Is there evidence for the use of art therapy in treatment of psychosomatic disorders,eating disorders and crisis? A comparative study of two different systems for evaluation

A comparative study of two different systems for evaluation. Scandinavian Journal of Psychology 53, 47-53. As with any type of treatment the requirement for evidence based practice (EBP) has also affected art therapy (AT) when used as an intervention. This review evaluates the available evidence for using AT for psychosomatic disorders, eating disorders and crisis. The search in Cochrane, Best Practice, AMED, CINAHL, PION, PsycINFO and PubMed from 1987 until now resulted in a huge number of articles but only 32 articles met our criteria for evaluations. The articles were assessed with two evaluation systems, the GRADE system used by the Swedish Council on Health Technology Assessment (SBU) and the US Preventive Services Task Force (USPSTF/Task Force). When comparing the results we found that the GRADE evaluation system rejected the quality in 84% of the 32 studies and the USPSTF/Task Force 41% of these studies. An evidence base for AT was found only according to the criteria of USPSTF/Task Force. Hence, the evidence concept is not explicit, which means that effective treatments run a risk of not being implemented in health care. We suggest a broader view of what constitutes evidence in order to make it possible to include different types of research designs and methods.     

Temporality and the torments of time

Immersion in time gives birth to consciousness, as well as conflict and torment. When human beings developed a sense of future, they also gained the ability to anticipate threats from nature or their fellow beings. They thereby created cultures that are bastions of survival, as well as places of poetry, art and religion where they could band together and reflect upon their common plight. The practice of psychoanalysis is in many ways a temporal process, a process of remembering, for owning and elaborating a past that gives us substance, thereby providing a basis for reflective consciousness. Stimulated by Freud's early writings, Lacan, Laplanche and their successors in particular have focussed extensively on time and psychoanalysis, and their views are a central point of this discussion. A substantial case study is offered that provides concrete examples of these perspectives. A multi‐faceted view of temporality emerges, one that is more syncopated than linear or teleological. In conclusion, I will briefly discuss recent findings in the neuroscience of memory and ‘time travel’ that underpin contemporary psychoanalytic ideas in surprising ways. It is important to remember that acceptance of the contradictory nature of temporal experience can open space for increased freedom and playfulness.     

The Legacy of Neoplatonism in F. W. J. Schelling's Thought

F.W.J. Schelling, one of the essential thinkers in the development of German Idealism, formed his own thought not only in a critical dialogue with Kant's and Fichte's transcendentalism and Hegel's earlier conception of thinking, but also in an intensive discussion with Plato and Aristotle. Over and above that, Neoplatonism – especially Plotinus, Proclus and the Christian Dionysius the Areopagite – played a decisive role in Schelling's reception and transformation of ancient philosophy. Selecting the manifold aspects which could be reflected on in this field, I want to make plausible as a transcendental analogy to Plotinus' concept of self-knowledge Schelling's requirement for a raising-up and transformation of the finite 'I' into the form of the Absolute, whose central features converge with the goal of the Plotinian self – transformation of thought into a timeless self-thinking and its ground. A main part of this paper discusses Schelling's and Plotinus' concept of nature as a dynamic process constituted by an immanent 'creating theoria'. Furthermore we find in Schelling's theory of the Absolute as the 'utterly One' a union of Plotinus' notion of a pure One beyond Being with that of the reflexive self-presence of nous, so that this Absolute can be understood as an All-Unity which grounds and embraces all actuality – because it is in itself the most unifying self-affirmation or self-mediation. What follows is a reflection on the anagogical function of art, especially from the viewpoint of Plotinus' non-Platonic rehabilitation of art as an imitation of nature. The last perspectives focus on Schelling's concept of matter and emanation – as different from and at the same time coherent with that of Plotinus – and on Schelling's theory of an absolute self – willing will in connection with Plotinus' Enneads VI.8, 'On free will and the will of the One' as a causa sui.     

Place of Strength: Indigenous Artists and Indigenous Knowledge is Prevention Science

The Place of Strength (PoS) project represents an effort to Indigenize program evaluation with Indigenous communities by melding art with prevention science. We propose that Native artists as evaluators: (a) opens avenues of communication for Indigenous perspectives; (b) provides opportunities to capture spiritual, relational, and emotional impacts of prevention programming; and (c) maintains Indigenous processes, language, and values at the center of knowledge production. The New Mexico Tribal Prevention Project (NMTPP) funded seven Southwestern tribes to develop substance abuse prevention programs. In response to their expressed negative experiences with evaluation of prevention strategies, NMTPP piloted PoS. PoS shifted systematic knowledge paradigms to Tribal thought, values, and perspectives embodied in art. Art exists in Native communities as a way of documenting lifeways and historical experiences through various cultural forms. We share the process of collaborating with Native artists to document the impact of substance abuse prevention initiatives through their art within a community context. We offer concepts derived from this project as a community psychology model for re‐conceptualizing evaluation utilizing Indigenous knowledge.     

Spatial-attention and emotional evocation: line bisection performance and visual art emotional evocation

Lesion studies demonstrate that the right temporal-parietal region (RTP) is important for mediating spatial attention. The RTP is also involved in emotional experiences that can be evoked by art. Normal people vary in their ability to allocate spatial attention, thus, people who can better allocate attention might also be more influenced by the emotional messages of the paintings (evocative impact). Seventeen healthy participants bisected an unlabeled 100mm line and their performance on this task was used to create two groups, individuals who were more (mALB) and less accurate (lALB). These participants also judged 10 paintings on five qualities, Evocative Impact, Aesthetics, Novelty, Technique, and Closure by marking a 100mm line from 1 (low degree) to 10 (high degree). An ANOVA indicated differences in accuracy on the line bisection (LB) between the two groups. Additional ANOVAs, using the quality ratings as the dependent measure, revealed that the mALB group scored the Evocative Impact greater than the lALB group. These results suggest that the differences in attentional bias between the two groups, as indicated by their LB performance, might influence their evocative impact or reactions and also be a 'barometer' of other RTP functions, including emotional processing.     

"I know what I like": stability of aesthetic preference in Alzheimer's patients

Two studies explored the stability of art preference in patients with Alzheimer's disease and age-matched control participants. Preferences for three different styles of paintings, displayed on art postcards, were examined over two sessions. Preference for specific paintings differed among individuals but AD and non-AD groups maintained about the same stability in terms of preference judgments across two weeks, even though the AD patients did not have explicit memory for the paintings. We conclude that aesthetic responses can be preserved in the face of cognitive decline. This should encourage caregivers and family to engage in arts appreciation activities with patients, and reinforces the validity of a preference response as a dependent measure in testing paradigms.     

Moral Vices as Artistic Virtues: <Emphasis Type="Italic">Eugene Onegin</Emphasis> and <Emphasis Type="Italic">Alice</Emphasis>

Moralists hold that art criticism can and should take stock of moral considerations. Though moralists disagree over the proper scope of ethical art criticism, they are unified in their acceptance of the consistency of valence thesis: when an artwork fares poorly from the moral point of view, and this fact is art critically relevant, then it is thereby worse qua artwork. In this paper, I argue that a commitment to moralism, however strong, is unattractive because it requires that we radically revise our art critical practices in contexts where revision seems ill advised. I will consider two such cases, Pushkin’s Eugene Onegin and Balthus’ Alice. When we further reflect on our actual art critical practices in cases like these, we find that we do not have an unfailing commitment to the consistency of valence thesis. That is, some artworks are (artistically) good because they are (morally) bad.

Poles of Meaning: Pushing Language Up and Down

I discuss the problem of using the emotional/cognitive duality as a satisfactory way of formulating the problem of linguistic origins and of the distinctiveness of literary language. I address in particular Shanahan’s use of the work of Ernst Cassirer and Susanne Langer. I point out that Cassirer offers us a multileveled model of language’s sense-functions which avoids false oppositions and that Langer shows that literature does not belong to the discursive but to the presentational order of symbolism. Such insights strengthen rather than weaken Shanahan’s main points about the ‘localization’ and nature of meaning.

Style follows content: on the microgenesis of art perception

Despite fruitful research in experimental aesthetics, the dynamics of aesthetics, i.e., the processes involved in art perception, have received little attention. Concerning representational art, two aspects seem most important in this respect: style and content. In two experiments, we examined the dynamics of processing of style and content by means of the microgenetic approach. This approach systematically varies perceptual conditions to find out about the stages involved in the formation of percepts – their microgenesis. Participants gave similarity ratings for pairs of pictures that were fully crossed in style (artist) and content (motif). Presentation times were systematically varied between 10, 50, 202 and 3000 ms (Experiment 1) plus unlimited presentation time (Experiment 2). While effects of content were present at all presentation times, effects of style were traceable from 50 ms onwards. The results show clear differences in the microgenesis of style and content, suggesting that in art perception style follows content.     

《孙膑兵法》的流传、失传及研究价值初探

本文通过考察《孙膑兵法》的流传情况、分析其失传原因,认为《孙膑兵法》的根本价值在于对《孙子兵法》的诠释,同时,对佚而复出的古书源流研究提出新的思考。