From Ambiguity in Chinese Painting to Rorschach's Inkblots
| Autor: | Mónica Guinzbourg de Braude |
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| Rok vydání: | 2008 |
| Předmět: | |
| Zdroj: | Rorschachiana. 29:25-37 |
| ISSN: | 2151-206X 1192-5604 |
| DOI: | 10.1027/1192-5604.29.1.25 |
| Popis: | Rorschach defines his method as a testing instrument based on the perception of ink blots, on the basis of which the subject finds meaning out of an associative integration of preexistent engrams (mnemonic images) with recent sense complexes. The more ambiguous the visual stimulus is, the more it requires an integrative effort to be decoded, therefore increasing the subject's mental activity and allowing his/her personality resources to be perceived more clearly. The subjects' responses to the stimuli of blots produced in this way would explain how the “mental equipment” organizes and processes stimuli on the basis of the construction of perception processes influenced by early registers in the archives of memory. The blots trigger these constructions, whose “thresholds” account for the potential readiness to tap on thoughts and emotions in processes of adapting to real life. Rorschach might have reached to his own knowledge on the process of construction that underlies the visual image. Most probably inspired by Chinese painting tradition – which exerted great influence on early 20th-century art movements, and relied on image overlapping, vacuum dynamics, shading, light and dark and ambiguity techniques – he constructed “accidental blots” as ideal stimuli to the “guided projection.” Thus, from the Chinese painting Rorschach would have also taken the role played by the spectator, who stimulated by an essentially ambiguous image (act of perception) is supposed to “complete” it in his mind (act of projection). In creating his method, then, Rorschach favored certain types of stimuli, integrating at the same time both his scientific and artistic sides. |
| Databáze: | OpenAIRE |
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