The purpose of this thesis is to showcase the philosophical and psychoanalytic collaboration of Gilles Deleuze and Felix Guattari in regards to art therapy. The Deleuze and Guattari Art Therapy Assemblage is a composition that includes the environmental, relational and material elements of art therapy as contexts in which to process subjectivity. Key Deleuze and Guattari concepts will be applied to the practice of art therapy, implicating somatic and psychological processing within the production of art therapy artworks. The generative capacity of art therapy constitutes many creative sites in which to transport subjectivity. Rather than a fixed form, subjectivity moves across a territory of different creative features. The cartography of subjectivity is a network of passages through relationships and contexts that implicate it with affects. This kinaesthetic capacity will be underscored in relation to three methods of psychological and somatic awareness (somatic psychology, performance art and authentic movement) that challenge inhibition through improvisation. These three methods stimulate the circulation of desire as a creative and collective enunciation of subjectivity. Deleuze and Guattari represent desire as a liberating potential acting on both body and mind - an opening commencing from constraining circumstances that define and enclose expression. This has specific implications for the treatment of trauma, which can impose a set of limits that condition reactive versus spontaneous responses. The Deleuze and Guattari Art Therapy Assemblage is a practice in which to stimulate improvisational and experimental affects within the making and viewing of artworks. The significance of this practice is its composite of influences. It is an approach that emphasises not only artworks, but also the performance of subjectivity, a happening within an art therapy space offering choices for engagement and the enactment of different somatic and psychological potentials.

This arts-based inquiry explores visual art practice as a way of knowing, doing and sharing. The conceptual frame traverses the borderlands of postmodern creative practices and socially constructs a narrative of a Northern Ireland studio-based group of art therapists' visual, reflective and social conversations. These studio conversations explore how art therapists engage with art practice to understand and make meaning of their professional identities and practices, professional standards, and continuing professional development (CPD). The narrative findings show that the studio art practice enabled the art therapists to engage with, maintain, and develop understanding of Standards of Proficiency (SoP) relating to art making, and contribute to a range of CPD activity, both of which are in place to renew registration. The multiple dimensions of the art therapists' professional and personal identities were explored through conscious and unconscious processes, using different art media, which highlighted a particular need for art making as a form of professional and personal self-care. The art therapists' identities and practices were also constructed and understood in relation to personal biography, professional working contexts and roles, and current and past relationships. Interwoven throughout this thesis are self-reflexive fragments of my art practice, which highlight my understandings of myself as a developing researcher, and how I have negotiated my position as a participant, facilitator, and researcher during this journey. The fragments show the challenges faced regarding the conceptual and organic development of this research process, and the decisions made in the rhizomatic representation of this thesis. My understandings of myself have developed with the moveable folds between the personal and professional aspects of my identities and practices.

No description available.

Text in Afrikaans / he goal of this research study is to determine whether clay has any diagnostic value to the Educational Psychologist. The phenomenon of claywork with children has been examined by literature to determine whether this subject has been researched before. The developmental phases in claywork and the development of clayfigures are discussed, as well as the clay techniques which are applied by children. A comparison between clay as a three-dimensional medium and drawings as two-dimensional medium is made. The ways of application of clay are discussed by means of case studies. The general value of clay for the Educational Psychologist is also mentioned. On the grounds of certain short-comings in the literature study, "The Clay-feelingstory technique" is initiated and applied. For the empirical study eighty learners in the foundation phase, aged between five and nine years, were involved. Random sampling was used. This research study uses the combined method design in order to better understand the phenomenon of clay projections. Although the study is mainly qualitative in nature, some data is quantified. The research results prove that clay projections have diagnostic value, concerning the child's verbal and non-verbal messages, the way he applies clay techniques, by decoding his symbolic messages, emotions come to the fore, actions are portrayed and described, relations are revealed, themes come to the fore and needs are expressed. It also seems that clay projections can be taken in group context as an identification medium to help the child in need. It also seems that clay projections can be applied as a supplementary projection medium and that hypothesis can be verified with other exploratory media. Guidelines are given for the application and interpretation of clay as projection medium. / Educational Studies / D.Ed. (Sielkundige Opvoedkunde)

Text in Afrikaans / he goal of this research study is to determine whether clay has any diagnostic value to the Educational Psychologist. The phenomenon of claywork with children has been examined by literature to determine whether this subject has been researched before. The developmental phases in claywork and the development of clayfigures are discussed, as well as the clay techniques which are applied by children. A comparison between clay as a three-dimensional medium and drawings as two-dimensional medium is made. The ways of application of clay are discussed by means of case studies. The general value of clay for the Educational Psychologist is also mentioned. On the grounds of certain short-comings in the literature study, "The Clay-feelingstory technique" is initiated and applied. For the empirical study eighty learners in the foundation phase, aged between five and nine years, were involved. Random sampling was used. This research study uses the combined method design in order to better understand the phenomenon of clay projections. Although the study is mainly qualitative in nature, some data is quantified. The research results prove that clay projections have diagnostic value, concerning the child's verbal and non-verbal messages, the way he applies clay techniques, by decoding his symbolic messages, emotions come to the fore, actions are portrayed and described, relations are revealed, themes come to the fore and needs are expressed. It also seems that clay projections can be taken in group context as an identification medium to help the child in need. It also seems that clay projections can be applied as a supplementary projection medium and that hypothesis can be verified with other exploratory media. Guidelines are given for the application and interpretation of clay as projection medium. / Educational Studies / D.Ed. (Sielkundige Opvoedkunde)

Notre sujet repose sur l'hypothèse qu'il existe un "appareil esthétique" présent en chacun de nous, constitué de trois états de présence (physique, psychique et artistique) soulignant la spécificité de la qualité de présence dans la relation art-thérapeutique. L'émotion esthétique en est le centre. Notre méthodologie se construit d’une démarche centrale : terrain de recherche auprès de trois personnes adultes avec autisme sévère. Nous utilisons la vidéo comme outil d'observation pour visualiser le subtil et l'inénarrable dans la relation avec ces personnes. La deuxième démarche : entretiens de recherche auprès de 25 patients psychotiques et 25 professionnels (artistes, art-thérapeutes, soignants, éducateurs) qui ont tous participé ou animé dans des ateliers d'art et thérapie. Notre souci est de partir de la parole des personnes concernées pour faire lien avec l'expérimentation vécue sur le terrain de recherche. Nous utilisons un logiciel d'analyse du discours pour en faire une analyse ciblée sur notre hypothèse. Tout notre questionnement repose sur la question de la présence, présence à soi, présence à l'autre par le détour de l'art. Nous abordons les grands courants théoriques autour de la question de la présence thérapeutique, pour poser notre démarche dans une approche intégrative. / Our subject is based on the hypothesis that there exists an "aesthetic device" present in each of us, consisting of three states of presence (physical, psychic and artistic) emphasizing the specificity of the quality of presence in the art-therapeutic relationship. Aesthetic emotion is the center of it. Our methodology is based on a central approach: a field of research involving three adults with severe autism. We use video as an observation tool to visualize the subtle and the inenarrable in the relationship with these people. The second approach: research interviews with 25 psychotic patients and 25 professionals (artists, art therapists, caregivers, educators) who all participated or facilitated in art and therapy workshops. Our concern is to start from the speech of the people concerned to link with the experimentation lived on the research ground. We use discourse analysis software to make an analysis focused on our hypothesis. All our questioning rests on the question of presence, presence to oneself, presence to the other by the detour of art. We approach the main theoretical currents around the question of the therapeutic presence, to pose our approach in an integrative approach.

Text in Afrikaans / Die doel van hierdie studie was om vas te stel of kunsterapie wei suksesvol aangewend kan word met die anorexia nervosa-lyer. Daar is spesifiek gefokus op die verbetering van die selfkonsep van die adolessent met anorexia nervosa. Anorexia nervosa en kunsterapie is bespreek. Daar is aandag gegee aan die spesifieke kenmerke wat kuns geskik maak vir terapeutiese aanwending in die bebandeling van die anorexia nervosa-lyer. Die praktiese toepassing van kunsterapie is uiteengesit met die Jdem op kunsterapeutiese tegnieke wat fokus op die verbetering van die selfkonsep van die adolessent met anorexia nervosa. Twee adolessente wat met anorexia nervosa gediagnoseer is, is as proefpersone vir die studie gebruik. Die Adolessente-Selfkonsepskaal (ASKS) en die Sacks Sinsvoltooiingsmedium is as voor- en natoetse ingeskakel om die stand van die twee proetpersone se selfkonsep te bepaal. Kunsterapie is vir twaalf sessies met die proefpersone gedoen. Uit die navorsingsresultate is tot die gevolgtrekking gekom dat kunsterapie gelei het tot 'n verbetering rakende aspekte van die seltkonsep van die adolessent met anorexia nervosa. Kunsterapie is positief beleef deur die proefpersone. Gevoelens kon op 'n nie-bedreigende manier geeksploreer word en onopgeloste situasies kon met vrymoedigheid aangespreek word. / The aim of this study was to assess and describe the potential value of art therapy as an intervention strategy for the treatment of adolescents suffering from anorexia nervosa. Anorexia nervosa was described and defined. Diagnostic criteria, the manifestation and contributory causes, as well as the treatment and the prognosis for recovery, were discussed. Art therapy, as well as specific therapeutic techniques suitable for the anorexia nervosa sufferer were explained. The specific objective of the study was to determine the influence of certain art therapy techniques on the self-concept of two adolescents suffering from anorexia nervosa. The results indicated that there were significant changes in the self-concept of the two adolescents. Art therapy can be an effective therapeutic intervention strategy for the adolescent suffering from anorexia nervosa and gives the client the opportunity to come to tenns with the self in a non-threatening way. / Psychology of Education / M. Ed. (Sielkundige Opvoedkunde)

Text in Afrikaans / Die doel van hierdie studie was om vas te stel of kunsterapie wei suksesvol aangewend kan word met die anorexia nervosa-lyer. Daar is spesifiek gefokus op die verbetering van die selfkonsep van die adolessent met anorexia nervosa. Anorexia nervosa en kunsterapie is bespreek. Daar is aandag gegee aan die spesifieke kenmerke wat kuns geskik maak vir terapeutiese aanwending in die bebandeling van die anorexia nervosa-lyer. Die praktiese toepassing van kunsterapie is uiteengesit met die Jdem op kunsterapeutiese tegnieke wat fokus op die verbetering van die selfkonsep van die adolessent met anorexia nervosa. Twee adolessente wat met anorexia nervosa gediagnoseer is, is as proefpersone vir die studie gebruik. Die Adolessente-Selfkonsepskaal (ASKS) en die Sacks Sinsvoltooiingsmedium is as voor- en natoetse ingeskakel om die stand van die twee proetpersone se selfkonsep te bepaal. Kunsterapie is vir twaalf sessies met die proefpersone gedoen. Uit die navorsingsresultate is tot die gevolgtrekking gekom dat kunsterapie gelei het tot 'n verbetering rakende aspekte van die seltkonsep van die adolessent met anorexia nervosa. Kunsterapie is positief beleef deur die proefpersone. Gevoelens kon op 'n nie-bedreigende manier geeksploreer word en onopgeloste situasies kon met vrymoedigheid aangespreek word. / The aim of this study was to assess and describe the potential value of art therapy as an intervention strategy for the treatment of adolescents suffering from anorexia nervosa. Anorexia nervosa was described and defined. Diagnostic criteria, the manifestation and contributory causes, as well as the treatment and the prognosis for recovery, were discussed. Art therapy, as well as specific therapeutic techniques suitable for the anorexia nervosa sufferer were explained. The specific objective of the study was to determine the influence of certain art therapy techniques on the self-concept of two adolescents suffering from anorexia nervosa. The results indicated that there were significant changes in the self-concept of the two adolescents. Art therapy can be an effective therapeutic intervention strategy for the adolescent suffering from anorexia nervosa and gives the client the opportunity to come to tenns with the self in a non-threatening way. / Psychology of Education / M. Ed. (Sielkundige Opvoedkunde)