Intersubjectivity in Art Therapy: The role of art objects in facilitating the therapeutic relationship and healing. Research and Presentation by Audra Tolbert-Martin, MFA, MA, LPC, NCC, RPT Broader Definitions of Intersubjectivity  Agreement between people  Common sense (shared constructed meanings)  Self-presentation, lying (operating between two subjective realities), practical jokes, and social emotions.  Psychological energy moving between two or more subjects (ex., love, death). (Gillespie & Cornish, 2010). Abstract  The field of art therapy has an opportunity to find itself well poised between currents of contemporary philosophy, psychoanalysis, attachment theory, and neuroscience. This presentation attempts to examine the art therapeutic relationship under the umbrella concept of intersubjectivity. Intersubjectivity Theory, in my opinion, connects these various domains in a way that is beneficial to contemporary art therapy. Philosophy and Intersubjectivity  “Intersubjectivity as an epistemology rejects the idea that we are fundamentally isolated individuals, but rather that our deepest nature is relationship.” (De Quincey, 2009). Intersubjectivity and The Body  In Merleau-Ponty’s Phenomenology of Perception, intersubjectivity is one of intercorporeality where the only thing that is relevant for the human is the body.  For Merleau-Ponty, the body is always finding ways to optimize its relation with the world (Dreyfus, 1999). Psychoanalysis & Intersubjectivity  Jessica Benjamin, a leading contemporary psychoanalyst and early pioneer of second-wave feminism, in political analysis and psychology, stated in her book, Bonds of Love, that the intersubjective experience between the infant and mother is that of subject to subject and not from the position of subject to object. Benjamin’s early participation in “consciousness raising” groups helped connect the personal to the political.  Benjamin believed that by breaking the notion of subject to object and actually meeting the client in the relational framework of intersubjectivity (subjective other, subjective self), the client can then experience something more attuned to the actual original mother/ child relationship (the intersubjective). The intersubjective relational field is a mutually influencing dyad, where sameness and difference coexist (Benjamin J. , 1988). The Personal is Political  What does it mean for the personal to be political in art therapy? For me, it means that my client’s experience is valid and that no one has the right to censor her voice. If I can’t hear her or help her find voice through another expressive language then how is she to effect change, how is she to politicize – make manifest changes at the personal and societal level that can improve her life and the oppressed. Attachment Theory and Intersubjectivity  It is through the mutuality of the mother/child relationship that the client develops a physiologically and psychobiologically attuned stance in the world that is selfreflective, curious and healthy in relating to others (Schore, 2012) (Fonagy, 2005). If this stance is misattuned, the client will suffer in her relationships with self and others.  Stern (2010), states that for a true core self to develop there must be self-agency, coherency, and continuity. A client must feel that she is an autonomous being responsible for her own feelings and actions; she must feel that she is intact in all contexts (not a fragmented self), and lastly, she must have a sense of continuity in her personal history; a sense that she is the same person who is gaining new experiences. Those with a secure attachment are more like to develop core self that is dynamic, resilient, spontaneous, adaptable and creative.  If this stance between mother and infant is misattuned, the client will suffer in her relationships with self and others. An infant’s very survival is dependent upon attuning to the mother, no matter how deficient the mothering is (Fonagy, 2005). Embodiment and Intersubjectivity  Fuchs (2016) Conceives of intersubjectivity as an embodied experience starting in infancy. This primary experience imprints our knowledge of empathy and lifelong behavioral patterns of relating in relationships. Neuroscience and Intersubjectivity  Neuroscience has demonstrated that we are forever creational beings as new neurons (neurogenesis) continue to be created throughout the adult lifespan (Schore, 2012).  Humans are hardwired for emotions and that connecting with Primary Processes (Panksepp, 2010) afford the client the opportunity to create new neuropathways for healing and attunement within oneself (Hass-Cohen, Findlay, & Cozolino, 2015; Dreyfus, 1999) (Chapman, 2014) (Schore, 2012). Human-beings are hardwired for Primary Intersubjectivity (Trevarthen and Meltzoff, 1979).  Mirror Neuron research is demonstrating how imagination has direct connection with self-agency as the two areas of activation in the brain share a cortical connection (Knox, 2009). Intersubjectivity and Trauma Theory  Trauma theory supports the idea of activating affects with the purpose of transforming, expanding, refining, and re-storing (Van Der Hart, Brown, & Van Der Kolk, 1989). When considering neuroscience and intersubjectivity as an embodied experienced imprinted from infancy throughout life, we can understand more fully how The Body Keeps the Score(Van Der Kolk, 2014). Intersubjectivity and the Creative Therapist  The creative encounter (between the therapist and client), and its impact on the neurobiology of the client, is activating right hemisphere activity where affects of trauma are stored (Schore, 2012). Increasing the client’s self-agency using imagination as a way to engage the past, present, and future, the client may strengthen her neurobiological connections for self-agency outside the session. Neuroscience and Intersubjectivity  In the book, The Birth of Intersubjectivity (Massimo A., and Gallese, 2014), cite studies on motor neurons; Embodied Simulation theory has demonstrated that mirror neurons are being produced and activated in premotor areas of the brain prior to cognitive areas being activated. When a person observes another person reaching for an apple, the observer’s own mirror neurons become activated. This occurs before actual mentalizing about the other’s intentions (Gallese, 2007).  Embodied Simulation Theory is relevant to the intersubjective experience in art therapy because art therapists model physical art making. We extend our consciousness and our bodies to the other to feel more deeply the client’s struggles. As an art therapist, I may even assist my client (Third Hand) in achieving what it is they are wishing to express– this alone requires me to acknowledge the intercorporeality of our existence. Neuroscience and Intersubjectivity  It is hard to experience one’s own self without the other. When alterity is missing and no reciprocity is present, an Other ceases to emerge (Gallese, 2007).  Two examples that come to mind dealing with the power of the human spirit to survive is the movies Cast Away and Life of Pi. Both protagonists in the films utilize their imagination to continue to know themselves more deeply through their harrowing journeys. Neuroscience and Intersubjectivity  Iain McGilchrist’s book, The Master and the Emissary, explores the idea of a world where one viewpoint dominates. He refrains from using labels such as left brain and right brain, but ultimately outlines how it is that a biased type of thinking limits the human potential. He believes that the Cartesian split between mind and body has caused this rift. To heal it and have access to our whole self, we need to engage the body and be receptive to other forms of knowledge. Intersubjectivity and OOO Theory  Graham Harmon, part of the Speculative Realism movement in philosophy and founder of Object Oriented Ontology, asserts in his philosophy that it is not that objects become differentiated through the relational process; objects, rather, become known or manifest into being through the process of relationship, revealing an already existing essence (a withheld interiority that has its own subjectivity or knowing).  In the context of my paper, all subjects are objects or vice versa. Object Oriented Ontology  OOO Theory stands in opposition to the Materialism position that objects are nothing more than matter. Materialists believe that if it cannot be seen and experienced in physical matter then it does not exist, and therefore, whatever we perceive as consciousness is only because of the interactions of the matter.  OOO’s believe that we have much to gain from our experience in the world, and that notions of knowledge only truly existing if located through direct material observation has limited our worldview, and perhaps prohibited our ability to generate solutions and ideas to current world problems. Basic Principles of OOO Philosophy  1. Anti-Anthropocentric – rejects the privileging of humans as more important than other beings (objects).  2. Rejects Correlationism theory – The idea that we only ever have access to the correlation between thinking being, and never to either separately.  3. Rejection of Undermining and Overmining – Undermining is claiming we can never know because the experience is some deeper force. Overmining is that there is nothing beneath (nothing below) what appears in the mind. Only language or discourse matters. Both are ways to discount the object.  4. Preservation of Finitude – An object cannot be translated into direct and complete knowledge of the object.  5. Withdrawal – The idea that objects are independent of other objects and of the qualities they bring forth at any given spatiotemporal dimension. Objects can never be exhausted by their relations.  (Principles - Excerpt from Wikipedia citing the works of Harmon (2002), Bryant (2011), Morton (2010), Coffield (2011), Gratton (2011), Bogost (2012), Berry (2012) Galloway (2012), Shaviro (2011). History of Intersubjectivity  1.First used in philosophy by by Husserl (1859-1938), Heidegger (1889-1976), and Merleau-Ponty (1908-1961), Jurgen Habermas (1929living)(Skaife, 2001).  2. Explored early on by psychoanalysts in the 80’s: Heinz Kohut, Robert Stolorow, George E. Atwood, Jessica Benjamin, and Sylvia Montefoschi. It is believed the term was first used by Robert Stolorow and George Atwood in 1984.  3. Benjamin (2015) believes Intersubjectivity has its origins in the social theory of Jürgen Habermas who used the term, “Intersubjectivity of mutual understanding”. Habermas is more well-known for his theory and view of the Lifeworld. Intersubjectivity Defined  Definitions of Intersubjectivity: Most would agree that intersubjectivity is a concept that connotes agreement (Scheff, 2015). It is considered the sharing of two or more subjective states by individuals or entities.  Philosophy – How we navigate and interact with our world. Would we treat the environment better if we perceived a material things as living versus as dead.  Phenomenology – The experience of energy or micro changes perceived between entities. It is what we notice in ourselves and others about our bodily states and mind.  Psychology – How we perceive another’s mental state – desires, fantasies, beliefs, etc. (known as mentalizing)  Child Development – The mother / infant dyad and the spontaneous exchange between the body/mind/intentions.  Literature – How objects interact or inform narrative.  Linguistics – How we communicate. Are ideas and memes communicated differently among thought communities. Intersubjectivity: Then and Now  Employed first by the field of philosophy  Used first in the field of psychology by psychoanalysts in the 1980’s and more recently in Relational, Attachment, and Mentalizing Theories.  Used in many contemporary contexts. View of the Role of Art Objects in Art Therapy  Watkins (1981), Sevareign (1992), Skaife (2001) write about art objects and how they manage the therapeutic dyad and process. All three, from psychoanalytic backgrounds, view the art objects as providing access to the unconscious. Skaife is interested in how art made in session prioritizes the verbal discussion because of its analytic roots. My research was aimed at bringing into alignment three subjective minds and bodies (embodied subjectivities), where deeper understanding can only occur, because meeting at the verbal level is unsatisfactory, and the only way to meet in a more exacting realm is via the direct interrogation of the infinitely inexaustible interior of the other (the art object). 6 Approaches to Art Therapy (Watkins, 1982)  1. The diagnostic approach  2. Envisioning the unconscious and its products as dangerous. When art objects are perceived as too permeable and blurring the boundaries between real and imaginary.  3. The imaginal is encouraged, but the positive is only emphasized.  4. The psychoanalytic interpretive approach, where latent meaning derived from interpretation is more important than the manifest image.  5. The expression of the imaginal becomes curative in and of itself. It is not the interaction between the therapist and client.  6. The understanding that the image is the best possible way of representing the unknown. The therapists facilitates a discussion which merges the past, present, and future. IRB Approved Project  I am seeking to research the intersubjective experience in art therapy between the art therapist and client. The aim of my research is to explore in-depth the phenomenological experience of intersubjectivity and how art therapy enhances the ability for subjective entities to come into greater alignment (intersubjectivity) with one another. My Theoretical Orientation  Integrated      Jungian – James Hillman Existential Person-centered Affect-oriented approaches (AEDP) Empathy-oriented approaches Aim with OOO Approach to Art Objects  Dispensing with the burdens of psychoanalytic thinking in processing art. Intersubjectivity as Defined in My Art Therapy Research Project  Any moment, movement, microphenomena, entity or event that brings the embodied subjectivities of the art therapist, client, and art object into closer alignment, with the aim of the client feeling and experiencing more recognition and understanding of her core self. This requires the art therapist to remain attuned to her client’s mental states and bodily sensations (including art process and implicit/explicit expression, identification, and emotional or physical processing brought forth by the art object).  It is the phenomenological and psychobiologically attuned art therapist who most effectively maximizes the intersubjective experience for the client, herself and art object (Schore, 2014; Verfaille, 2016; Fonagy, 2015;).  Definition written by Audra Tolbert-Martin, MFA, MA, LPC Intersubjectivity in the Therapy Session  How will I know upon observation that intersubjectivity is happening?  Improvisational behavior  Making art or creative expression. The client may feel compelled to make art because I am making art with her. I may change my art making approach based on her bodily movements and mental changes.  Jokes or laughter, or other shared emotions  Body Language  Perception checking  Acknowledgment of mental states (mentalizing)  Identifying and Processing Feelings  Research Questionnaire Results Why Is Studying Intersubjectivity Helpful to the Field of Art Therapy?  By studying how art therapy enhances the relational dyad (triad or more when including the art process/artwork/materials), art therapy and the creative therapist move to the forefront of the contemporary dialogue in counseling and psychology about how the arts enhance or add to therapeutic effectiveness. By studying the what and how of the art therapeutic process, we may be able to share our knowledge in ways that enhance public and consumer knowledge about art therapy, as well as educate and elucidate our process to other clinicians and the medical field. Research Aspiration  I will be adding to the field of knowledge about intersubjectivity in art therapy. This is an important contribution because most intersubjective research studies the intersubjective experience in therapy utilizing strictly “talk therapy” between two people – the therapist and client (subject/object). The research does not consider how intersubjectivity in the art therapeutic relationship is different due to the ability in the art making process to bring about additional subjective entities in ways that differ from other therapeutic approaches. Six Presuppositions  1) The art therapeutic relationship is a form of an attachment relationship.  2) The client is more than a mind. She has a body that carries with it an embodied experience of a lived life.  3) Art objects hold meaning.  4) Art objects are embodied (a visible medium/media and its expression) and a mind of their own (an infinitely inexhaustible interior).  5) Art objects made in session are objects that are born in session; the implicit information that is made explicit is through the interrogation process.  6) The Art Therapist’s role is to assist in the birth of the object and the client in exploring the unknown (Watkins, 1982).  7) The art object’s role is to be a provocative agent, capable of eliciting curiosity at the mind and bodily level.  8) The client participates in making art and processing information that is revealed. Methodology  Ethnographic Research Project Using Post-Modern Ideas to Guide the Research:  Current ethnographic research supports the study of the inner dynamics of cultures as it relates to power differentials (Kapitan, 2010).  The post-modern and feminist approach that ethnography affords is ideal because I am seeking to examine closely the historical and current therapeutic dyadic power structures between client and therapist as well as the idea of cultural and contextual influences that exist. Post-modern theory supports that multiple perspectives exist simultaneously. Pluralism necessitates the need for research practices that more wholly allow for understanding the unique perspective of participants and the processes in which they are involved. The therapy field and its particular facets hold beliefs and processes similar to cultural groups. IRB Approved Research Questions 1)At what point during your therapy session today did you feel most understood? 2)What kinds of activities contributed to you having a better understanding of your problem? 3)Do you feel that your therapist has a better grasp of what it is that you are feeling and experiencing in your life? 4)What activities or experiences in session today contributed to your therapist getting a better idea of what is unique to your experience/problem? Research Questions  5) Do you feel that your therapist would be able to describe to you your feelings about your problem today?  6) Do you feel that your therapist was able to adjust her perception of your problem?  7) Did your feelings of aloneness with your problem lessen as a result of the therapy session today?  8) Did your artwork reveal meaningful information to you? If so what?  9) Do you feel the artwork enhanced your inner knowledge about yourself?  10) At any time in the session today did you experience feelings that were new?  11) How did you feel about the information your artwork revealed?  12) How was it for you to regard the artwork as a co-participant in the therapy session?  13) What can you take with you from this session? What will you remember? Types of Images Collected  Diagrammatic Image: An image which communicates or serves the verbal dialogue. It is often an image created to connect to others in order to gain recognition or acknowledgement of their situation. Schaverien (1992) felt that diagrammatic images were not images that facilitate deep psychological transformation.  Embodied Image: Images which may have started with an intention, but have taken on a life of their own. Schaverien (1992) states that these images often surprise the client and the therapist. In Embodied images, the medium and engagement with the material expression take precedence over the intention or idea. VerFaille (2016) states that embodied images are generally made in the psychic equivalent mode. In this mode, the need to explain becomes transcended.  Integrated: The client is able to experience the embodied work and also talk and mentalize about it (Verfaille, 2016).  Transference Images: Images which include the therapist or therapeutic relationship are images in which transference is evident (Schrverien, 1992).  Dormant Images: Images which resist revealing knowledge, but that are accessible through other expressive arts. These images become activated when in relationship and sometimes that relationship needs to be with another sensual object (Harman, 2015). Pre-Mentalizing Modes  Psychic-Equivalent: Clients are completely engrossed in the the art-making process. They don’t paint mad, they paint rage.  Pretend Mode: Clients are distanced from the art making process, staying in control with low emotional commitment to the work.  Teleological Mode: An unpinnable affect can be represented. If the client feels hollow inside, she may represent that by hollowing out the tummy of her sculpture. Implicit memory and feelings can be concretized in the artwork (Verfaille, 2016). Research Collection Overview        5 Case Studies 20 Possible Sessions 20 Possible Questionnaires 260 Possible Questions 20 Possible Art Objects 5 Different Possible Art Expression Types 3 Different Pre-Mentalizing Modes Actual Research Data      5 Case Study Participants 18 Completed Sessions 13 Questionnaires Administered 18 Art Objects 6 classified as only diagrammatic, 3 as only embodied, 9 as integrated, Zero evident with transference, 1 as also possible dormant Image. The Case of Carmen  13 year old female  Brought to Counseling for Oppositional Behaviors and ADHD Symptoms  4 Images Collected (4Integrated Images) The Case of Carmen Session 1 Case of Carmen Session 2 Case of Carmen Session 3 Case of Carmen Session 4 The Case of Mary  24 year old Caucasian female  Presented as suffering from anxiety and depression  4 Images Collected (2 Diagrammatic, 3 Integrated Images) Case of Mary Session 1 Case of Mary Session 2 Case of Mary Session 3 Case of Mary Session 4 Case of Mary Session 4 CASES/QUESTIONS At what point during your What kinds of activities therapy session today did contributed to you having you feel most a better understanding of understood? your problem? What activities or Do you feel that your experiences in session Do you feel that your Do you feel that your therapist has a better today contributed to therapist would be able therapist was able to grasp of what it is that your therapist getting a to describe to you’re your adjust her perception of are you feeling and better idea of what is feelings about your your problem? experiencing in your life? unique to your problem today? experience/problem? Did your feelings of aloneness with your problem lessen as a result of the therapy session today? MAYA (11) Question #1 Question #2 Question #3 Questions #4 Question #5 Question #6 Question #7 SESSION 1 all of it making a painting yes the talk and making it relate yes yes yes SESSION 2 when I talk about my art Did your artwork reveal meaningful information to you? If so, what? Question #8 yes, try to find a middle ground yes, that small things matter a lot yes, that I am good, strong, beautiful Do you feel the artwork At anytime in the session enhanced your inner today did you experience knowledge about feelings that were new? yourself? How do you feel about the information your artwork revealed? Hoo was it for you to What can you take with regard the artwork as a you from this session? co-participant in the What wil you remember? therapy session? Question #9 Question #10 Question #11 Question #12 yes no good yes Question #13 good how to fix my issue making art yes talking about the art yes yes yes yes good good that little things matter SESSION 3 when we talked making art yes talking, painting yes yes yes yes no good good the part where I talk about my art SESSION 4 When we were talking Making sculpture. yes Making the sculpture. yes yes yes no yes no good good to stay calm MARY (24) Question #1 Question #2 Question #3 Questions #4 Question #5 Question #6 Question #7 Question #8 Question #9 Question #10 Question #11 Question #12 Question #13 SESSION 1 not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected SESSION 2 definitely after painting describing my feelings and walking Audra through them helped me understand them better yes talking through my painting and letting it be, jumping point fo rthe conversation was definitely helpful yes, she did yes yes I'm not sure. It required me to look at my problem differently in order to explain my issue no no I felt better because I was able to walk through them and understand them better definitely strange, but something I could get used to relying on I will remember our conversation about a good deed goes unpunished good, it was definitely helpful NA SESSION 3 SESSION 4 RENAE (17) When we discussed codependency talking and my painting Having something to do Mostly where working on with my hands really my sculpture after where helped as well as working explored through my feelings and issues via my sculpture yes yes yes yes no I feel good - like I better understand these feelings refer to question 1 yes yes yes It mostly solidified what I already thought and felt yes no I felt good about it Questions #4 Question #8 Question #5 Question #6 Question #7 Question #9 Question #10 not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected throughout the session the bi-lateral drawing I had a clearer sense yes! she completely understands molding with clay yes yes yes yes, it showed how much my mother does for me yes no SESSION 4 not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected PARASTOO (22) Question #1 Question #2 Question #3 Questions #4 Question #5 Question #6 Question #7 Question #8 Question #9 Question #10 Question #11 Question #12 Question #13 SESSION 1 when we discussed that my needs weren't being met in my relationship the painting, because I can choose colors and write how I feel on the inside yes dividing the paper and writing on each side the contrast of my situation yes yes yes yes, that my feelings are valid yes I felt more valid that it's okay to feel the way I feel SESSION 2 not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected not collected SESSION 3 When we were talking about my friendship dilemma about my significant other finger painting helped me open up more yes art, drawing yes yes yes, I found the inner yes, because it didn't person, blocking me from seem like I was paranoid peace yes realization, more understanding relief, calmness understanding I was great way to open up about everything a weight has been lifted. That I need to not let this inner person control me based on my fears of rejection or having a good relationship. SESSION 4 All through art therapy. The activity using clay to describe how I feel about myself. yes The use of clay. Yes Yes Yes, because I was able to vent about it easily. Yes, I need to see the light that everyone else sees and that I should give myself - that light to shine inside too. yes Yes, I felt more happier and that I am seeing things clearly. It opened my eyes to what I have been avoiding. I really enjoyed it and it helped my expression more. To actually look out for myself and give back to myself what I give to others. Question #5 Question #6 Question #7 Question #8 Question #9 Carmen (13) Question #11 Question #12 Question #13 not collected not collected not collected not collected not collected not collected glad. I'm happy to know it was good, I understand my mother does things to about my mother and is more protect me, she never I can take away that things have gotten better it gave me more with my life now, and information and a more that I will remember that clear message of what there's so much left to do really is going on and it's a whole new narrative now the past is gone and I made it Question #3 Questions #4 Question #10 Question #11 Question #12 Question #13 When we were talking about the art piece talking about it yes, I do feel like my therapist has a better understanding talking about the artwork contributed to it because the colors representing what I was feeling yes yes no no yes no I feel confident not answered (answer was erased) I can think about my emotions and remember what my art means SESSION 2 I felt most understood talking about the piece the water, I felt, had a good understanding of my stress during it. yes, at some points of the piece you could see the emotion. blank blank blank blank no, but it felt good to take off the stress blank blank blank blank SESSION 3 When we talked about where my dad and I would be the meditation yes NA yes yes yes I made me relive how much more bigger and confusing my problem is NA no NA It is meaningful and have different perspectives of it. NA blank I will remember that me and my mom will always have a strong foundation. How many participants cited art as the turning point in the art therapy session where they felt more understood? (question 1) How many participants felt that making art contributed to their understanding of their problem? (question 2) how many participants felt their therapist had a better grasp of their feelings? (question 3 How many participants cited art as contributing to their therapist getting a better idea of the uniqueness of their problem/experience? (question 4) How many participants felt their therapist could describe their feelings to them? (question 5) How many participants felt that their therapist could adjust their perception of the client's problem? (question 6) How many participants felt their aloneness lessened as a result of the art therapy session? (question 7) How many participants felt that their artwork revealed meaningful information to them? (question 8) How many participants felt the artword enhanced their inner knowledge? (question 9) How many participants experienced new feelings? (question 10) How many participants positively regarded the information revealed in their artwork? (question 11) How many participants positively regarded the artwork as a coparticipant in the session? (question 12) How many participants felt they could take something away with them from the session? (question 13) When we uncovered the meanings of the heart 8 out of 15 11 out of 15 15 out of 15 9 out of 9 14 out of 14 14 out of 14 13 out of 14 11 out of 14 10 out of 14 4 out of 14 12 out of 12 12 out of 13 12 out of 12 Question #2 not collected SESSION 1 SESSION 4 Question #1 not collected Question #3 It was nice to distance I need to work on myself (literally) from my stability and connection feelings to look at them. with my mom. SESSION 3 not collected Question #2 NA yes SESSION 2 SESSION 1 Question #1 yes Yes, I was able to visualize my feelings and my therapist was able to use the drawing to demonstrate how to change what I am feeling (make the good feelings yellow, orange - move art and lessen the bad talking about it yes blank yes yes yes blank yes no blank blank ! " #$#%&' $#( )* + # ! 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" ?#$%13' ( ) *+,-. /$0& ( ) *+,-. /$01 ( ) *+,-. / $02 ( ) *+,-. / +$03 ( ) *+,-. / $04 ( ) *+,-. / $05 ( ) *+,-. / $06 ( ) *+,-. / $07 ( ) *+,-. /$08 ( ) *+,-. / $0&9 ( ) *+,-. / $0&& ( ) *+,-. / $0&1 ( ) *+,-. / $0&2 42,-B2==: B,: 5 42,-B2==: B, : 5 : ; : : <= > $&$ 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42, -B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 : ; : : <= > $1 5: <343,: =9-0<,: 7-1034, 348 5: ; B73D348-> 9-<: : =348; 045-. 0=A348-" 6570,/ 7268/ -,/ : > -/ : =1: 5-> : 645: 7; ,045-,/ : > -D: ,,: 7 9: ; ,0=A348-, / 7268/ -> 91034,348-045-=: ,,348-3,-D: JI6> 1348-1234,-<2-7,/ : B24C: 7; 0,324-. 0; 5: <343,: =9-/ : =1<6= 9: ; J-; / : -535 9: ; 9: ; )O> -42,-; 67: N--),-7: G637: 5> : -,2-=22A-0,-> 9-172D=: > 53<<: 7: 4,=9-34-275: 7-,2: F1=034-> 9-3; ; 6: 42 42 )-<: =,-D: ,,: 7-D: B06; : -)-. 0; 5: <343,: =9-; ,7048: J-D6,0D=: -,2-. 0=A-,/ 7268/ ; 2> : ,/ 348-)-B26=5-8: ,, / : > -045-645: 7; ,0456; : 5-,2-7: =9348-24 ,/ : > -D: , ,: 7 : ; : : <= > $2 @/ : 4-. : -53; B6; ; : 5B25: 1: 45: 4B9 ,0=A348-045-> 9-1034,348 9: ; +" 9: ; 9: ; 9: ; P: ; J-)-. 0; -0D=: -,2C3; 60=3Q: -> 9-<: : =348; -045> 9-,/ : 7013; ,-. 0; -0D=: -,26; : -, / : -570. 348-,25: > 24; ,70,: -/ 2. -,2B/ 048: -. / 0, -)-0> -<: : =348R> 0A: -,/ : -8225-<: : =348; -L9: ==2. J-27048: -L-> 2C: -07, 045-=: ; ; : 4-,/ : -D05- 9: ; 42 )-<: : =-8225-L-=3A: -)-D: ,,: 7645: 7; ,045-, / : ; : -<: : =348; 9: ; 7: <: 7-,2-G6: ; ,324-S 9: ; 9: ; 9: ; ),-> 2; ,=9-; 2=353<3: 5-. / 0,-)0=7: 059-,/ 268/ , -045-<: =, 9: ; 42 )-<: =,-8225-0D26, -3, ( ) *+,-. / $02 ( ) *+,-. / $07 : ; : : <= > $3 K 0C348-; 2> : ,/ 348-, 2-52M2; ,=9-. / : 7: -. 27A348-24- . 3,/ -> 9-/ 045; -7: 0==9> 9-; B6=1,67: -0<,: 7-. / : 7: - / : =1: 5-0; -. : ==-0; -. 27A348: F1=27: 5 ,/ 7268/ -> 9-<: : =348; -0453; ; 6: ; -C30-> 9-; B6=1,67: +" ),-. 0; -43B: -,2-53; , 04B: )-4: : 5-, 2-. 27A-24> 9; : =<-R=3,: 70==9T-<72> -> 9- ; ,0D3=3,9-045-B244: B,324<: : =348; -,2-=22A-0,-,/ : > N . 3,/ -> 9-> 2> N ?; > " ; $%&6' ( ) *+,-. /$0& ( ) *+,-. / +$03 ( ) *+,-. / $04 ( ) *+,-. / $05 ( ) *+,-. / $06 ( ) *+,-. /$08 ( ) *+,-. / $0&9 : ; : : <= > $&$ 42,-B2==: B,: 5 42,-B2==: B,: 5 42, -B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 : ; : : <= > $1 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42, -B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 : ; : : <= > $2 ,/ 7268/ 26,-,/ : -; : ; ; 324 ,/ : -D3L=0,: 70=-570. 348-)/ 05-0-B=: 07: 7-; : 4; : 9: ; U-; / : -B2> 1=: ,: =9645: 7; ,045; > 2=5348-. 3,/ -B=09 9: ; 9: ; 9: ; 9: ; J-3,-; / 2. : 5-/ 2. -> 6B/ > 9-> 2,/ : 7-52: ; -<27-> : 9: ; 42 : ; : : <= > $3 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42, -B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B, : 5 @" ?" : A= = $%11' ( ) *+,-. /$0& ( ) *+,-. /$01 ( ) *+,-. / $02 ( ) *+,-. / +$03 ( ) *+,-. / $04 ( ) *+,-. / $05 ( ) *+,-. / $06 ( ) *+,-. / $07 ( ) *+,-. /$08 ( ) *+,-. / $0&9 ( ) *+,-. / $0&& ( ) *+,-. / $0&1 ( ) *+,-. / $0&2 : ; : : <= > $&$ : ; : : <= > $1 ( ) *+,-. /$01 8225J-3,-. 0; -5: <343,: =9/ : =1<6= 42,-B2==: B, : 5 )-. 3==-7: > : > D: 7-267B24C: 7; 0, 324-0D26,-08225-5: : 5-82: ; 641643; / : 5 42,-B2==: B,: 5 . / : 4-. : -53; B6; ; : 5-,/ 0,> 9-4: : 5; -. : 7: 4O,-D: 348> : ,-34-> 9-7: =0,324; / 31 ,/ : -1034,348J-D: B06; : -)B04-B/ 22; : -B2=27; -045. 73,: -/ 2. -)-<: : =-24-, / : 34; 35: 9: ; 53C35348-,/ : -101: 7-045. 73,348-24-: 0B/ -; 35: -,/ : B24,70; ,-2<-> 9-; 3, 60,324 9: ; 9: ; 42,-B2==: B,: 5 42,-B2==: B,: 5 9: ; 9: ; J-,/ 0,-> 9-<: : =348; -07: C0=35 9: ; 42,-B2==: B,: 5 42,-B2==: B,: 5 )-<: =,-> 27: -C0=35 ( ) *+,-. / $0&& ( ) *+,-. / $0&1 ( ) *+,-. / $0&2 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B, : 5 8=05N--)O> -/ 0119-,2-A42. - 3, -. 0; -8225J-)-645: 7; ,045- > 9-> 2,/ : 7-52: ; -,/ 348; -,20D26,-> 9-> 2,/ : 7-045-3; > 27: 172,: B,-> : J-; / : -4: C: 7- )-B04-, 0A: -0. 09-,/ 0,, / 348; -/ 0C: -82, ,: 4-D: , ,: 73, -80C: -> : -> 27: . 3,/ -> 9-=3<: -42. J-045,/ 0,-3,O;-2A09-,2-<: : =-,/ : - 34<27> 0,324-045-0-> 27: - ,/ 0,-)-. 3==-7: > : > D: 7-,/ 0,. 09-)-<: : = B=: 07-> : ; ; 08: -2<-. / 0,- ,/ : 7: O;-; 2-> 6B/ -=: <, -,2-527: 0==9-3; -82348-24045-3,O;-0-. / 2=: -4: . 40770,3C: -42. -,/ : -10; ,-3; 824: -045-)-> 05: -3, 42,-B2==: B,: 5 42, -B2==: B,: 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 42,-B2==: B, : 5 42,-B2==: B,: 5 : ; : : <= > $2 @/ : 4-. : -. : 7: -, 0=A3480D26,-> 9-<73: 45; / 31- <348: 7-1034,348-/ : =1: 5-> : 53=: > > 0-0D26,-> 921: 4-61-> 27: ; 3843<3B04,-2,/ : 7 9: ; 07,J-570. 348 9: ; 9: ; 9: ; J-)-<2645-,/ : -344: 79: ; J-D: B06; : -3,-5354O,1: 7; 24J-D=2BA348-> : -<72> ; : : > -=3A: -)-. 0; -10704235 1: 0B: 9: ; 7: 0=3Q0,324J-> 27: 645: 7; ,045348 7: =3: 4: ; ; 645: 7; ,045348 : ; : : <= > $3 ( / : -0B,3C3, 9-6; 348-B=09-,2" ==-,/ 7268/ -07,-,/ : 7019N 5: ; B73D: -/ 2. -)-<: : =-0D26,> 9; : = 9; : =<-L-,/ 0, -=38/ ,-,2; / 34: -34; 35: -,22N 9: ; P: ; J-)-<: =,-> 27: -/ 0113: 7045-,/ 0,-)-0> -; : : 348,/ 348; -B=: 07=9N ),-21: 4: 5-> 9-: 9: ; -,2. / 0,-)-/ 0C: -D: : 40C235348N )-7: 0==9-: 4I29: 5-3,-045-3,/ : =1: 5-> 9-: F17: ; ; 324> 27: N ( 2-0B, 60==9-=22A-26,-<27> 9; : =<-045-83C: -D0BA-,2> 9; : =<-. / 0,-)-83C: -,22,/ : 7; N ( ) *+,-. / $02 ( ) *+,-. / +$03 ( ) *+,-. / $04 ( ) *+,-. / $05 ( ) *+,-. / $06 ( ) *+,-. / $07 ( ) *+,-. /$08 ( ) *+,-. / $0&9 ( ) *+,-. / $0&& ( ) *+,-. / $0&1 ( ) *+,-. / $0&2 BCDE */ $%&2' ( ) *+,-. /$0& ( ) *+,-. /$01 42,-B2==: B, : 5 42,-B2==: B, : 5 ( / 0,-)-4: : 5-,2-42,-=: ,-,/ 3; )-. 0; -87: 0, -. 09-,2-21: 4- 344: 7-1: 7; 24-B24, 72=-> : 61-0D26,-: C: 79,/ 348-0D0; : 5-24-> 9-<: 07; -2<. : 38/ ,-/ 0; -D: : 4-=3<,: 5N 7: I: B,324-27-/ 0C348-08225-7: =0,324; / 31N ! " #$#%&' $#( )* + # " , -. / 0, -1234, -567348-9267- @/ 0, -A345; -2<-0B, 3C3, 3: ; , / : 7019-; : ; ; 324-, 2509-535- B24, 73D6, : 5-, 2-926-/ 0C348926-<: : =-> 2; , 0-D: , , : 7-645: 7; , 045348-2<645: 7; , 225? 9267-172D=: > ? E 2-926-<: : =-, / 0, -9267, / : 7013; , -/ 0; -0-D: , , : 7870; 1-2<-. / 0, -3, -3; -, / 0, 07: -926-<: : =348-045: F1: 73: 4B348-34-9267-=3<: ? ! " #" $% &&' ( ) *+, -. / $0& ( ) *+, -. / $01 ( ) *+, -. / $02 343356 7 $&$ 0==-2<-3, > 0A348-0-1034, 348 9: ; 343356 7 $1 . / : 4-)-, 0=A-0D26, -> 9-07, > 0A348-07, 9: ; 343356 7 $2 . / : 4-. : -, 0=A: 5 > 0A348-07, 9: ; 343356 7 $8 @/ : 4-. : -. : 7: -, 0=A348 G 0A348-; B6=1, 67: H 9: ; ! " 9#$% 18' ( ) *+, -. / $0& ( ) *+, -. / $01 ( ) *+, -. / $02 343356 7 $&$ 42, -B2==: B, : 5 42, -B2==: B, : 5 42, -B2==: B, : 5 343356 7 $1 5: <343, : =9-0<, : 7-1034, 348 5: ; B73D348-> 9-<: : =348; 045-. 0=A348-" 6570, / 7268/ -, / : > -/ : =1: 5-> : 645: 7; , 045-, / : > -D: , , : 7 9: ; Findings  How many participants cited art as the turning point in the art therapy session where they felt more understood? (question 1) 8 out of 15  How many participants felt that making art contributed to their understanding of their problem? (question 2) 11 out of 15  How many participants felt their therapist had a better grasp of their feelings? (question 3) 15 out of 15  How many participants cited art as contributing to their therapist getting a better idea of the uniqueness of their problem/experience? (question 4) 9 out of 9 Findings (Cont’d)  How many participants felt their therapist could describe their feelings to them? (question 5) 14 out of 14  How many participants felt that their therapist could adjust their perception of the client's problem? (question 6) 14 out of 14  How many participants felt their aloneness lessened as a result of the art therapy session? (question 7) 13 out of 14  How many participants felt that their artwork revealed meaningful information to them? (question 8) 11 out of 14 Findings (cont’d)  How many participants felt the artwork enhanced their inner knowledge? (question 9) 10 out of 14  How many participants experienced new feelings? (question 10) 4 out of 14  How many participants positively regarded the information revealed in their artwork? (question 11) 12 out of 12  How many participants positively regarded the artwork as a co-participant in the session? (question 12) 12 out of 13  How many participants felt they could take something away with them from the session? (question 13) 12 out of 12 Discussion: The Art Object as Art Agent  The Art-Agent (art object) is an entity with its own subjectivity, ontological status, and infinitely inexhaustible interior. While artwork is made by a living breathing body, it becomes it own being and embodied subjectivity.  When the Art-Agent is worthy of interrogation, then it has the ability to be understood.  As the therapist and client apply radical empathy to the Art-Agent and understands its experience, then the client becomes changed and the possibility for wholeness exists. The Symptom is No Longer Alienated; It Now Has Status, Where Empathy and Relationship Can Begin  The artwork produced in session is its own entity. While the physical artwork cannot exist without its maker, the interior of the art object can exist independently.  The therapist becomes another object (a subjective being) in the room from which to indirectly access knowledge from the inexhaustible interior of the art object, with the aim to bring into alignment the intersubjectivity between objects (subjective entities). Noetic Sciences  Noetic Sciences – Inner wisdom, direct knowing, subjective understanding.  Anoetic – Pure emotion and sensation without cognition. An experience incapable of being thought.  Noetic – Relating to mental activity and intellect.  (Definitions taken from the Institute of Noetic Sciences and Google Dictionary, 2018). Discussion: The Art Objects Need the Client, The Context and The Art Therapist  Art Therapy is unique in that it brings into the relational field other subjective entities, (what I call Art-Agents) to the therapeutic dyad thus, creating a triadic event. When the art therapist and client apply radical empathy to the artwork (as having its own interiority or knowledge), in the dynamism of the art therapy session, then deeper knowledge (anoetic and noetic), can be experienced, processed and brought into conscious awareness. The art objects come into relationship with other subjects and find a way to be understood that was not otherwise afforded. The intersubjectivity of the therapeutic dyad becomes enhanced as the client’s empathy for herself and the other increases. Who Needs Whom?  The Art Objects need the creator to bring life to them. They also needed the art therapist to facilitate understanding, bridging the revelations of the artwork to the conscious mind of the client. The art therapist, as multi-lingual, bridges any communication divide between herself, the client and artwork.  The client needs the artwork to express what she cannot. She needs the art therapist to provide the mediums which can best assist in her affective expression. She needs the art therapist and artwork to help her more profoundly connect with that which is alienated.  The art therapist needs the client to show initiative in her therapeutic process by her willingness to participate with the art medium. The art therapist needs the artwork to be a willing participant that is infinitely inexhaustible. The art therapist needs herself to be actively engaged in her own art making so that she keeps her intuitive knowing honed about the psychological process of art making and its medium.  An art therapist’s intuitive ability to keep her finger on the zeitgeist is most perceptive when she herself is engaged in culture and art making. The art therapist is deeply empathetic for what the Art-Agent brings to session and therefore, her preparation is incalculable. Commentary  It is through the Triad that art therapists actualize their role. We can never lose sight that our role is to facilitate the subjective being of the client and art objects, so that a synergy - an Intersubjective field of relating - is activated. Is is through the Other that we come to know ourselves. In Art Therapy the Other is more than the art therapist in the consulting room, it is also the provocative art object. If Art Therapists are not actively engaging the clients and Art-Agents then we are limiting our clients’ access and empathy to their very own symptoms. The art provocateur (Art-Agent) comes into being to provoke, reveal and potentially heal, vis-à-vis its own subjectivity and ontological status, what the mind cannot confront. Art-Agent  The Art-Agent is a Double Agent –who moves from alienated symptom to a being with its own subjective status (completing the Triad). Essentially, there are three subjective entities in the art therapy consulting room. The Art-Agent becomes a double agent in procuring the empathy from the client and thus, incorporating for the client a new pathway for inner knowledge (a new companion which which to enter into relationship with). Future Research  Studying the unique intersubjective relationship in art therapy is necessary to further understand how the relational processes actually become enhanced when art objects are created in the therapeutic session. It is important to the field of art therapy to understand more deeply what the art objects do or bring to the therapeutic alliance. Recommendations for Future Research  How video counseling impacts intersubjectivity/ in online art therapy.  Intercorporeality in video art Therapy  How intersubjectivity is impacted in art therapy using different art therapy approaches.  How intersubjectivity in art therapy is experienced with different mediums or choices of mediums.  Consciousness awareness in art therapy  Effectiveness of using OOO informed art therapy approach.. Objects Hold Meaning  In this presentation, I attempted to demonstrate that objects facilitate healing as measured vis-à-vis intersubjectivity. The healing that is demonstrated in my research is that the art objects made in session hold meaning and they serve the therapeutic alliance; this supports the conclusions of Attachment and Relational Theory, that a client may experience healing through the rupture and repair process of a good enough attachment relationship in therapy. It also supports Object Oriented Ontology’s view that sensual objects become activated when in contact with real objects (Harmon, 2015). In summary, 15 out of 15 research participants reported feeling that their art therapist has a better grasp of what they were feeling as a result of using art therapy; 12 out of 13 positively regarded the artwork as a co-participant in the art session. 11 out of 14 participants felt that their artwork revealed meaningful information to them. 10 out of 14 felt that the inner knowledge gained from the art therapy experience was useful (refer to Excel spreadsheet). Objects and Their Meanings  I have demonstrated through my research, on intersubjectivity, that art objects have a subjectivity of their own and that their subjectivity is accessible in the therapeutic context vis-à-vis the active interrogation by the art therapist and client. It is the through the genuine curiosity, to get to know the art object better, that knowledge is revealed and made use of for conscious present awareness in the client. Through this dynamic process the intersubjectivity in the therapeutic relationship is enhanced, and a stronger alliance is built between the therapist and client. Conclusion  The art objects inform the intersubjectivity in the therapeutic relationship when the therapist and client grant the art object its own subjectivity and ontological status. It is then that it is allowed to enter into the relationship with other entities and become understood.  The art objects enter the domain of the consulting room where they are utilized by the therapist and the client to bring into present conscious awareness that which has been previously unknown. The Unthought Known becomes the known (Bollas, 1989). Acknowledgements and Special Thanks  Thank you to my colleagues at Edinboro for the generous help in editing.  Thank you to my dear friend and mentor, Kathryn Rogers, for the many hours of listening and reading of my work.  Thank you to my family for tolerating my preoccupation with this material.  Thank you to Dr. Orr for encouraging me to think of myself as a researcher! References References Altmeyer, M. P. (2013). Beyond intersubjectivity: science, the real world, and the third in psychoanalysis. Studies in Gender and Sexuality , 14, 59-77. Ashworth, P. D. (2015). The lifeworld – enriching qualitative evidence. Qualitative Research in Psychology , 13 (20-32). Benjamin, J. (2004). Beyond Doer and Done To: An Intersubjective View of Thirdness. LXXIII. Benjamin, J. (2005). Creating an intersubjective reality: Commentary on paper by andrew rothstein. Psychoanalytic Dialogues , 15 (3), 447-457. Benjamin, J. (1995). Recognition and destruction: An outline of intersubjectivity. 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