By Pavel Machotka
That portray is not less than partially an expression of the painter's character is clear from the variations among very impulsive and intensely managed painters - among the work of a Picasso, for instance, and a Piet Mondriaan. yet those ameliorations haven't been checked out in a managed surroundings. during this booklet, Machotka units out to appreciate the pictures produced by means of a vast pattern of scholars and to attach them to the scholars' internal lives - to their interpersonal kinfolk, their needs and fears, their impulses and inhibitions. Their photo making used to be intimately and their character used to be studied in an extended medical interview, generating a wealthy, person photograph of the fashion and substance of the interior lifetime of every one. Then the pictures have been grouped into seven varieties by means of cluster research. the private facts have been stumbled on to slot the picture clusters heavily: for instance, photos with little shape and lots more and plenty narration have been produced by way of individuals with powerful compensatory longings, whereas dense, collaged photographs have been made via members who exercised relentless regulate over one significant factor of their lifestyles. different participants had a robust have to combine their lives and produced well-formed, well-composed photos. As anticipated, no unmarried intent defined all creative task - however the kind of the pictures, similar to their inhibited formality, abstractness, or fluid boldness, mirrored what can be referred to as the map of every participant's interpersonal world.
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Extra resources for Painting and Our Inner World: The Psychology of Image Making
It assumes that one's handling of needs and emotions, particularly as they relate to people significant in one's life, is of central significance. I had used it in earlier research (Machotka, 1979), where it served to assess the dominant emotional and interpersonal issues of the participants, and could successfully be connected with a person's aesthetic choices. It was adapted for use here. Although relatively brief-about an hour and a half to two hours in length-it nevertheless 24 Chapter 2 was indicative enough of what animated the individuals emotionally: the memory of their relation to their parents, the images and the reality of their romantic and other relationships in the present, the patterns by which they had been disciplined, the parents' goals for them, their own ideas, goals, and hopes for the future, and similar issues (see Appendix B, "Outline of psychodynamic interview").
But there were also stylistic responses to it which were made possible by the opportunity to transform it. (d) While the participant worked, the experimenter took careful notes on each operation, indicating the Photoshop tool used, the operation performed, the result, and any comments made. The participants were told that we were interested in their comments on what they were doing, and if they did not volunteer them, they would be asked; this procedure had varied success because some people were highly verbal and others almost not at all.
Now free and adventuresome, the mother has a boyfriend and travels about the country with him. But the daughter has paid a price for all this, having begun to feel guilty about surpassing her mother, and having been diagnosed as depressed and in need medication in order to function. And though she dislikes her father, she fears she is like him in the depth of her anger; until the 7th grade she had been a bully in school, but then changed abruptly and became depressed. ) Happily, an identification with a friend's healthy mother, with whom she has always spent a lot of time, gives her present relationship a healthier cast, and her future a certain amount of hope.