Group Scoring Exercises for Figures 8, 9 and 10

Below are the three HFD which I would like the ALS group to score as a group. Do discuss and arrive at a decision on the scores the group is awarding to the figures below.

Figure 8 - Female 10years 2 months - Drawing of a female

Figure 9 - Female 11 years 1 month - Drawing of a female

Figure 10 -  Male 5 years 2 months - Drawing of a male

Further Naglieri scoring exercises - Figures 4, 5, 6 & 7

Exercises to further enhance competence in scoring and the groups inter-rater reliability

Please compare the scores you have given to the correct scores you will be given shortly for the drawings below. You would be advised to do that for Figure 1 2 & 3 first before starting to tackle Figs 4, 5,6 & 7. If there are differences, please look at the comments to understand why the respective individual point was given or not given.

• Please score each of the following drawings without looking at the model scores on the blank form as in the previous exercise.

• Check your scoring by looking at the comments for each drawing which you will be given and identify any points of disagreement.

• Count the number of items (1 to 14) in each picture where you have the identical score as the model rating.

• For all four drawings you should have no more than 32 items (categories 1 to 14) in which you disagree with the model scoring to achieve a competency level of 90%.

You have until this weekend to complete the exercise.

Fig 5 - Male Child 11 Years 1 Month, Drawing of a Man

Fig 5 - Male Child 11 Years 1 Month, Drawing of a Man

Fig 6 - Female Child 7 Years 4 Months, Drawing of a Woman

Fig 7 - Male Child 12 Years 10 Months, Drawing of a Woman

Results of the Naglieri Scoring Exercises for Figure 1, 2 & 3

Naglieri Scoring Exercises - ALS  Group Scores in comparison to reference scores

Online Group Tutorial 2 080910

To download the mp3 of the tutorial recordings right button click here and use 'Save As' from the drop down menu

Testing your Competence in Using Naglieri Scoring System

Testing your Competence in Using Naglieri Scoring System

The group should practise applying it by marking the three typical drawings of children. Please compare the scores you have given to the correct scores shown together with the drawings that will have been provided to you. If there are differences, please look at the comments to understand why this individual point was given or not given.

Fig 1 - Female Child 6 years 2 months - Drawing of a Female

Fig 2 - Male Child 6 years 5 months - Drawing of a Male

Fig 3 - Female Child 7 years 2 months - Drawing of a Male

• Please score each of the following drawings without looking at the model scores on a blank sheet of paper.

• Check your scoring by looking at the comments for each drawing and identify the points of disagreement.

• Count the number of items (1 to 14) in each picture where you have the identical score as the model rating.

• For all three drawings you should have no more than 19 items (categories 1 to 14) in which you disagree with the model scoring to achieve a competency level of 90%.

• If you have not achieved this, please practise again

PROVIDE YOUR TOTAL SCORES FOR FIGURE 1, 2 & 3 IN THE COMMENTS

Group Art Therapy - Making group dynamics & group processes visible

What you are seeing below is recording of evolving processes of group image creation by the ALS through Scriblink. What do you see and how would such a process in group art making help you to formulate some hypothesis about your group processes and dynamics? Try generating the 5-H Socratic questions of What, Who,  Where, When and How as you explore and become acquaint with understanding the dynamics and processes of the group through the image making processes. How would it help you to understand your own processes through observing and reflecting the different emotions experienced whilst engaging, reacting and responding, in the group art making process in relation to the 'Self' & 'Others'. You can enlarge it to full screen for detailed viewing.

Thank you Shirley for recording this.

Please do add your thoughts and views in the comments below.

Online Group Supervision 180810 Recording

You can download the mp3 file by clicking here

The url to the http://childart.indstate.edu/default.asp I will post the summary of our discussion in another entry.

DAP

DAP

Compilation of the ALS Draw-A-Person pictures. 

Click on image to take you to Picasa to look at the folder that contains your pictures.

ALS Mid-Point Progress Report

Progress Summary - Therapeutic Use of Art & Image Making

The above data (which I have sent as an attachment) will provide you some idea as to how the ALS group is doing.  I was, still am hoping that the additional fortnights extension will give some of you the time to catch up on your learning. It is very relevant and critical that you do engage yourself with your ALS colleagues through your interactions by visiting and commenting on their blogs. This  can only happen if there are contents in your Personal Learning Journals, so you may need to keep your PLJ up-to-date. The pair exercises is intended to provide you with opportunity to developed your relationships amongst your own peers and to enhance the social interaction which is critical for group learning. I cannot overemphasise the importance of developing group relationships to utilise the full potential of learning in this way. This is also relevant as it challenges you to think about your role as a therapist/helper in the area of engagement with your own clients or those who you intend to help.

I do appreciate that for some, the group cultural norms and group relationships may have been established through familiarity with each other as some of you have been together in previous ALS groups over the duration of the CPPD programme whilst others may have join in latter and some may not have the benefit of the initial "Learning to E-learn" module. I wanted to let the group know that I appreciate it may make some feel difficult to 'break' or integrated into this existing 'group' and at the same time without taking some risks to engage with the ALS, this difficulty becomes reinforced. I hope and I know that the sensitivity and awareness of the rest of the group to be accommodating and be inclusive is a feature  which is crucial in being a therapist / helper. It is never incorrect to enquire about your ALS members if you have not heard how one is doing with a simple non-invasie enquiry of ..... How are you? How are you doing with the task, I wonder if you care to share what you think of my latest effort? etc. etc.

I look forward to our next phase of the module where you will be engaging as a group to address the Mission Impossible task, group art and image making. I have forward to all of you a very relevant resource book which I hope you will invest some time to read it. Chap 4. 5, 6 would be useful to have a quick look if don't have much time available. We will be having supervision on Wednesday and you may wish to bring some of the art/image work you may be working on with a client etc. Please ensure you do not breach confidentiality. Failing that you may use your own work like the DAP and be supervised on it. We will explore more on facilitating and understanding when and how to make timely therapeutic intervention. Do come with questions, the more you ask the more you learn. I am hoping for the session to be a dialogue in contrast to it being a monologue. 

Learning Tasks - contd

Learning Task 2 - Using visual imageries as triggers to engage and develop your creative processes.

Visit the Pic.Litts site (click to previous posting for url address and example) choose a minimum of three pictures and allow yourself to be inspired by the visual image as you let the image reverberate or resonate and engaged with your creative imagination to find its expressions in prose or poetry. This exercise will developed your sensitivity and receptivity to your inner creative source of imagination. Find a way to express your inner thought and feelings evoke by the image through metaphors, symbols and allegories. Don't rush the task learn to let the image simmer, percolate and infused into the depth of your mind and psyche. Take your time to reflect and contemplate on each visual image. See it as a continuous process, not a task to get it put of the way.

Learning Task 3 - Draw A Person

Once you have drawn a person and determined its gender, draw another picture of a person of the opposite sex to the first picture. You should have two pictures drawn. I will be asking you to pair up and set up a meeting through Skype as you practice facilitating each in turn to facilitate each other and develop associations to the images produced. Give feedback and share your discussion of the facilitative process and any sharings of what transpired in terms of clarity and insights you may have gained as a result of your experienced of being facilitated. You are requested to enter your reflections in your Personal Learning Journal about the experience itself. You may recall an example of the initial process if you were to listen to Tutorial 1. The tasks will help you develop the kind of questions and style that would help in the self-inquiry process of your partner through your facilitation. I have made the list of the random pairing. 

• Melinda - Shirley
• I Ling - Seok Bin
• Mary - Cheng
• Joanna - Phaik Nie

You may want to read the few articles about DAP I have uploaded to Google Docs to share with the group. This would increase your familiarity with the technique and processes. Once the two drawings, your reflections on your pair work are completed, I will guide you further in making detailed observations in understanding and interpreting. REMEMBER interpretation is very subjective and relative and is NOT the central process in your therapeutic work with clients. However it will provide you with a working framework to understand of body image and its potential dynamic relationship between soma and the psyche.

Summary of the module's learning tasks - Task 1

On further reflection I thought it would wise to list down the learning activities explicitly that I would like you as module participants of TUOAAIM to engaged in to avoid misunderstanding of what I had mentioned during our tutorial 1 the other evening.  The learning activities has two basic intentions, cultivating relevant areas in your personal development related to this module e.g. creativity, intuition, imaginative capacity, awareness of your own unconscious processes, humour and playfulness, etc which are essential and would contribute greatly to your development as a therapeutic practitioner of the creative arts. The other intention is through the learning activities you will begin to equip yourself with the skills and knowledge necessary to help someone towards therapeutic objectives.

Task 1 – Understanding artists and their art. Letting the ‘artist’ in you developed an appreciation and developing perceptual sensitivity of visual imageries.

Choose two contrasting pieces of work by any two famous artists. Research into the two pieces of work (they could be a style or genre that you like or are curious about) the medium could be a painting, sculpture, print, photograph etc. etc. Through your research into the brief background of the artist, the context for the piece of work, critical comments from art critics and commentators on the piece of the work chosen will hopefully deepened your appreciation of art and increase you perceptual vocabulary for art.

Your task is to offer a brief summary (no longer than two A4 page, use links if further information is interesting) of what you have researched, you don’t have to be original, just select and summarised what others have said and how the piece of art you have selected has come to be renowned, special or have made significant contributions to make to the art world and the diverse culture of humanity.  This will posted onto your blog accompanied by the visual image of the work and artist. See may example below on Salvador Dali.

Salvador Dali

 The persistence of memory

For a larger image of the above piece of work by Dali, click on this link

Bio

Birth name	Salvador Domingo Felipe Jacinto Dalí i Domènech
Born	May 11, 1904 Figueres, Catalonia, Spain
Died	January 23, 1989 (aged 84) Figueres, Catalonia, Spain
Nationality	Spanish
Field	Painting, Drawing, Photography, Sculpture, Writing
Training	San Fernando School of Fine Arts, Madrid
Movement	Cubism, Dada, Surrealism
Works	The Persistence of Memory (1931) Face of Mae West Which May Be Used as an Apartment, (1935) Soft Construction with Boiled Beans (Premonition of Civil War) (1936) Swans Reflecting Elephants (1937) Ballerina in a Death's Head (1939) The Temptation of St. Anthony (1946) Galatea of the Spheres (1952) Crucifixion (Corpus Hypercubus) (1954)

The Persistence of Memory - Salvador Dali

Painted in 1931, landscape of Port Lligat, the town on the Mediterranean coast where Dalí spent much of his life. The province of Catalonia, is noted for its sheer cliffs and craggy outcroppings of rock. While the cliffs in the painting’s upper right hand corner provide some specific features in the landscape, the absence of other characteristic landmarks is significant, as Robert Radford has noted:

“Certainly the bare, hard outline of the cliffs and the crystal light of the sky are there, but the empty, desert-like expanses of the painting are much closer to the

topography of the mind, to a dreamscape. The viewer’s anxiety is fermented precisely through the lack of clues of distance, of recognizable landmark, of time of day, of temperature—it could equally be as hot, or as cold, as an unknown planet. We are in an arena of silence, a frozen nightmare, in which nothing moves or makes a noise.”

James Thrall Soby, at MOMA, “space is manipulated to suggest an infinity against which the drama of his objects and figures is projected” . While the seascape, cliffs and sky occupy the top third of the painting, the bottom two-thirds feature the famous larger-than life watches: one melting over the truncated branch of a dead olive tree, one melting over a large step in the painting’s left hand corner, and a third drooping over an amorphous shape appears to have been washed up onto the beach. The fourth watch is closed, and its cover is swarming with ants. Dalí called his surrealist paintings “hand-painted dream photographs,” with its clear, crisp details and almost invisible brushwork. —intended the dreamlike scene to seem as real as any other.

Perhaps the most disturbing aspect of this painting is the ants and the fly which

alight atop two of the watches. The presence of the objects and the living insects

allude to the tradition of still-life painting. As indicated, the watches symbolize

the passing of time, which is distorted, as memory comes to the fore in sleep. But

the insects provoke a more subtle reading of the painting in which time reveals the presence of death. Here they symbolize decay, a modern Memento Mori or Vanitas.

SYMBOLS

The Watches

The ants, the fly, the olive tree, the steps, the amorphous shape on the beach—but none are of significance as the watches themselves. The effect they have on the viewer is twofold: watches are not only potent symbols of “time’s winged chariot hurrying near,” but their content is seemingly contradicted, and made doubly meaningful, by their softness. The resulting effect—that of time and machine coming apart—challenges our belief in a rational, natural, orderly and rule bound world. It evokes the seemingly universal human preoccupation with time and memory. Dalí juxtaposes two ordinary symbols of time: clocks and sand; but in Dalí’s arresting vision the clocks are melting over a vast and lonely beach that resembles the sands of time. To emphasize the painting’s temporal images, he also incorporates a swarm of crawling ants, whose uniquely shaped bodies resemble hourglasses. Sand, hourglasses, and watches all connect below the threshold of awareness till the viewer’s mind swings around to focus on the very nature and meaning of time. This surrealistic painting mesmerizes us because it translates an idea into symbols when conventional words and phrases have never been sufficient. The fact that the watches are soft—that they appear to be melting like cheese, or wax, or gelatin—seemingly contradicts the significance of time itself, rendering both time and the machine that measures it ineffective and irrelevant. “The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order” The evocation of softness is one of Dalí’s most brilliant and compelling inventions: his soft objects are powerful and disturbing images of entropy—that fundamental physical process by which all things decay in time.” The cosmic sense of this is further heightened, by the fact that philosophers of the enlightenment had conceived of the workings of the universe as akin to that of the mechanism of a watch.

The Self-Portrait

The center of is a relatively amorphous shape that appears to have been washed onto the beach. With its closed eye and oversized eyelashes, and with a relative lack of other identifying features, the self-portrait seems to emphasize sleep, positioning the painting’s dreamscape as a concrete realization of an unconscious world. The sleeping figure in the foreground suggests that this landscape is an interior vista, accessible only through sleep. The figure's embryo-like shape suggests Dalí’s fascination with the psychoanalytic theme of inter-uterine memories embedded in the unconscious”. This “embryo-like shape” refers to Dalí’s professed memories of intra-uterine life and suggests the trauma of birth. A watch sagging across [it] and another hanging from a plinth evoke the feelings of timelessness associated with the experience of pre-birth. The title of the painting thus refers to prenatal memories and its subject is ‘the horrible traumatism of birth by which we are also expunged from paradise.’ Another commentator argues, “In this picture, the figure is an identification of defeat, death….one can’t ignore the fact that the limp figure in a wasteland of ants, flies, a dead olive tree and useless clocks has quite possibly seen the end of its days. The portrait casts a shadow of mortality over the dreamworld Dalí has created, reminding us that, like the melting watches, our time is running out.

Ants & Flies

As symbols of decay, ants and flies are common in Dalí’s work of this time and

comments such as “The insects are rendered with such precision that they become almost machine-like,” which is an intriguing twist to a painting in which machines have in turn assumed the organic properties of living creatures.

The Olive Tree

A traditional symbol of peace, hope, and healing in Western cultures, the olive and the olive tree was a significant image for Dalí as well. A major agricultural product of Catalonia, the olive makes its appearance in early works

Later on, Dalí would nickname his love partner Gala “my little olive,” acknowledging the life-nurturing qualities that she brought to their

Relationship. In this picture, however, the olive tree is dead, reinforcing the sense of death that one might get from the painting. It was suggested that the “denuded” tree is “in reference to the Spanish Civil War”, and alongside the useless and impotent watches, the lifeless self-portrait, the barren beach, the ants and the fly, it helps to create, in some readings, a landscape fraught with despair—not so much a “dreamscape” as a nightmare.

Steps

The presence of the two “steps”—the large brown one in the lower left-hand corner, and the less prominent blue one at the horizon on the painting’s left side—is one of the more perplexing aspects. In other paintings of the time, like

Dalí paints steps as part of a visual language of Freudian symbols. In The Interpretation of Dreams, Freud spells out the signifying nature of steps.

Steps, ladders or staircases, or, as the case may be, walking up or down them, are

representations of the sexual act.

For further detailed commentary click on this link 

The complete ALS contact list

No	Name	Skype Name	Google Mail Account	Personal Learning Journal (Blogspot.com)
1	Ding I Ling	dingiling_hlj	dil5410@gmail.com	http://tuoartimagedingiling.blogspot.com/
2	Melinda Leong	msleong072	msleong072@gmail.com	http://touartimagemelinda.blogspot.com/
3	Lim Seok Binn	sbinnlim	seokbinn68@gmail.com	http://tuoartimageseokbinn.blogspot.com/
4	Seow Hooi Cheng	chengjad	chengjad@gmail.com	http://touartimagecheng.blogspot.com
5	Chin Phaik Nie	phaikniechin	phaikniechin@gmail.com	http://tuoartimagephaiknie.blogspot.com/
6	Mary Chuah	amchuah	amchuah@gmail.com	http://tuoartimagemary.blogspot.com/
7	Joanna Jeske	asia_jeske	joannajeske@gmail.com	http://uoartimagejoanna.blogspot.com/
8	Shirley Awe	shirleyouxueli	ohmshirley@gmail.com	http://tuoartimageshirleyawe.blogspot.com/