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VISUAL ART IN APHASIA THERAPY: THE LOST AND FOUND SELF

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Pąchalska M., Góral-Półrola J.

Acta Neuropsychologica

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2020

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vol. 18(2)

149-181

EN

Recently, the relationship between visual art and brain function and disease has raised considerable interest among neurologists, neuroscientists, and artists themselves. Visual art production involves multiple processes including basic motor skills, such as the coordination of movements, visual-spatial processing, emotional output, a socio-cultural context, as well as obviously creativity. Thus, the relationship between artistic output and brain diseases is particularly complex, and brain disorders may lead to an impairment of artistic production in multiple domains. Understanding the nature of aphasia, which leads to significant changes in human life in the physical, psychological, social and professional sphere, makes us aware of the importance of the individual (objective and subjective) and the social (collective and cultural) self system in the process of creation, especially in artists. Observing the works of artists with aphasia, we notice that each of them perceives the surrounding world differently. One wonders what makes them present reality in one way and not in another. It is true that all works of art show reality in thousands of different ways, and only an unoriginal artist will employ someone else's vision - one already used in a work. It should not be forgotten, however, that the work of artists with aphasia often takes on features resulting from the nature of the problems they face and is initially unoriginal, as they have to overcome fundamental technical difficulties and problems of technique. In this article, we present the possibilities for rehabilitation, of strengthening artists with aphasia, in order for them to find the self lost as a result of illness.

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Sport and Art: a View on the Worldwide and Connecting Area from the Perspective of Sports Science – or: about the Convergence of Two Worlds

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Kretschmann R., Von Grabowiecki U.

Physical Culture and Sport. Studies and Research

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2012

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vol. 55

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issue 1

5-16

EN

The two worlds of sport and art cannot be separated distinctly. Intersections can definitely be identified. Although the discipline “Sport-Art” has not yet been established as a sub-discipline of sport science, sporadic attempts of integration in higher education and academic discussion can be found. In the field of (fine) arts we meet sport in everyday life as so-called practical and commercial art. The fusion is also obvious in the fields of music, art history, and literature. The convergence of the two worlds is clearest in the structural analogy of the genesis of composition, performing arts, literature, and movement products. Finally, a pedagogical postulate is posited that should be understood as a demand for an (school) education that integrates art and sport.

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EFFECT OF INDIVIDUALLY-TAILORED TDCS AND SYMBOLIC ART THERAPY FOR CHRONIC ASSOCIATIVE PROSOPAGNOSIA AFTER INFECTION BY SARS-COV-2, NEUROCOVID-19 AND ISCHEMIC STROKE

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Pąchalska M., Góral-Półrola J., Chojnowska-Ćwiąkała I.

Acta Neuropsychologica

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2021

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vol. 19(3)

329-345

EN

Background The rehabilitation of patients with chronic prosopagnosia that occurs following a stroke is a challenge for modern medicine. Dysfunction to the facial processing areas is permanent and standard rehabilitation brings only limited improvement. Therefore, therapists suggest reinforcing the compensatory strategies used by such patients such as voice, figure, and gait recognition to help with the identification of a particular person, which promotes their social functioning. New neurotechnologies, especially QEEG/ERPs, displays of functional brain impairment in prosopagnosia, may be helpful in developing an appropriate neurotherapy protocol and create the conditions for other forms of rehabilitation in such patients. The purpose of our study was twofold: 1) to evaluate QEEG/ ERPs shows of post-stroke functional impairment associated with prosopagnosia, 2) to construct a neurofeedback protocol based on these indices to sup- port the neuropsychological rehabilitation of the case study described herein. We present the case of a 23-year-old right-handed student of the Graphics Faculty of the Academy of Fine Arts, with chronic associative prosopagnosia after infection with SARS-CoV-2 followed by Covid-19 and a right hemisphere stroke. He was re- ferred in April 2021 for diagnosis and therapy at the Reintegration and Training Cen- ter of the Polish Neuropsychological Society (PTNeur). Six months earlier, in October 2020, the patient had been admitted to the Infectious Disease Hospital. COVID-19 was diagnosed based on coronavirus 2 (SARS-CoV-2) reverse transcrip- tion PCR (RT-PCR) on a nasopharyngeal swab. The neurological examination re- vealed muscle weakness on the left side of the body, slow and aprosodic speech, preserved comprehension, and acute left homonymous hemianopsia, as well as prosopagnosia and mirror symptom. The patient was sedated and mechanically ventilated for six days. The CT-scan showed foci in the posterior part of the superior temporal lobe and hyperintense changes in the blood supply area of the right middle cerebral artery. After 30 days of hospitalization, the patient was discharged from this hospital and referred to an outpatient rehabilitation center for five months. Ther- apy improved his general condition but did not remove the chronic prosopagnosia: a personal tragedy for the patient which prevented him from continuing his studies. He was diagnosed at the PTNeur Reintegration and Training Center within the next few weeks: (1). ophthalmologic examinations revealed no pathology; (2) neuropsy- chological testing confirmed the presence of chronic apperceptive prosopagnosia; (3) examination of event-related potentials (ERPs) revealed a large delay of the N170 wave, particularly on the right side, indicating a slowing of the rate of nerve impulses in early face processing and a cause of prosopagnosia. The patient was referred for rehabilitation: he participated in 20 sessions of individually tailored anodal transcranial direct current stimulation (tDCS) twice a week for ten weeks, and in parallel, for indi- vidualized Prosopagnosia Symbolic Art Therapy provided once a week for ten weeks. By the end of therapy, the patient was not only recognizing but also painting portraits of faces. He returned to college, finished and defended a master’s thesis in Artistic Drawing, in which facial presentation played an important role. Quantitative EEG (QEEG) and event-related potentials (ERPs) neuromarkers helped to understand the mechanism of prosopagnosia and to choose an individualized protocol, thus the appropriate application of tDCS in our patient, which accelerated the recovery of the ability to perform complex tasks and created the conditions for Symbolic Art Therapy. Modern medicine can successfully use such a management protocol in individuals with chronic prosopagnosia.

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Ciało cierpiące jako widowisko w malarstwie Igora Podolczaka i Wasylija Cagolowa

58%

Zambrzycka M.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2015

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issue 1

137-146

UK

Темою статті є зображення страждання в живописі Василя Цаголова та Ігора Подольчака - українських сучасних художників. У живописі Цаголова страждання вписується у стилістику масово'і культури (фільми типу детектив та бойовик), у Подольчака людське тіло представлене як об'єкт, який піддається експериментам. Обидвоє художників, шукають у своїй творчості відповідь на запитання, про місце і роль образів страждання і насильства в сучасній культурі.

EN

The topic of this article is a way of presenting suffering in paintings of Vasily Cagolov and Igor Podolchak - Ukrainian contemporary artists. In the paintings of Cagolov suffering and causing pain are shown in the convention of popular culture (crime story film style). In art of Podolchak human body is represented as an object of experiments. Both painters try to analyze the place and role of images of suffering and Violence in the contemporary culture.

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Образ героя-художника на матеріалі творів Володимира Винниченка

58%

Кобзей (Kobzei) Н. N.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2022

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issue 4(1)

23-31

UK

Володимир Винниченко, довгі роки проживаючи серед творчого паризького бомонду і розділяючи погляди ідеологів «нового мистецтва», проявляв посилений інтерес до теми художника і його творчого процесу в своїх літературних творах. Дався в знаки його талант живописця, тісне спілкування з відомими художниками, участь в українській хвилі французької мистецької школи «Еколь де Парі» і швидкий ріст професіональної живописної майстерності. В образотворчому мистецтві Винниченкові імпонували революційні погляди імпресіоністів, поява яких спровокувала активні обговорення як самого напряму, так і різноманітних подій у живописі, пов’язаних з їх діяльністю. Цю полеміку письменник переніс в свої літературні твори, а образ художника став головним для частини його белетристики і драматургії. Винниченкові персонажі – протагоністи, що завжди конфліктують зі світом, хоч і не завжди перемагають в цих протистояннях. Вони часто самотні, позбавлені підтримки і розуміння, але сильні. Художники-новатори не бояться в повний голос заявити про рішучий розрив із традицією, закликати до вдосконалення техніки і зображати виключно людський матеріал, обирати емоційні і високо психологічні сюжети полотен, спостерігати і зображати почуття. Такий підхід у малярстві був цілком очевидний для Винниченка-художника, літературну ж творчість великого українця прийнято розглядати в контексті провідних світових психоаналітичних течій ХХ століття. Тож нічого дивного немає в тому, що психологізм у творчості письменника був визначальним. В аналізованих мистецьких творах Винниченка зустрічаємо різноманітні образи художників, спостерігаємо за їх роботою, чуємо їхні міркування про живопис, уявляємо епоху, в якій вони жили і творили. Розуміємо, що як і для них, так і для Винниченка, визначальною є орієнтація на безпосередню фіксацію вражень і спостережень, на глибокий психологізм і філософське осмислення дійсності. Тематика живописних творів Винниченкових героїв – різноманітна. Однак головне – щоб у ній панувала людина. Змін зазнають також й естетичні ідеали. Часто крізь зовнішню красу пробивається потворність, або потворне проявляє внутрішню красу. Поняття «естетика потворного» і «краса болю» стають тотожними з «новим мистецтвом». Введення в канву літературного твору образу художника можна розглядати, як спосіб філософського зображення дійсності і людини. Безперечно, поява нового напряму в літературі та живописі значно вплинула на розвиток художньо-естетичної системи Володимира Винниченка.

EN

In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.

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2 Acta Neuropsychologica

2 Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

1 Physical Culture and Sport. Studies and Research

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2 Góral-Półrola J.

2 Pąchalska M.

1 Chojnowska-Ćwiąkała I.

1 Kretschmann R.

1 Von Grabowiecki U.

1 Zambrzycka M.

1 Кобзей (Kobzei) Н. N.

VISUAL ART IN APHASIA THERAPY: THE LOST AND FOUND SELF

Sport and Art: a View on the Worldwide and Connecting Area from the Perspective of Sports Science – or: about the Convergence of Two Worlds

EFFECT OF INDIVIDUALLY-TAILORED TDCS AND SYMBOLIC ART THERAPY FOR CHRONIC ASSOCIATIVE PROSOPAGNOSIA AFTER INFECTION BY SARS-COV-2, NEUROCOVID-19 AND ISCHEMIC STROKE

Ciało cierpiące jako widowisko w malarstwie Igora Podolczaka i Wasylija Cagolowa

Образ героя-художника на матеріалі творів Володимира Винниченка