forces at play. With reference to psychoanalytical, object relations theory (Klein and Winnicott) I argue that the in-between spaces established by transgressive acts, destabilising and disorientating as they may be, should not be categorised as pathological but rather affective territories of potentiality necessary for creative education.