19thHerbstakademie

EmbodiedAesthetics:

ResonanceinPerception,ExpressionandTherapy

October5th–7th,2017inHeidelberg,Germany

Organizers:

Prof.Dr.WolfgangTschacherUniversityHospitalofPsychiatryandPsychotherapy,UniversityofBern

Bolligenstrasse111,3060Bern(Switzerland)tschacher@spk.unibe.ch

http://www.upd.unibe.chProf.Dr.SabineKoch

ResearchInstituteforCreativeArtsTherapies,AlanusUniversityAlfterVillestr.3,53347Alfter

sabine.koch@alanus.eduhttps://www.alanus.edu/RIArT

Prof.Dr.Dr.ThomasFuchsPsychiatricUniversityHospital,UniversityofHeidelberg

Vossstr.2-4,69115Heidelbergthomas.fuchs@med.uni-heidelberg.de

http://www.klinikum.uni-heidelberg.de/Prof-Dr-med-Dr-phil-Thomas-Fuchs.6031.0.html

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CONTENTS

WelcomeAddress.................................................................................................2

Program................................................................................................................3

Abstracts–OralPresentations.............................................................................5

Program–PosterSessions.................................................................................47

Abstracts–Posters.............................................................................................49

Abstracts–Pre-ConferenceWorkshops.............................................................62

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WELCOMEADDRESS

Dearparticipants,We are happy to welcome you to the 19th Herbstakademie in beautifulHeidelberg, Germany. Embodied Aesthetics is part of the series ofHerbstakademie meetings dedicated to the topic of complex systems andsynergeticsinpsychology,neuroscienceandrelateddisciplines.Severalpreviousconferencesoftheserieshavefocusedonembodiment.Thisyear,wewilladdresstheoreticalandappliedquestionsofembodiment:- What is the roleof thebody in feeling and thinking, particularly concerning

the experience of beauty? We bodily resonate with aesthetic experienceswhenweappreciateartandunexpectedinsights.Inart-making,wethriveandexperienceagencyandself-congruence.Howcananembodiedaestheticsbeconceptualized?

- Whichnovelperspectivescantheembodimentapproachoffertocreativeartstherapies,psychotherapy,andartisticexpression?

- How can clinicians and psychotherapists incorporate embodiment, such asnonverbalsynchrony,intotheirwork?

- Whatroledoestheexperienceandembodimentofbeautyplayforhealth?We are happy to convene outstanding researchers from many differentdisciplines, who will broaden our perspectives on the topic. Participants andpresentersworkinareassuchasempiricalaesthetics,psychology,neuroscience,sociology,creativeartstherapy,psychotherapy,anddynamicsystemsresearch.Weare confident that these threedaysand theworkshopson thedaybeforetheconferencewilloffernewinsightsandencounters,andleaveyouricherthanbefore.Awarmwelcometoallofyou,SabineKoch,ThomasFuchs&WolfgangTschacher

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PROGRAM

WednesdayOct4th ThursdayOct5th

ThursdaytoFriday:venueofthemainconference(registration,

sessionsandkeynotes):NeueUniversität/New

University,Universitätsplatz,69117Heidelberg

8.15Registrationvenue:NeueUniversität,Universitätsplatz,69117Heidelberg

9.00-9.15WelcomeAddress(HS14)

(Tschacher/Fuchs/Koch)

9.15-10.00HermannHaken(representedbytheorganizers)10.00-10.30Coffeebreak

10.45-11.30WinfriedMenninghaus(HS14)

11.30-12.00SabineKoch&LilyMartin(HS14)

12.00-12.30WolfgangTschacher(HS14)

12.30–14.00LunchBreakand

PosterSessionI(13.10-13.55,Senatsaal)(Chair:Koch)Bialy;Koch&Mergheim;Lange&Koch;Maus-Hermesetal;Mergheimetal;Moulderetal;RuizFernándezetal;Varaetal

14.00-18.00

Pre-conferenceworkshops

I.JohannesMichalak:EmbodimentinMindfulness

venue:EvangelischeStudentengemeinde,Karl-Jaspers-Haus,Plöck66,69117

Heidelberg

II.LilyMartin&BirgittBodingbauer:EmbodiedAesthetics

ofFlowvenue:Yoga-ZentrumBergheim,

Bergheimer-Str.125,69115Heidelberg

III.MiriamKyselo:BodilyExplorationsoftheEnactiveSelfvenue:SusanHolze-Apell,Praxisfür

Physiotherapie&Yoga,Landhausstr.17,69115Heidelberg

20.00hInformalGet-Together

Zeughaus-MensaimMarstall(opentill22h),69117Heidelberg

14.00-15.20ParallelsessionsSession1a:InterdisciplinaryEmbodied

Aesthetics(HS14)(Sarassoetal;Himberg,Laroche;Elliott)

Session1b:EmbodiedEmotionRegulation(HS15)(Pollatos;Weineck;Hauke;Pietrzak)

Coffeebreak

15.45–16.30SanderKoole(keynote)

16.40-17.50ParallelsessionsSession2a:FacingBeauty(SocialPsychology

Session)(HS14)(Häfner;Stockeretal;Sicorelloetal)

Session2b:EmbodiedDiagnostics(HS15)(Herbert;Francesetti&Roubal;Schley)

18.00-18.30hDiscussion

19.00-20.00hTourofthePrinzhornCollection

withS.Frohoff(presenter)andT.RöskeSammlungPrinzhorn,Voßstr.2,69115Heidelberg

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FridayOct6th SaturdayOct7th

8.15–9.00BodyMindWake-Upvenue:NeueUniversität,imInnenhof

9.15-10.00HartmutRosa(HS14)10.15-10.45CoffeeBreak

10.45-11.30Claus-ChristianCarbon(HS14)11.30-12.15AndreaSchiavio(HS14)

8.15–9.00BodyMindWake-Upvenue:NeueUniversität,imInnenhof

9.15-10.50Parallelsessions

Session6a:MotorResonanceinArtPerception&EmbodiedMetaphors(HS14)

(Lauschke;Mittelberg;Athanasiadou;Madeira)

Coffeebreak

11.20-12.05VittorioGallese(HS14)

12.05-12.50ThomasFuchs(HS14)

Finaldiscussion(endby13.00)

12.15–13.30Lunchbreakand

PosterSessionII(12.40-13.25,Senatsaal)Adiarte;Bergmannetal;CerveraTorres;

Miragalletal;Quinten;Schneider&Baumann;Schoch;Tosi

13.30-14.50Parallelsessions

Session3a:EmbodiedMusicPsychology(HS14)(Loaiza;Bizzari&Guareschi;D.Fuchsetal;

Nadyrova,Panteleva&Ceschi)

Session3b:AestheticsandthePre-reflective(KopenhagenSymposium)(HS15)

(Høffding;Hansen;Levin;Roald)

Session3c:EmbodiedArtTherapy(HS5)(Gaete;Huss;Riemer&Wirth;Schoch)

Coffeebreak15.20-16.40Parallelsessions

Session4a:MeasuringEmbodiedAesthetics(ParisSymposium)(Senatsaal)

(Larocheetal;Joufflineauetal;Himberg,Buchkowskietal;Gaudeauetal)

Session4b:EmbodiedMusicTherapyforAutism(HS14)

(Zapata-Fonsecaetal;Bergmannetal;Halsteadetal;Schmid&Mössler)

Session4c:DanceTherapy&BodyDisturbance(HS15)

(Çatay&Plevin;Samaritter;Kykyrietal;Alaimo)

ShortBreak16.50–18.00ParallelSessions

Session5a:GestaltTherapy(HS14)(Roubal&Francesetti;LaRosa&Tosi)

Session5b:EmbodiedDramaTherapy&Theatre(Senatsaal)

(Feniger-Schaal;Malini&Repossi;Klees)20.30ConferenceParty(withDJNina)

venue:PsychiatricHospital,Haus1,GrandMovementTherapyRoom,Voßstr.2-4,69115Heidelberg

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ABSTRACTS–ORALPRESENTATIONS

(inalphabeticalorder)

SilviaALAIMO,Catania(Italy)

Hunger for... relationship – Finding the beauty of the contact throughresensitizing bodily boundaries. Embodied aesthetic perspective in BingeEatingDisordertreatment.

MyworkwasbornfromapreciousclinicalandhumanexperienceofleadingapsychotherapygroupwithobesewomenwithBingeEatingDisorder, lasted7years.Thebodyisthemainprotagonistofthisspecificsymptoms–increasingsizeandweightleadstoasortofdesensitizationfromemotions,perceivedas'uncomfortable' and removing spontaneity and beauty in the contact withother.Eatingisnotonlyanutritionalact,butsomethingdeeplyarchaicthatputsusinrelationshipwitheachotherfromourorigins.Itisthefirstembodiedrelationalexperience.Fatandemotionsareinverseproportionallyconnected.Theexcessof'matter',representedbythefat,recallstheabsenceofa 'mater'dimension(fromlatin‘mother’).Thisanesthetizesdeepestneedstowardsanunreachable'thou',whichremaininthebackgroundandareneverrealized.So,aggressiveenergy is retroflexed in the body through swallowing food together alluncomfortablesituations.As Gestalt therapists, we can read ‘how’ the person experiences it, not somuch to interpret, but to support in self-discovery and spontaneous contactwith the environment. The group setting is like a ‘sacred enclosure’, whichprovides a relational ground to feel the sense of own bodily boundariesthroughmembershipwithanddifferentiationfromothers,rebuildinga‘secondskin’,whichdefinesanewidentity.This aesthetic embodied perspective reduces the distance between thephysical body (Körper) and the lived body (Leib) through support to theintentionality of contact, getting a new integrity and femininity, solidboundaries,suitabletotheenergythatflowsintothebodynowspontaneous,visible through breathing, posture, gestures and the different ways to bringoneselfintotheworld.

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AlexandraATHANASIADOU,Athens(Greece)

VisualReadingsofPhilosophicalMetaphors

Weusuallyunderstandphilosophicalmetaphorsas literarydevices.Yetmanymetaphors provoke interestingmental images;whydowe still read themasdescriptions and not as structured images, as enriched diagrams,with juxta-positions, similarities, tensions and significant details that can give us moreinformationontheargument/concept/ideatheyarereferring to? Ithasbeenmanydecadesnow thatwehavebecomevisually literate–whynotuse thisskilloutsideitsascribedfield?This paper presents amodel of visual reading of philosophicalmetaphors. Itproposesadiagrammaticdepictionofthementalimagesthatarecreatedfromphilosophical metaphors; it performs a visual reading and discusses theirresult. This visual reading results from the commonpractices thatweuse tounderstand pictures, foremost photographs. Once we are confrontedwith aphotograph,(andafter/whilerecognizingitscontent)wescanthesyntaxoftheimage looking for: a) patterns or similarities and b) significant details.Accordingly, this look can be applied to the diagrammatic depiction of themental images created by philosophical metaphors, in order to bring indifferentresultstothecognitivevalueofthemetaphor.By this visual reading I am interested in setting questions regarding conceptmaking and the role that images play in it – from the point of view ofaesthetics. It is amodel that embraces subjectivity and can lead to differentkindsof investigations.Onecan locatethesimilaritiesorgroupingsofcertainmotifs,patternsorschemasbymakingvariouscomparisonsinthetextofthesameauthor, in thewholeof hisworkor in different philosophers. Ideally itcould come into dialogue with other disciplines and see if this model couldintersectwithpsychologicalexperiments.

Thomas BERGMANN, Manuel HEINRICH, Matthias ZIEGLER, Isabel DZIOBEK,AlbertDIEFENBACHER&TanjaSAPPOK,Berlin(Germany)

Whatdoesmusicrevealaboutautism?ValidationoftheMusic-basedScaleforAutismDiagnostics(MUSAD)

Background: Every fourth person with intellectual disability (ID) has a co-occurring Autism Spectrum Disorder (ASD), which often remains undetecteduntil adulthood. The MUSAD was developed to improve the assessment inadultswithIDandreducedverbalabilities.Thissemi-structuredapproachusesamusic-basedinteractionalframeworktoassessabroadvarietyofdiagnostic

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relevantbehavioursassociatedwithASD.ThecurrentstudyaimstoassessthereliabilityanddiagnosticvalidityoftheMUSADtopromoteitsclinicalusability.Methods: The sample consisted of 129 adults with ID and suspected ASD.BasedonICD-criteria,78personswerefinallydiagnosedwithASDinanexpertconsensusconference.SelectioncriteriafortheMUSADalgorithmitemswere:low rate ofmissing data, gooddiscriminant validity (Gamma>.5; r >.3), highinter-rater-reliability(ICC>.7)andawiderangeofitemdifficulties.Calculationofinter-rater-reliabilitywasbasedonthescoringsof3independentexpertsin25consensuscasesmeasuredbythe intraclasscorrelationcoefficient(ICC).AROC-analysis was run to assess the cut-point for the newly developedalgorithm.Results: Twenty items were selected referring to ASD symptomatology (14social interaction,5restricted&repetitivebehaviors,1 itemtomotorcoordi-nation).Itemdifficultiesrangedfrom.04to.74.Inter-raterreliabilitywasgood(M=.768,range.673–.895).Thediagnosticalgorithmbasedontheselecteditemsshowedasensitivity/specificityof82/77%,theAUCwas.79.Conclusions:TheMUSADisavalidandreliableinstrumenttosupportcliniciansdiagnosingASDinadultsonalowerleveloffunctioning.

ValeriaBIZZARI*&CarloGUARESCHI**,*Pisa(Italy),**Cork(Ireland)

Bodilymemoryandjointactionsinmusicpracticeandtherapy

Theaimofourtalkistoanalyzethelinkbetweenembodiedmemoryandjointactionsinthosepsychopathologiesthatinvolveintersubjectivedisruptions.In the first part, drawing on phenomenology (Merleau-Ponty 1962, Husserl1989)webrieflyemphasizetheroleofcorporealityinthedevelopmentofself-awarenessandintersubjectiveunderstanding.Inparticular,weaccountfortheexistenceofanintercorporeal/interkinaesthe-tic dimension of bodily memory, which seems to be fundamental for jointactionsand for theariseofa senseofbelonging toacommunityoragroup.Then,we focusonpsychopathology, claiming that adisruptionofbodilyme-morynecessarilyinvolvesadeficitinintersubjectivedomain,causingdifferentproblemsbothinintersubjectiveunderstandingandinself-consciousness.Wetriedtotestourthesisparticipatingatmusictherapylaboratoriesattendedbyadultsubjectswithsocialdisorders,whichwehaveinterviewedbymeansofa qualitative, semi-structured test. In fact, music experience seems to beessentiallyrelational,aswellasdeeplylinkedwithcorporeality.From a methodological point of view, our work is addressed to understandhow a qualitative experience such as music practice can influence thedevelopment of a first-person perspective and the relation between subject-

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ivityandintersubjectivity.Furthermore,musicpracticeisinterestingbecauseitclearly illustrates the essential link among self, others and ecological factors(Schiavio2017;Fuchs,DeJaegher2009),elementswhichareintertwinedmorespecifically in intercorporealmemory, which is fundamental for joint actionsandforthedevelopmentofasharedawareness.Theresultistheemphasisonanenactiveintercorporealbodilymemory,whoseimportancecouldleadtohypothesizeotherkindsoftherapiesbasedonbodilypracticesandontherepetitionofbodilygestures.

Claus-ChristianCARBON,Bamberg(Germany)

Challengesandsolutionsofmeasuringembodiedaesthetics

Embodied aesthetics is about making and experiencing bodily correlates ofaesthetic processing. Typically, these correlates are related to pre-linguisticcognitive, emotional and sensory-perceptual processes—they are the expres-sion of the organism-environment transactions. As such they offer a greatopportunitytorevealandanalyzeaestheticreactions,whicharetypicallyverydifficulttograspduetotheirqualityofreferringto innermentalstates.Untilnow,however, research lacks standardizedmethodsof addressingembodiedaesthetics. Inthepresentpaper, IwillpresentsomemethodsfromtheM5oXtoolbox, which the Forschungsgruppe EPÆG (Ergonomics, Psychological Aes-thetics,Gestalt;Bamberg/Germany)havedevelopedtoenablestandardizedtesting in the field of empirical aesthetics, inter alia the emotional footprint,the affective face reader and the holistic body analyzer. By employing theemotional footprint, we gain information on the general mode of observersbeing attracted to or averted from an aesthetic object via posturographicanalysis.Throughtheaffectivefacereaderweareabletotracktheemotionalstatebyanalyzingfacialexpressions.Theholisticbodyanalyzerallowsinvesti-gatingtheoverallmotorprogramofatargetedperson.Combiningtheseratherimplicit researchmethodswithmore explicit ones like verbal protocolling orthink-aloudtechniques,wecanmakeembodiedaestheticstraceable,measur-able and analyzable in order to enrich the knowledge base of aestheticappreciation,experienceandreactions.

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ZeynepÇATAY&MarciaPLEVIN,Istanbul(Turkey)

AWaytoEmbodiment:TransformationalBodyTracings

Thepurposeof thispaper is todescribe theuseof a visualmedium, the fullbodyoutline,oraswearenamingit,the”transformationalbodytracing”(TBT)for the development of embodiment. The TBT’s have been used in CreativeMovementtrainingwheretheywerefilled inbythemoversthroughouttheirmovementprocess.Assuchtheybecameavisualaestheticdiarywheremoversjournaled the transformation in their body sense over time. The studentsreturned to the sameTBT’s and filled themout at certainpoints throughouttheweekend-longseminars.TheyalsotooktimetodoreflectivewritingaboutwhattheirTBT’smeantandattimestransferredwhattheyperceived intheirbody outlines back to their bodies and moved in response to their bodyoutlines.Photographsofthebodyoutlinesatdifferentpointsoverthecourseof the seminarwere taken and catalogueddigitally in time so thatwe couldfollowtheprogressionofeachmover’sTBT.Thispaperwillexamine themechanisms throughwhich thisparticularuseofthis visual tool aids in the growth of embodiment. We believe that thefeedbackloopofaction,perceptionandreflectionthatisformedallowsforanintegration and expansion of the expressive and perceptive functions. Thematurationof a body imageonpaper over timewith visual elements of lineandcolorprovidesmoredifferentiatedinformationtothemoverabouther/hisbodysenseandcreatesfurtherimpulseformovement.Thus,thereisanactive,creativeandaestheticdialoguebetween themovingbodyand thebody thatappearsonpaper.Theaimofthispresentationistodelineatethedynamicsofthisprocess.Wewillalsoexplorewhichimportantelementsofthebodysense(i.e.bodycentres,bodyconnections,groundetc.)emergeontheTBTsandhowthey form pathways toward expansion of body awareness throughexaminationofexamplesofcataloguedimages.

MarkA.ELLIOTT,Galway(Ireland)

Atheoryonthefunctionofgoldensectioninginneuro-cognitivesystems

Thecodingofcomplexeventsrequiresadynamicneuralmechanismcapableofreconfiguring to accommodate an ever-changing event structure. Dynamicbinding, inwhichneuralassembliesadoptoscillatorycodes to facilitate inter-neural synchronisation, have been considered onemeans by which neuronsmaymultiplex:neuronsmay switch thephaseor frequencyof firing to leaveexistingandformnovelneuralassemblies,thusavoidinga'superpositioncata-strophe’. Superpositioncatastrophereferstothesituationwhereallneurons

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adoptthesamefrequencyatthesamephaseoffiring,renderingalleventsasan undifferentiable unity. Neuronal assemblies show oscillatory patterning,whichtendstosupportthisview.However,meta-analysisofrestingstateEEGreveals that neuronal activity does not synchronise between frequenciesseparated in close proximity to the golden section (Pletzer, Kerschbaum &Klimiesch,2010).Thishasbeendescribedintermsofaframeworktodescribefunctional properties and limits in functional properties of neural activity(Klimesch,2013).Thegoldensection,ϕ=(1+√5)/2=1.618…anditscompanionϕ=1/ϕ=ϕ-1=0.618…,areirrationalnumbers,whichappearinnaturalgrowthpatterns.Somebelieveϕconfersaestheticappeal,andvisualcompositionsthatincludegoldensectioning result in substantially slower reaction times than at surroundingratios,which suggests a link. The slowed reaction times are argued to comeabout due to reduced inter-neural synchronisation during spatial-frequencycoding (Elliott, Kelly, Friedel, Brodsky & Mulcahy, 2014). In this paper, Iadvance the idea that the golden-section relation (as well possibly as othernon-commensurable relations between neural-firing frequencies) engenderstemporary states of 'artificial desynchronisation’. These desynchronisationsmay be considered as structure for a dynamic manifold, around which thedynamical systems bringing about the uninterrupted flow of consciousexperiencemayevolve.As longas the 'golden-section relation' ismaintainedbetween neural activities, not only is superposition catastrophe guaranteednot to occur, but there will always be a set of desynchronised neuronsavailable to rapidly form dynamicmanifolds, with which other neuronsmaysubsequentlysynchronise.Bythisinterpretation,maintaininggolden-sectioninginneuraldynamicswouldbe one way to maintain the degrees of freedom required for rapid systemevolution, and revolution, and as such, themeans by which changing eventstructuresmaybecoded.This interpretationidentifiesgoldensectioningwiththe ability to code change, the corollary of which is a relation to themaintenance of experiential continuity over time. The golden-section as avehicletoexperiencingtheaestheticinartmaybeaderivativeofthisfunction.

RinatFENIGER-SCHAAL,Haifa(Israel)

Theembodimentofattachment:Assessingadults’interactionusingthemirrorgame

In the study thatwill bepresented,weused themirror game toexplore theembodiment of attachment in adulthood. The mirror game is a commonexercise in theatrepractice (Spolin, 1999), used topromote actors’ ability to

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enterandremaininastateoftogetherness(Schechner1994).TheMGisalsoan aesthetic experience when two people are creating movement togethertaking into consideration space, time, body, and the encounter between thetwoplayers,thrivingforsynchrony.Forty-eight participants (22 females, mean age = 33.2, SD = 7.3) played themirror game with gender-matched expert players. In addition, participantswere interviewedontheAAI (AdultAttachment Interview,George,Kaplan,&Main, 1996) to assess their quality of attachment. All mirror games werevideotaped.Toanalysethedatawedevelopedthe“mirrorgamescales”thatcoded the non-verbal behaviour during the movement interaction, using 22parameters. Using statistical methods we reduced the scales into twodimensions referred to as “together” and “free”. The “free” subscale wassignificantly correlated to theAAI classification (t (46)=7.858,p =0.000), sothatparticipantswithsecureattachmentontheAAIdemonstratedexpressionslike: richuseofbodymovementsandopenness toexplore,whileplaying themirror game. The results point to the non-verbal expression of attachment.Thisexploratorydataanalysissuggeststhatadyadicmovementinteractiontapinto the implicit knowledge of attachment. Hence, the results bring to focusthe embodiment of attachment and its possible clinical and researchimplication.

GianniFRANCESETTI*&JanROUBAL**,*Torino(Italy),**Brno(CzechRepublic)

TheaestheticdiagnosisinGestaltpsychotherapy

FromaGestaltpsychotherapyperspectiveitispossibletodistinguishtwokindsofdiagnosticprocesses:anextrinsicandan intrinsicdiagnosis.Thefirst istheresultofcomparingwhattheclinicianobserveswithadiagnosticsystem(DSM,ICD, etc.). The second one, according to Gestalt psychology, is based on thecriteria that are intrinsic to the process of the Gestalt formation. Since it isbased on the sensorial perception by the clinician and it is not the result ofusing an external system, this diagnosis is called intrinsic or aesthetic (i.e.based on the senses). Aesthetic evaluation is a pre-reflexive, embodied andpreverbalprocess.Bythisevaluationthecliniciancanadjusttheprocessofco-creation of the field during the therapeutic session, and so the aestheticdiagnosticprocess is immediatelyandalreadyatherapeutic intervention.Thedepressiveexperiences,andthedepressiveco-createdfields,arepresentedasanexampleofthisperspectiveondiagnosticandtherapeuticprocesses.

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SonjaFROHOFF,Mannheim(Germany)

TheMeaningofResonancefortheUnderstandingofArtworksofthePrinzhornCollection

ThefamousPrinzhornCollection inHeidelberg,Germany,holdsextraordinaryartworks,originatedfrompsychiatricinstitutionsbetween1880-1920.Manyoftheartistswerediagnosedwithdementiapraecoxor laterschizophreniaatatime, when psychiatry was still a fairly new field of research and patientsreceived only little medication and no psychotherapy. The pieces werecollected between 1919 and 1921 by the psychiatrist and art historian HansPrinzhorn(1886-1933).Hissignificantbook„ArtistryoftheMentallyIll“(1922)changedtheviewonthesofardisregarded"artoftheinsane"andinfluencedvarious debates. How can we understand those pieces, confronting us withcontexts between art and disease? Prinzhorn systematically integrated themeaning of resonance for the expression process in his thoughts. He arguesthat resonance is basic for every expression movement, which would beinherenttoallformations.Byvaluingthemeaningofresonancefortheshapingprocess,hesupportshisargumenttoviewalltheworksprimarilyas“objectivecondensationsofexpression”(“objektiveAusdrucksniederschläge”)andthere-fore taking them seriously – aside from any rating as art. But, whereas hevaluesthemeaningofresonancefortheexpressionprocess,heinsinuatesthattheworkslackpotentialforresonanceinthereception.Thediseasebehindthecreationswouldhinderthepossibilityforresonancewiththepieces.Accordingto him this is the only feature,which allows us to distinguish and recognisethemascreationsofschizophrenics.Inmytalk,Iwillfirstanalysewhythisviewisproblematic.Secondly,by lookingatsomepiecesofEdmundTräger (1875-1957) Iwill showhow resonance is significant for the reception process andgenerallyfostersanunderstandingofthePrinzhornpieces.TherebyIwillcarveout and comment on basic structures of bodily resonance in aestheticexperienceingeneral.

Dominik FUCHS, Martin KNAUER, Stephan JÜNGLING & Petra FRIEDRICH,Kempten(Germany)

InteractiveMusicalSonificationforBalanceTraining

Interactive sonification is theuseofnon-speechaudio toconvey informationwithinahuman–computer interface. Theapproach is increasinglybeingusedfor individuals with neurological diseases, for example to compensate forproprioceptiondeficitsinbalancetraining.Inthisexploratorystudy,wetriedtoincorporate principles ofmusic therapy into balance trainingwith a certified

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medicaldevice.Theaimwastoevaluatethefeasibilityandacceptanceofthisapproach.20healthyparticipants(M=43,SD=13.78,f/m=7/13)wereguidedthroughabalancetrainingthatinvolvedatargetdetectionmodeandinteractivemusicalsonification. Within one out of five different musical genres, sonificationmodels consisting of samples of musical instruments could be used toimproviseoveraprecomposedloopedbackingtrackbychangingthecenterofgravityinapreviouslydefinedtwo-dimensionalspace.Questions regarding subjective attitudeswith values from0 (very low) to 10(veryhigh)wereestimatingtheexperiencedpleasureoftheexercise(M=8.36,SD = 1.59), the understanding of the connection between movement andsound(M=8.62,SD=2.05),themotivationtomove(M=7.84,SD=2.28),andtheratingsforthesonificationmodels.Thesonificationmodelsofthemusicalmodewereperceivedsignificantlymorepleasurablethanthemorefunctionalandsimplemodelsfortargetdetection,t(19)=-2.84,p=0.01.Interactive musical sonification appears to be a well-received and easilyfeasibleapproachtoincorporateintobalancetrainingwithamedicaldevice.Itmaythereforebeavaluabletooltoimprovepatients’motivation,complianceandthefeelingofself-efficacyinneurologicalrehabilitation.Wewillcarryoutfurtherresearchtoevaluatethisapproachinaclinicalcontext.

ThomasFUCHS,Heidelberg(Germany)

Theprincipleofresonance:affectivity,interaffectivity,andneurobiology

The notion of resonance takes root in acoustics and the mechanics ofoscillation;itreferstobodiesandsystemsthatareattunedtooneanotherbytheir own vibrations. Resonance implies a dynamical aswell as a rhythmicalelement and thus establishes a temporally overarching relation between thesystems involved. It may serve as a basic principle for understanding inter-actingsystemswithintheparadigmsofembodimentandenactivism.After presenting a general concept of resonance, it will be applied to threeareas:(1) Emotions may be conceived as a circular interaction between the

perceived affective qualities of the environment on the one hand andbodily resonance on the other hand, including both sensations andanticipatedactions.

(2) On this basis, interaffectivity and empathy will be described as beingbasedon interbodily resonance,which ismediatedbybodilyexpressionsandimpressionscreatingaresonantloop.

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(3) Finally,ananalysisofperceptionwillleadtoaconceptofthebrainasanorgan of resonance, the rhythmical oscillations of which continuallyestablishacoherencebetweenorganismandenvironment.

These insights will be finally applied to aesthetic perception, conceived as aembodiedresonancewithartworkandotheraestheticobjects.

MariaIsabelGAETECELIS,SantiagodeChile(Chile)

Art-therapy:HealingtheEmbodiedSelfthroughplayingandcreativity

The presentwork is aimed at introducing Art-therapy as inherent embodiedpsychotherapeutictechniqueusingplayingandcreativitybymeansofsensory-motorfunctions,thesenseofownershipofthebodythatcreatestheart-work,and thesenseofauthorshipof theart-work itself.This techniquealsoallowsexposingpatients toa ‘transitional-space’ (Winnicott,1971),bymeansof thewhitesheet,andthetherapistpresenceinwhichpatientsexpressthemselvesas embodied and intersubjective selves. The patient creates an object thattakes part of the outside reality and of him/herself at the same time as theauthor.ThreeArt-therapyworksofdifferentclinicalcaseswillbepresented:awoman with a diagnosis of fibromyalgia, and two with diagnosis of eatingdisorder.Allcasesgavetheir informedconsent forpresenting theirart-worksatthepresentconference.Thebiographybyimagestechniquewillbeexposedasan innovative formofworkingwith thebiographyofpatients. It allows torediscover their bodily selves, their changes through time, and frequently torecall embodied sensations, which give valuable psychotherapeuticmaterial.Theartisticexpressionofconflictstechniquewillalsobeexposedthatallowstoobtain a multi-dimensional and embodied view of patient conflicts. Usuallythese two art-work techniques give thematerial that organize the completepsychotherapeuticprocessprovidingimages,sensations,emotions,affectsandtheembodiedexperienceofcreatingtheart-workitself.IwilldiscussthescopeandlimitsoftheArt-therapytechniqueasafullyembodiedpsychotherapeutictool.

VittorioGALLESE,Parma(Italy)/London(UnitedKingdom)/NewYork(USA)

Theproblemofimages.Aviewfromthebrain-body.

Byexploiting theempiricalapproachofneuroscienceandphysiology,wecaninvestigate the brain-body mechanisms enabling our interactions with theworld,sheddinglightonthepotentialfunctionalantecedentsofourcognitive

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skillsandatthesametimemeasuringtheinfluenceexertedbyhumanculturalevolutiononto theverysamecognitiveskills. Insodoingwecandeconstructsomeoftheconceptswenormallyusewhenreferringtointersubjectivityortoaesthetics and art, as well as when referring to the experience wemake ofthem.Experimental aesthetics will be discussed in relation with currentneuroscientific approaches to art and aesthetics. We can now look at theaesthetic-symbolic dimension of human existence not only from a semiotic-hermeneuticperspective,butstartingfromthedimensionofbodilypresence.According to Hans Gumbrecht (2004) aesthetic experience involves twocomponents:onedealswithmeaning,theotheronewithpresence.Thenotionof presence entails the bodily involvement of image beholders through asynestheticmultimodalrelationshipwiththeartistic/culturalartifact.Cognitiveneurosciencecansurrenderus fromtheforcedchoicebetweenthetotalizingrelativismofsocialconstructivism,whichdoesn’t leaveanyroomtotheconstitutiveroleofthebody incognition,andthedeterministicscientismof some quarters of evolutionary psychology, which aims at explaining artexclusively in terms of adaptation and modularity. I will present empiricalresults of our research showing that the creative expressive processescharacterizing our species, in spite of their progressive abstraction andexternalizationfromthebody,keeptheirbodilytiesintact.Creativeexpressionis tied to the body not only because the body is instrument of creativeexpression,butalsobecauseitisthemainmediumallowingitsexperience.

Matthieu GAUDEAU, Laura HICKS, Clint LUTES, Mandoline WHITLESEY, AsafBACHRACH,Paris(France)

Togetherness and the embodied aesthetics of participatory art: A danceimprovisationworkshopproposal

Collectivedanceimprovisation(e.g.traditionaldances,socialdancing,contactimprovisation) is a participatory, relational and embodied art form whicheschews standard concepts in the field of aesthetics. We propose that asubjectivesenseof“togetherness”associatedwithsuchpracticesiscentraltotheaestheticexperienceoftheparticipantsandspectators.The study of “togetherness” has been gaining interest within social neuro-scienceandpsychology(DeJaegher&DiPaolo,2007).Togethernesshasbeenreported and studied in a variety of contexts but in particular in the case ofjoint-movement or joint-action. The focus of most of these studies andassociated theoretical models has been temporal synchronicity and/ormirroringofmovementbetweenpartners(Dahanetal.,2016).

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Our transdisciplinary project “from joint improvisation to interaction” (ICI),where dancers, scientists, and philosophers research together throughmovement, includes studio explorations of the emergence and dynamics oftogetherness during dance improvisation. By confronting our practices ofimprovisation with empirical research mentioned earlier, we observe thatwhile the empirical research focuses on synchrony, togetherness in danceimprovisation is not limited to it. Phenomenologically, it seemed to us thattogetherness is less the consequence of synchrony per se thanof the subtleintersubjectivenegotiationsitrequires.In order to shed further light on the subtleties of how andwhen "together-ness"occurs,wedesignedvariationsonexistingparadigms(suchasthemirrorgame,Noyetal2011andconversationalturntaking,Himbergetal,2015)andcreated novel improvisational scores inspired by work of Lisa Nelson, MegStuartandothers.Inthisworkshopwewillsharemovementtasksindifferentframes. First with reference to the scientific questions we are researching,secondasanexperientialandperformativeexploration(withpotential thera-peuticapplications).Thelastpartoftheworkshopwillbededicatedtoaverbalexchangeregardingtheexperience.

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MichaelHÄFNER,Berlin(Germany)

Facingbeauty:Facialmuscleactivityandthecomparativeconstructionoftheself

It is amazing towhat extent others influence howwe conceive of ourselves,not only because self-perceptions are highlymalleable in the first place, butalsoandespeciallybecauseof thespeedandsubtletyatwhich this influencemay take place.Quite often,we are not even aware of the fact thatwe arecomparing to the (beauty) standards surrounding us, nor that the latter areposing standards at all. The sheer presence of others is enough to influencehowpeopleconstruct themselves.Even thoughmanystudiesestablished thenotion that social comparisons can and in fact do occur spontaneously orimplicitly,notmuchisknownyetabouttheunderlyingpsychologicalprocesses.Basedonearlierresearch(Häfner&Schubert,2009),Iproposethatimmediate,embodied experiences of social closeness versus distance play an importantroleinthedeterminationofthedirectionofimplicitcomparisons.Specifically,Iassume that interpersonal distance/closeness is embodied by facial musclemovementsoftheCorrugatorandtheZygomaticus,whichinturnpredictsocialcomparison direction. I will present evidence from two studies showing thatunobtrusivemanipulations inducinga smile yield toassimilationwith respecttoabeautystandardwhereas inducingafrownleadparticipantstoconstructthemselvesincontrasttoagivenbeautystandard.Practicalimplicationsofthisresearchwill be discussed, also in the light of ongoing researchwith Botox-patients.

HermannHAKEN,Stuttgart(Germany)

WhatcanSynergeticscontributetoembodiedaesthetics?

I deal with perception and action (e.g. movements) using results fromSynergetics, a comprehensive mathematical theory of the self-organizedformation (“emergence”) of spatial, temporal, or functional structures incomplex systems. I illustrate basic concepts such as order parameters (OPs),enslavement, complexity reduction, circular causality – first by examples ofwell-known collective, spontaneous modes of human behavior such asrhythmicclappingofhandsetc.,andthenbyfacerecognition.TheroleplayedbyOPsdependsoncontext.Inthecaseofface(orpattern)recognition,anOPrepresents the concept of an individual face (actionofmind) and it enslavestheaction (firingrates)ofneurons (body).This insightallowsmeto interpretsyndromesasorderparametersplayingtheirmind/bodydoublerole.Ipresentcriteria for the identification of OPs and discuss their general properties

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includingerrorcorrectionand"remedy"ofdeficiencies.Contactismadewitharecentworkonembodiedaesthetics.Myapproach includesthesaturationofattention at various time scales (ambiguous figures and fashion). Adopting apsychological perspective, I discuss some ingredients of beauty such asproportionalityandsymmetry,butalsotheimportanceofirregularities.

JillHALSTEAD,KarinMÖSSLER&WolfgangSCHMID,Bergen(Norway)

Kinesthetic recognition in video analysis: Working with felt sense in musictherapyresearch

In thispaperwewillpresentwork froman in-progress study into the roleofkinesthetic recognition in video analysis of music therapy sessions withchildrenwithautism.Wewillreflectontheshared,collectiveprocessofvideoanalysisbetweenthreeresearchersanddescribehowunderstandingsemergedthrougha“feltsense”(Gendlin1981,Allegranti2011)andkinetictransferenceandcountertransference(LaBarre,2013).Asattunementprocesseshavebeenfoundtopredictchangesinsocialskills inchildrenwithautism(Mössleretal,2017),weareespeciallyinterestedinhowtheseprocessesoccurandhowtheyare mediated corporeally. When conducting video analysis, attunementprocessesoccurbetweentheviewerandtheviewed,asresearchersresonatewith the scenes that unfold on screen. Through a process of joint attentionduring video study from music therapy sessions, we were able to identifyshared moments of kinesthetic recognition at concurrent time points whichwerefoundationalinouremergingunderstandingfortheongoingattunementprocessbetweenthechildandthemusictherapist.Hence,webelievethatourown kinetic, tactile kinesthetic sense underpins our understanding of howattunementprocessescanshaperelationships. Wewillarguethatmodalitiesof kinestheticawareness (Sheets-Johnstone,2011) ground social interactions,and are foundational in the process of attunement. Consequently, we willexplore the roleofkinesthesia in intersubjectiveexperience inmusic therapyanddiscusstherapeuticstancesthatenableboththechildandthetherapisttoengagetheirbodiestocreateafeelingofconnectedness.

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JannikM.HANSEN,Copenhagen(Denmark)

Empathyandaestheticexperience

Within current phenomenology, empathy is restricted to a face-to-faceencounterbetween,atleast,twoembodiedsubjectswhileempathicrelationsbetweenrealsubjectsandfictionalsubjectsareseenasderivative.Consideringdescriptions of aesthetic experiences collected through a range of semi-structured interviews this conception of empathy can be challenged.Descriptivestatementssuchas:“Iseethepicture,andthenitseesme”,or“Ibecome active with the work (…) but it is hard to describe, because it is afeeling that it creates” exemplifies how the work of art in the aestheticexperience is endowed with a peculiar sense of subjectivity suggesting thatempathy has a constitutive function. As such we are confronted with aparadox: conceptually empathy denotes the constitutive achievementmotivated by a meeting between living, embodied subjects. Experientiallyempathyseemstooccurnotjustinrelationtosubjectsbutalsoinrelationtoaspecialkindofobject,namelytheaestheticobject.Howarewetounderstandtheseexperientialaspectsofaestheticexperiences?In this paper I will argue that empathy is central to aesthetic experience. Itconstitutesnotanotherembodiedmindbutwhathasbeentermedan“indirectother”(Roald,2015):aformofpresenceoftheother,lackingthemundanede-mands normally required in empathetic encounters yet enabling a form ofaffective interactionwith the potential of co-constituting the perceiving sub-jectandtheaestheticobject.Itwillfurthermorebearguedthattheseachieve-mentsarefoundedinspecialformsofinter-corporeality(Merleau-ponty,1964)and inter-affectivity (Fuchs, 2016; De Jaegher, 2015), characterized by bodilyresonance between the expression of the aesthetic object and the affectivedimensionsofthepre-reflectiveself(Fuchs,2016).Thediscussionwillprovideempirically informed insights into the intersubjective dimension of theaestheticexperiencerelevanttopsychology,phenomenologyandaesthetics.

GernotHAUKE,München(Germany)

MappingtheEmbodiedEmotionalMind:talkingtherapiesarenotenough

Problematic situations are mostly connected with a network of differentemotions with contradictory action impulses. In clinical practice this can betaken intoaccountbydevelopingan“EmotionalField” (Hauke&Dall`Occhio,2013,2015).TheEmotionalFielddrawsitstheoreticalunderpinningsfromthedualsystemstheoryoftheReflectiveandImpulsivesystem(Strack&Deutsch,2004).Beingabletounderstandanddifferentiatedifferentemotionsandtheir

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accompanyingbodysensationsisimportantforthesuccessofacceptanceandchange of these emotions and to develop more adaptive behaviours. Theproblematic situation for theclient isevokedbyasimulationofascenewiththe highest impact of emotions. By carefully exploring bodily sensations andsignalsgeneratedfromthesimulationintheemotionalfielddiscreteemotionsareconsciouslyavailableandlabelled.Byusingembodimenttechniquesdrawnfrom empirical research (e.g., body postures, breathing patterns, gestures)clients gain clarity about their primary and secondary emotions (Sulz, 1994,Fruzzetti et al. 2008). Not only basic, but alsomore complex emotions (e.g.shame) are understood more deeply and reflected upon regarding theirfunction for the self and in interactionwithothers. Thedistinctionbetweenthe suppressed primary emotion and the blocking secondary emotions isdecisive for the further work in successfully mastering their problematicsituations.Applicationsofthemethodoftheemotionalfieldisshownthroughasinglecasestudypresentation.

BeateHERBERT,Tübingen/Munich(Germany)

“The sense of beauty is anchored in one’s body”: Interoception shapesaestheticexperienceofvisualarts

“Aesthetics”includesperceptionandsensationandrepresentsarelevanttopicof philosophy and psychology from its very beginnings. The idea of‘embodiment’recognizestheinterdependencyofmind,bodyandenvironmentand highlights that these entities overlap. Interoception, the processing andperception of physiological signals, is a fundamental basis of processes of‘embodied cognition’, and shapes the ‘bodily self’. Dimensions ofinteroception, such as interoceptive perception accuracy, are represented intheinteroceptiveneuralnetwork,withtheinsulaasrelevantinterface,thatissuggested to connect interoceptive and exteroceptive representations andlinking these with higher-order emotion and cognition. The interoceptivenetworkisalsoactivatedduringtheexperienceofartworks.Accordingtotheselines of empirical and conceptual evidence, this study examined for the firsttime,ifhowwesenseourownbodyisrelevantforhowweexperiencevisualartsbyusing standardizedparadigmsofassessing interoceptiveaccuracyandaesthetic appreciation of visual artworks. 45 healthy participants evaluatedrepresentationalandnon-representationalpaintingspresentedonacomputerscreenbyusingtheArtReceptionSurvey(ARS)thatwasdesignedaccordingtomodels of aesthetic experience, and that measures relevant constituents ofaesthetic experience, i.e. cognitive, affective and self-referential aspects.Additionally, participants accomplished a standard heartbeat tracking test,

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filledinquestionnairesassessinggeneralinterestinartworksandpositiveandnegative affect. Controlling for individual interest and experience in arts,results show a positive association of individual interoceptive accuracy andcognitive stimulation, positive attraction and self-reference: interoceptivelysensitive personsweremore intellectually intrigued by the painting, showedmore positive, profound emotional engagement of beauty, and felt a moreintense self-referential, personal connection to the paintings, evoking pastmemoriesoremotions.Sensingone’sbodyfromtheinsidesignificantlyshapesdimensionsofaestheticexperienceofvisualsartwork.Resultscorroboratetheroleofinteroceptioninaesthetically‘sensing’theexternalworld.

Tommi HIMBERG*, Megan BUCHKOWSKI*/**, Marc THOMPSON** & AsafBACHRACH***,*Espoo(Finland),**Jyväskylä(Finland)***Paris(France)

Four-waymirrorgameasameasureofgroupattunement

Dyadic hand movement mirroring has been studied as a measure of dyadicintersubjectivity.Wedesigneda four-personmirrorgame to studyembodiedinteractionandthesubjectiveexperienceoftogetherness,andhowthesocio-affective effects of interaction are linked to measures of movementsynchronisation.In threepilot studies, fourpersons (N=12)playeda two-minutemirror gamebeforeandafterengagingineither1)synchronisedgroupmovement,2)dyadicmusicimprovisation,or,3)dyadic,non-synchronisedcollaboration.Duringthegame,participantsstood inacirclewith their rightarmsextended,andwereasked to follow each other's hand movements, sharing leadership. Frommotioncapturedata,wecalculatedcross-correlationsoffingertipaccelerations(CC)toquantifysynchronyandlagsbetweenperformers.In2/3ofpilotgroups,averageCCwashigher inpost-improvgames.Thiscanindicate learning effects, but participants reported that they felt the post-improvgamewaseasierbecauseof increasedsocialbonding.Thefour-playersetting generates “conflicts” as participants must decide which partner toengage with and whether to mirror or mimic lateral movements. In post-improvgames, theperformerswerebetterat implicitlyadopting joint strate-gies,especiallypilotgroup1,whomheinterveningtaskprimedtominimisethedistancebetweenhands.Inpost-improvgames,participantswerebettersynchronisedwiththeirdyadictask partners than others. Further studies will show whether this is a moregeneral effect of preferential synchronywith the person next to you on thecircle, as the effect was also noticed in pilot group 1where the interveningimprovisationwasdoneinagroup.

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The4-waymirrorgameisaviabletoolforstudyingtogethernessinembodiedinteraction. It could serve as a measure of interpersonal attunement inconjunction with music/dance therapy, especially for social disorders, asmirroringteachesdetectingsubtlesocialcuessuchasmutuality.

Tommi HIMBERG*, Julien LAROCHE**, Simone DALLA BELLA***/**** & AsafBACHRACH**, *Espoo (Finland), **Paris (France), ***Montpellier (France),****Montreal(Canada)

Comingtogetherbystayingapart:Anovel‘rhythmicbattle’taskforthestudyofgroupcohesionandresilience

Collective performances in dance andmusic require a fine balance betweengroup behaviour and individual goals. When encountering external distrac-tions, thegroupneeds tostrengthen theirwithin-groupcoupling.Amodelofthis situation is congado (Lucas, Clayton& Leante, 2011), inwhichmarchingbandshavetoresistentrainingtoothergroups,as losingone’stempomeanslosing something of one’s identity. In this pilot study, we tested cohesionwithin the in-group, and resilience to influence from an out-group in a‘rhythmicbattle’danceimprovisationscore.Tenparticipantswererandomlydividedintotwogroups(G1&G2).Eachgroupwas assigned to a different tempo andwas asked to come upwith a grouprhythm,byclapping,clicking,orsteppingalongametronomebeepingatthattempo (stage 1). After rhythmic patterns had been established,metronomeswereturnedoffandthegroupsstartedinteractingwitheachother,firstbeingstationary(stage2),thenmovingtowardsandaroundeachother(stage3).Eachparticipantwore5accelerometers,whosedataweresynchronised.Datafrom the three axes were combined to a single time series of absoluteacceleration per sensor. Continuous measures of synchrony within andbetweengroupswerecalculatedusingaKuramotomodel.ThepilotendedinG2’s‘victory’,assomemembersofG1entrainedwithG2instage3. This isobservable in thedifferentevolutionof thewithin-groupandthebetween-groupsmeasures showingaweaker internal synchronyofG1 instage2.The pilot demonstrates the sensitivity of Kuramoto models in quantifyinggroupsynchronisation,asthemeasurestraceobservedbehaviourswell.Moredatawillbecollectedwiththegoaltoanalyseindividualparticipants’influenceoneachother andwith respect to the groups’ outcome. Inter-individual andgroupmeasuresofentrainmentwillbecorrelatedwithsubjectivemeasuresofgroupidentification(Aronetal.1992).

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SimonHØFFDING,Copenhagen(Denmark)

Subjectivity in aesthetic experience: A phenomenological challenge toenactivism?

Thispaperinvestigatestheconstitutionofsubjectivityintheintenseaestheticencounterandmakesa1)methodologicalanda2)conceptualpoint.1)ClassicalaestheticianssuchasBoullough(1907),Lipps(1903),andDufrenne(1973)sharetheconvictionthattheessenceofaestheticexperienceconsistsin“losingoneself”intheartobject,forminga“subject-objecttotality”.Itermthisthe “oneness thesis”. Recent investigations of art experience in phenomeno-logicalpsychologyconductedasqualitative interviewsat theNationalGalleryof Denmark reveal that the oneness thesis cannot be backed by empiricalevidence, because it mischaracterizes the nature of the pre-reflective self-awarenessinvolved:intenseaestheticexperiencedoesnotprimarilyconsistina “merging”, but is rather constituted as a dynamic and systemic exchangebetweenthesubjectandtheaestheticobject,aprocessbywhichsubjectivityisenriched,ascharacterizedinRoald’srecentworkon“Intrapellation”(2015).2)While Roald provides detailed descriptions of intrapellation, coming fromphenomenological psychology, she does not provide strict definitions of itsnature,nordoessheaddress itsconditionsofpossibility.Toanchorherworkfurther philosophically, I argue that it can advantageously be interpreted inenactionistterms(Thompson2007),notleastbecauseenactionismprovidesaneffectiveframeworkforexplainingtherelationbetweenontheonehand,thebodily self and its environment as a dynamically coupled, relational domain,andontheotherhand,subjectivityasself-generatingandself-maintaining. Inother words, when applied to aesthetic experience, enactive cognition canexplain a stable and self-generated subjectivity that is also transformable (orintrapellatable)wheninteractingwithart.Thus,thispapershowshowempiricallyinformedphenomenologicalpsycholo-gycanrequalifyclassicalaesthetictheory,butalsohowenactiveandembodiedparadigmsofcognitioncangroundinsightsinaesthetics.

EphratHUSS,CharlotteB.SPITZER&JackJ.SPITZER,Beer-Sheva(Israel)

AccessingSocialMarginalizationthroughtheBodyinSpace

The aesthetic tension in art can be created through the interrelationshipbetweenbody–orsubject,andbackground–orcontext.Thisistrueinvisualart,asinthetensionbetweenfigureandbackground,tuneandaccompanyingmusic,actorandprops,anddancerandstage.Thismeansthatdrawingsoftheself within background are an excellent place to understand the drawers'

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embodiedexperienceofsocialreality.Perceptualtheorypointstotheevolutio-naryneedtodifferentiatebetweenfigureandbackgroundtoassessdangeroussituationssuchasatigeragainstabackgroundofthejungle.Thus,therelation-ship betweenbody – or figure, and its background is theway thatwemakesenseofexperience.Westernpsychologyandmedicinetendtowardsasubjec-tiveanddecontextualizedpresentationoftheselfandofthebody,whileaso-cialcriticalstandwillaimtopositiontheselfwithinsocialcontext.Thispresen-tationwillanalyzeasetoftenbody-drawingsandtheirphenomenologicalex-planationbytheartists,whoareagroupofimpoverishedindigenousBedouinwomenin Israel.Theanalysesofthewomenoftheirart intermsoftherela-tionshipbetweensubjectandbackgroundasbodywithinsocialcontextwillbeshowntohelpshiftembodiedpainfromthesubjectontothemarginalizingso-cialreality.Oncethesourceofpainisidentifiedasoutsideofthebody,emerg-ingfromthebackground,thenthebodybecomesapotentialsiteofresistance.Iwilldiscussimplicationsforusingtheaestheticconnectionbetweenthebody–subjectandbackground–socialcontext, inartnotasadiagnostictoolasiscommon with visual art in psychology, but as a Freirean tool for reducingpsychologicalpainthroughraisingcriticalconsciousnessofandthusresistancetosocialmarginalizationratherthantakingthepainintothebody.

GiuliaINNOCENTIMALINI&AlessiaREPOSSI,Milano(Italy)

Theatreasabridgetothecommunity

This presentation is based on the activities of “Il teatro come ponte per lacomunità”, a project which started over 15 years ago and is still running. Itincludes two social theatre laboratories active at the Magenta's PsychiatryDepartment.In this theatrical practice, which follows the method of Teatro Sociale, theexperienceofvisionisembodiedintheactoralandauthoralworkandislinkedto the action, the relationship and the representation. It is an embodiedaesthetic that has multiple effects on the experience and produces careresourcesfortheindividual,thegroupandthebroadersocialcontext.Theintegrationofthreedifferentpointsofview–Gestaltpsychotherapy,com-munitypsychiatryandTeatroSociale–allowedustocreateabridgebetweenthe relational dimension, the group, the perception and the expressivetheatricalpath.Using a multi-perspective vision (theatrical and clinical) we want to exploretheseresourcesandtrytoexplainhowthetheatricalpractice–aspecificformofembodiedaesthetic–cantakecareofthedifferentneedsofmentalhealth.

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ColineJOUFFLINEAU,CoralieVINCENT&AsafBACHRACH,Paris(France)

Sloweddancespectatingandchangesintimeperception:Adialoguebetweenaestheticsandcognitivescienceonzeitlupeincontemporaryart

The co-presence of bodies inherent to live performance coupled with themovement qualities of the dancers underlies the audience’s kinestheticempathy (Foster, 2011).Wewere interested to quantify a change in “body-mind” stateof the spectatorsbroughtaboutbya live renditionofGourfink’sunique choreography that uses a contemplative practice to produce anextremely slow and hypnotic dance. Phenomenological studies of her workreportanumberofbody-mindeffectsincludingachangeintemporalpercep-tion(Gioffredi,2008).Wewantedtoquantifychangesintemporalperception,test for their specificity and assess their relation to changes in physiologicalrhythms(Joufflineau&Bachrach2016).Wecombinedphysiologicalmonitoringandsubjectivereportswithtwomeasu-resoftemporalcognitionbeforeandaftera40-minliveperformance(12sub-jects):aSpontaneousTempoProduction(STP)task(McAuleyetal.,2006)andataskassessingthetemporalwindowinducingtheApparentMotioneffect(AM)(Marusich&Gilden,2014).Thesametemporaltasks(14subjects)weretestedwithacontrolchoreographywithadistinctlydifferentqualityofmovement.Post-performance,weobservedasignificantslowingdownofSTP(t=15.01,p<2e-16), while AM was reported with longer temporal intervals between theflickeringdots(t=4.017,p<6.53e-05).Neitheroftheseeffectswasobservedinthe control condition. Revealing correlationswere found between subjectivereports concerning kinesthetic attention and the size of the effects.Correlationswithchangesinphysiologicaldataarebeinganalyzed.TheSTPresultsindicateaslowingoftheinternaltempoofspectators.TheAMresults suggest an expansion of the “specious present” (Varela, 1999). Theabsence of similar results in the control condition argues that these effectswereduetothespecificqualityofGourfink’schoreography,andthatcontagionof body-mind states (Godard, 1994) should be included in the concept ofinterpersonalresonance.

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SimoneKLEES,Berlin/Ottersberg(Germany)

EmbodimentandAestheticDistanceinDramatherapy–LimitsandBenefitsforPatientswithChronicPainSyndrome(CPS)

Embodimentandaestheticexperiencesarebasicprinciplesindramatherapy.Inone northern German hospital, dramatherapy is part of amultimodal short-term therapy for patients with chronic pain syndrome (CPS). In mypresentation, Iwill give examples from dramatherapy groups and talk aboutsomeof theexperiencesCPSpatientshavemade.Asacreativearts therapy,dramatherapy offers specific ways to express emotions and thoughts indramatic reality with the body. One of its effects is to find or rediscoverresourceseveryhumanbeingcanaccess:theabilitytoplayandimagine.Actingoutdifferentscenesandstoriesoffersanintuitiveaestheticaccesstoreality–different from everyday life. Patients are invited to evaluate attitudes andfeelings in a safe space, achieved through aesthetic distance. In embodyingvarious roles – acting andperforming in different realities– patients get thechancetoexperiencedramaticreliefandreinforceself-awareness.

SabineKOCH&LilyMARTIN,Heidelberg(Germany)

A Model of Embodied Aesthetics: Grounding therapeutic factors of artstherapies

The Arts Therapies – healing and stabilizing patients by using the power ofmusic,dance,artanddrama:whatmakesthemaparticularsourceofhealing?Therapeutic factors of arts therapies next to their verymedium (e.g.,music,movement, visual art) include play, enactment, expression, nonverbalcommunication, symbol, and the aesthetic experience. The aestheticexperience is conceptualized to encompass active and receptive aspects ofbeauty and authenticity, flow, and the experienced unison with anotherperson,object,oroneself.In the absence of an aesthetic model for the arts therapies in clinicalpsychologyandcognitivesciences,thatincludesactiveart-making,amodelofembodied aesthetics is introduced to ground the therapeutic factors of artstherapiestheoretically(Fuchs&Koch,2014;Koch,2017).Themodeladdressesthe expression and the impression side (active & receptive side) of theaesthetic experience and is discussed regarding its explanatory value for theartstherapies.

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SanderL.KOOLE,Amsterdam(Netherlands)

SynchronyinPsychotherapy:ASocial-CognitiveNeuroscienceApproach

Duringpsychotherapy,patientandtherapistoftenspontaneouslysynchronizetheir vocal pitch, bodilymovements, and even their physiological processes.Theseseeminglysubtlenonverbalprocessesmayplayakeyroleintheworkingrelationship between patient and therapist, by promoting social rapport andemotion regulation. However, little is known about how different forms ofsynchrony (neural, physiological, behavioral) combine in the therapeuticrelationship.Toaddress thisquestion,we recentlyproposed the INterpersonal SYNChrony(In-Sync)modelofpsychotherapy(Koole&Tschacher,2016).Accordingtothemodel,movementsynchronyfostersinter-braincouplingbetweenpatientandtherapist.Inter-braincouplingmayprovidepatientandtherapistwithaccesstoanother’s internal states, which facilitates common understanding andemotional sharing. Over time, these interpersonal exchanges may improvepatients’emotion-regulatorycapacitiesandrelatedtherapeuticoutcomes.The In-Syncmodel suggests that key features of the therapeutic relationshipoccurduringemotionalsharing.IwillpresentrecentstudiesinwhichweusedanemotionalsharingparadigmtoexperimentallytestkeypredictionsoftheIn-Syncmodel.Theresultinginsightsmaybeusedtoenrichonlinepsychotherapyandtoenhanceinterpersonalskillstraining.

Virpi-LiisaKYKYRI,AnuKARVONEN,MarkkuPENTTONEN,JukkaKAARTINEN&JaakkoSEIKKULA,Jyväskylä(Finland)

Embodiedqualities inexperiencesofmoments involving senseof connectionanddisconnectionincoupletherapy

In the social sciences and in psychotherapy research there has been anincreasing interest in the relational, affective, and embodied aspects ofinteractions. The Relational Mind project, conducted at the University ofJyväskylä and funded by the Finnish Academy, focuses on these aspects incoupletherapyattheverbal,non-verbalandautonomicnervoussystem(ANS)levels,coveringalsoparticipants’experiencesoftheinteraction.Inthispresentation,wefocusononeepisode,withinwhichakeyprobleminacouple’srelationship,theirexperienceofmutualdisconnection,wasaddressedand processed in couple therapy session. In individual stimulated recallinterviews, both spouses labeled this episode as being one of the mostimportantones intheir therapy. Itevokedhighemotional involvement intheinterview,whichboth spouses reported tobeevenhigher than in theactual

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therapy interaction. One moment within the episode was labeled as “ahamoment”by the femaleclient;during it, shehadrealizedanewperspective.While watching this moment in the interview, the female client reportedfeelingsofarenewedconnectionwithherhusband.The selected episode opens up a possibility to learn about the embodiedqualities of clients’ experiences of mutual connection and disconnection, asthesewerefelt inthesessionandobservedandre-livedintheinterview.Thefocus will be on the spouses’ verbal and nonverbal behaviors and ANSresponses(skinconductance,heartrate,respiration),asthesewereobservableduring importantmomentsof the selectedepisode in the session, aswell asduringtheindividualinterviews.Implicationsfortheory,researchandpracticearediscussed.

JulienLAROCHE,Paris(France)

Transpersonal aesthetics: Bodily autonomy and interactions in collectivecreativity

Collectiveimprovisationisasituationofcreativityduringwhichthecontentofan aesthetical performance ismadeup on the spot. The performed creationcan only exist through the participant’s bodily activity and the peculiarunfoldingoftheir interactions.Therefore,theexplanationofsuchacollectiveachievement and the description of the processes that underlie it cannot bereduced to operations happening in isolated minds, as traditional cognitivesciencesmightsuggest.We rather propose a dynamical, enactive account of collective creation inwhich creativity emerges from the regulated blending of autonomousexpressivityandinteractivecouplingbetweenco-performers,bothbeingmadepossiblebybodilyengagement. Inourepistemological context, thedynamicsof the interaction process itself plays a role in the constitution of individualbehaviors and experiences. In the context of collaborative performance,creativityisthusnotjustanindividualskill;italsoimpliestheco-regulationoftheinteractionprocessitself,sothatthecollectiveperformanceisshapedasawhole through the interactionsbetween its constituentparts. Evenmore so,theco-regulationitselfcanbecomethesourceofcreativity.Inthisperspective,transpersonal aesthetics can emerge when involved individuals retain theirexpressive autonomy during their coupled interactions,while the interactionpatternsgetanautonomyoftheirownaswell.Bypresentingsomeworkonapedagogicalmethodwhichuses improvisationbothasameanandasanendintheprocessoflearning,wewillshowhowtheinteraction process and its co-regulation can enhance creativity both at the

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individualandthecollectivelevel.Moregenerally,wewillshowhowthestudyofcollaborativecreativitycanhelppractitionersindevelopingtechniquesthatenhanceandfostercreativity.

RobertaLAROSA,Milano(Italy)

Embodied aesthetics in Gestalt Therapy: A case study on sexual issues andfemininity

AccordingtoGestaltTherapyapproach,theselfisafunctionofthefieldoftheorganism-environment, and here and now it summarizes all the relationalbodily and social patterns during the previous contacts (Es and personalityfunctions) and the intentionality that supports the present contact (egofunction) (M. Spagnuolo Lobb, 2013). Gestalt Therapy principles (aesthetics,embodied experience, phenomenology, contact and field) and relationalaestheticknowledge(M.SpagnuoloLobb,2016)willbeexploredanditwillbepresented how the principles work during the therapeutic process in a casestudyofsexualproblemsandgynaecologicalphobia.

RobertaLAROSA,AlessiaREPOSSI&SilviaTOSI,Milano(Italy)

Swing,pause,fall,go:Creativemovementsbetweenselfandtheworld

For Gestalt therapy, movement does not belong only to the individuality ofhumanbeing;wemust consider it in a relationalwayof reciprocal exchangebetweenindividualandtheworld.Wethinkit isfundamentaltoconsiderthewayhoweveryonemovesintheworld(movingofthebody)thatleadsher/himtohaveandtobuildexperiences.Theperceptionoftheownmovementandofthemovementoftheotheristhegroundforawareness,toperceiveisfirstofalltofeelthebody:everyexperienceisanembodiedexperience.Neurosciences teach us that our brain is structured to vibrate (resonate) tointentionalmovementoftheother.Everycontactmovementbetweenselfandthe environment has a lot of meaning: it is bond and possibility, isdevelopmentalexperienceandsourceofdiscomfort.Inthispresentationwewill illustrateourstudythroughtheresultsofapplica-tion of these movements to the therapeutic process and through a shortexerciseandexperiencewewillproposetoparticipants.

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MarionLAUSCHKE,Berlin(Germany)

Motorresonanceinartpsychologyandembodiedaesthetics

Theterm“motorresonance”,nowadaysfrequentlyusedtoconceiveofactionunderstanding in both cognitive psychology and neuroscience, surprisinglyoriginates in art psychology. Already in the beginning of the 20th century,philosopher and psychologist Richard Müller-Freienfels used the notion todescribethepotencyofimagestomovetheirbeholders.Hebasedhisthesisonthe empirical research by HugoMünsterberg, who criticized themodel of aserialsequenceofstimulus-consciousperception-response.ThispaperfollowsthelargelyforgottentracesofMüller-Freienfelsandotherpsychologistsofthefirstdecadesofthe20thcentury inordertosupportthepropositionthattheperceptibility of images cannotbe reduced to visuality. Itwill be shown thatunconscious bodily interactions prime the interpretations of pictures. Thebeholder can become aware of these interactions via kinesthetic perceptionthatleadstoaestheticexperience.Onthisaccount,aestheticexperiencehastobeconceivedofasembodiedexperience.

KasperLEVIN,Copenhagen(Denmark)

PhenomenologyofMovementandAestheticExperience

TheFrenchphenomenologistMikelDufrenneargues inhisbookPhénoméno-logiede l'expérienceesthétique (1953)that inaestheticexperience“ourbodysubmits to the object, allowing itself to bemoved by the object” (Dufrenne1973,p.57).Inthispaper,Iwillinvestigatetheramificationsofthisaccountandshowtheconsequencesforanempiricalapproachtothisphenomenon.The phenomenological account of movement, described as immanent tosensation in experience, primarily builds on Merleau-Ponty’s notion ofsynestheticperceptionandthereversibilitybetweensensingandbeingsensed.In his later work, in which his dialogue with art intensified, this “chiasmic”aspect ofmovement or “inter-corporeal being” approximates amore radicalnotion of aesthetic experience, described as somethingwhich does not onlyrefer to the domain of the sensible, but moreover to the constitution ofsensations as such. In this perspective, the painting does not simply standbeforeusasavisualrepresentation,butrathersomethingthatcross-modallyunifiesoursensesin“thecoming-to-itselfofthevisible”.In his book Francis Bacon: Logique de la Sensation (1981) Gilles Deleuze,lending from Merleau-Ponty and Henri Maldiney, refers to this radicalphenomenological interpretation of aesthetic experience as “the pathicmoment”,whichhearguesentailsthattheaestheticexperienceconstitutesa

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nonrepresentative moment in which we are faced with an “existentialcommunication” between each domain of sensation – i.e. rhythm as acrossmodaloramodalforceofmovementpresentinaestheticexperience.To operationalize this aspect ofmovement, I will show how discussions andresearch in developmental psychology can inform and inspire an empiricalapproachtoaestheticexperiences.

JuanM.LOAIZA,Belfast(UnitedKingdom)

The Social Dynamics of Musical Taste: A link between the micro-level ofindividualsense-makingandthesocialmacrolevel

Approachestoembodimentinmusicandartsassumeformsofontologicalandmethodological individualism seemingly by default. Such approaches explaintheprocessesofaestheticexperiencewithintheboundariesoftheindividual'sbodyandwithinanarrowtemporal range. Inconsequence, thepracticesandhabitsoftasteatthelevelofsocialgroupstendtobeneglected.Inthelightofindividualistic views, embodiment re-describes old-fashioned ideas regardingthelonecognitiveagentwiththeadditionof‘online’and‘extended’processessaidtobecharacteristicofthebodyintheworld.Theproposalistoexpandtheunitofanalysisofembodiedaesthetics.Thelevelneededcorrespondstosystemsofcommunityparticipationwiththickhistoriesofgroup interactionandgroup identity.Theproposal is thus to studybothamulti-person system and a multi-temporal range. In this view, embodimentand sociality need to imply one another. Persons in communities of practicemutually co-animateandparticipate ineachother's sense-making.Questionsof identity and taste become central to this inquiry. The proposal is thus toprovide an account in which the occurrence of individual aesthetic sense-making is understood as a local achievement of multi-person and multi-timescaledynamics.The proposal will bring together recent conceptualisations of the enactiveapproach, systems theory, and the abundant qualitative corpus of socialanthropology of musical practices and communities of practice. Finally theproposal will point to ways of understanding well-being through musicalpractice in relation to notions of community caring practices, sense ofbelongingandidentity.

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LuisAntónioP.D.MADEIRA,Lisboa(Portugal)

Theroleofsettingsandsituationsondisturbedselfexperiences

Depersonalizationandderealisationexperiencesarefrequentinthecontextofmental and neurological disorders and are considered in non-pathologicalstates–suchasthoseinducedbydrugs,traumaandevenspecificsettings.Thiskeynote reviews conceptual and empirical inputs of phenomena (e.g.experience of uncanniness) and syndromes (e.g. Stendhal Syndrome,intellectual aura and dreamy states). It further encompasses a discussion ontheexplanations (particularlypsychoanalytical andneuroscientificparadigms)and understandings (particularly that of the engaged epistemology includingchanges of embodiment, enactment and attunement of reality) for thesephenomena. These include understandings of the socio-relational complexityof human experience and embodiment revolutionized the understanding ofmeaningasnolongerconfinedtothesubjectandnowemergingfromdynamicand permanently re-situated embodied interactions with the world (objectsand shared histories) and other’s (visible and invisible communication).Together,thisphenomenologicalandepistemologicalanalysisaimstoprovideinsight into the complexity of these experiences as they occur in specificsettings bettering their use in clinical practice and research - particularly theimplications on the existence of identical experiences or phenomenologicalsimilestoexperiencesconsideredinmentaldisorders.

WinfriedMENNINGHAUS,Frankfurt(Germany)

Beingmovedbyfilmsandpoems:Elicitors,affectivenature,physiology

EversinceHorace,CiceroandQuintilian,rhetoricandpoeticsstipulatethatitisoneoftheprimegoalsoftheartstomove(movere)theaudience.Thelecturepresentsaseriesofstudiesaimedatestablishing"beingmoved"asagenuineemotionconceptandatrevealingitsroleinaestheticenjoyment.Aspecialfocusisplacedonthephysiologyoffeelingsofbeingmoved.

IreneMITTELBERG,Aachen(Germany)

ExperientialEssence:FeltQualitiesofMeaninginArtworksandTheirGesturalEnactments

Analyzing visual artworks and their gestural enactments, this paper explorestheroledynamicembodiedstructuresplayasdrivingforcesintheconstitutionand interpretation of visual, bodily signs. The underlying assumption is that

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despite their metonymic spareness, abstract depictions in paintings and“descriptivegestures,thoseforerunnersoflinedrawing”(Arnheim1969:117;Mittelberg&Waugh 2014;Müller 1998) enable interpreters to relate to theactions represented or performed in front of them based on internalizedpatterns of cognitive, physical and aesthetic experiences (e.g., Bredekamp2010;Gallese&Lakoff2005).It is proposed that some of the essential facets of experience exhibited inselectedpaintings,studentdrawings,andcoverbalgestures,maybemotivatedandstructuredbyimageandforceschemata(Johnson1987;Kroisetal.2007;Lakoff2006;Talmy1983).Asgestureresearchhasshown,communicativebodymovements and posturemay reflect schemata such as PATH, OBJECT, CON-TAINER,CENTER-PERIPHERY,SUPPORT,BALANCE,etc.(Cienki2005;Mittelberg2010). Such schemata seem to mediate not only multimodal processes ofexperiencingandinterpretingtheworld,butalsothegesturalenactingofinnerimages,emotionalstates,andaestheticimpressions(Mittelberg2013).BuildingonanimageschemaanalysisofthreepaintingsbyPaulKlee,inwhichhumanfigurestakecenterstageandtrytostaybalancedwhilebeingexposedto variousphysical forces, a comparison ismadewith video and kinetic datarecordings of three native speakers of American English describing theirencounter with the same artworks inside a motion-capture lab(www.humtec.rwth-aachen.de/nmlab).Crucially,reinstantiatingfrommemorytheirperceptualexperienceof formalandsemanticqualitiesof theartworks,all speakers employed both external and artifact-internal viewpoints(Mittelberginpress;Sweetser2013).Thepaper aims tooffer glimpsesat felt qualitiesof experienceandmeaning(Johnson2007), thus shedding lighton somephysicaldimensionsofpeople’ssubjectiveunderstandingofartworks,whichmaybeseenas“exemplarycasesofembodied,immanentmeaning”(Johnson2007:234;Turner2006).

Damilya NADYROVA*, Yulia PANTELEEVA** & Grazia CESCHI**, *Kazan(Russia),**Genève(Switzerland)

Mirroringandembodimentintherecognitionofmusicalemotions

Musicasameansofarttherapyhasbeenusedforalongtime,butthemecha-nismsofitsemotionalimpactonapersonarestillnotfullyunderstood.There-fore, the question of themechanisms of the communication of emotions inmusicisofkeyimportancenotonlyformusicology,butalsoformusictherapy.According to the theorymodel of embodied aesthetics for the art therapies(Geuther, Koch), art gives an opportunity for self-expression of individualityand emotion regulation.Musical activity enables non-verbal cognition of the

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spiritualworldofanother(composer,performer,andpartnerforperforming).Inaddition,thiscanbecarriedoutbothonthe intersubjectiveandonthe in-trosubjectivelevel,thatis,asaformofself-knowledge,aninnerdialoguewithoneself.Thelattercircumstancecanbeofparticularvalueinpsychotherapy.Basedontheforegoing,itcanbeassumedthatthetherapeuticeffectofmusicis partly due to the similarity ofmechanisms for the transfer of emotions inmusicandinreallife.Analysisandinterpretationoftheavailableexperimentaldatahaveshownthatboththesecommunicativeprocessesarereallybuiltonasingleprinciple, basedon themirroringof theelementsof expressionof theobservedobject(musicoranotherperson).However, inmusicalactivity,theyacquire a specific form associated with auditory primary perception. Withdeepercognition, themechanismsofbodilymodelingofexpressiveelementsinone'sownbody (atdifferent levels– from internal ideomotor reactions toreal actions involving thewhole body) are included. It should be noted thatmethods based on embodied simulation in one form or another have longbeensuccessfullyusedinmusiceducation,especiallyinthemusicalupbringingofchildren.

TaniaPIETRZAK,Melbourne(Australia)

ClinicalApplicationsofEmbodiedInterventions:Afocusonconflictedcouples

Aims and hypotheses: To foster emotional regulation,multifaceted empathyand partner satisfaction in conflicted couples via emotional activation in theEmotional Field and embodiment methods. The aim was to increase under-standingofcouples’previoushiddenemotionandintentions.Thethreehypo-theseswere:a)thatthetreatmentgroupwill:showstatisticallysignificantandmeaningfulincreasesinmeasuresofempathy,relationshipsatisfaction,amoresecureattachmentstyleanddecreasesaftertreatmentinmeasuresofdepres-sion; b) Increases will occur in participants understanding of their emotionsandcoreschemasduringconflictandunderstandtheirpartner’sintentionsandhiddenemotions; and c) Thewait list control groupwill showno statisticallysignificantormeaningfulimprovementsovertime.Method: Twenty subjects (10 couples) participated in the study and wereassignedtoatreatmentorwaitlistcontrolgroup.Measuresweretakenoftheparticipants'affectiveandcognitiveempathy,relationshipsatisfaction,attach-ment style in close relationships and depression. The treatment group wasgiven 20 hours of group intervention that included three core treatmentcomponents: a) establishing group cohesion, b) focus on self-includingunderstanding and regulating one’s own emotional survival strategy. Groupmemberswereusedasavitalizingfunctionviaembodiedimitationtoenhance

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body empathy. Individual behavioral goals for each couple were thenidentified, c) interaction focus – couples shared their emotional survivalstrategy via imitation and together developed solutions via sychronisedcooperativemovements.Results:RepeatedmeasuresmultivariateANOVAshowedmeaningfulincreasesforthetreatmentgroupinsatisfactionandempathycomparedtothecontrolgroup.Therewerenosignificantchangesinthetreatmentgroup‘sdepressionandattachmentstyleingeneralcloserelationships.Conclusion: Embodiment techniques such as imitation and synchronisedmovement helps conflicted couples to develop body empathy and improvesrelationshipsatisfaction.

OlgaPOLLATOS,Ulm(Germany)

Theroleofinteroceptiveabilitiesintheembodimentofemotionregulation

Thereisampleevidencethatdifferencesininteroceptiveabilitiesarerelatedtovariousaspectsofemotionprocessing.Recentresearchhighlightsthatspecifi-callyagreateraccuracyindetectingone`sbodilystate(interoceptiveaccuracy,IAcc) facilitates the regulation of emotional responses. Using EEG and thepresentation of negative pictures, participants were instructed to use re-appraisalasemotionregulationstrategytodownregulatetheirnegativeaffect.Higher IAccwasassociatedwithbothahigherdegreeofsubjectivechange inarousalaswellasagreaterchangeinthevisualevokedpotential(P300ampli-tude)reflectingcentralaspectsofemotionregulation.Inanotherexperimentalparadigm(cyberballgame)participantswereostracisedandrelatedstresswasassessed. Higher IAcc was associated with a better regulation of negativeaffect. Detecting bodily changesmore accuratelymight create advantages inthe discrimination and regulation of different emotional states and mightthereforeconstituteanessentialprerequisiteforeffectiveemotionregulation.This might be especially interesting for clinical populations as shown in aclinicalsetting.

ToneROALD,Copenhagen(Denmark)

ThePresentBody

Ideas about the role of the body in aesthetics have a peculiar intellectualhistory.On the one hand, this is a history inwhich aesthetic experience hasbeen linkedtoaffect,andwhereaffect, inturn,hasbeen linkedtothebody.

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On theotherhand, it is a history inwhich thebodyhas rarely featuredas atopicinitsownright,despitetheincreasinginterestinembodimentacrosstheacademyoverthepastthreedecades.Inordertoaddressthisgapbetweenaninterest in affect and a lack of attention to the body in aesthetics, weconducted a qualitative study on the nature of the body in aestheticexperiences. Working within the field of phenomenological psychology, weinterviewedmuseum visitors about their intense experienceswith art at theNational Art Gallery as well as Esbjerg Museum of Art in Denmark. Theseresultsshowthataestheticexperienceischaracterizedbybodilyreversibilityasaffectivepresentations.Thesefindingswillbeusedtodisentangleconceptualinaccuracies between bodily ambiguity and reversibility inMauriceMerleau-Ponty’sworkontheaffectivebody-subjectaswellastodiscusssimilaritiesanddifferences between bodily experience and affect in the works of ThomasFuchs,MauriceMerleau-Ponty andMaxine Sheets-Johnstone. It follows thatalthough the body has been rather absent in the intellectual history ofaesthetics,itisirreversiblypresentinexperienceswithart.

HartmutROSA,Jena(Germany)

Attraction,Repulsionand Indifference:TheConceptofResonanceasaModeofRelatingtotheWorld

The keynote seeks to clarify and define the concept of resonance as aparticular mode of being in and relating to the world. This mode ischaracterizedbyfourcoreelements:First,resonanceimplies(bodily)affectionbysomeexternalsource.Second,itinvolvesanactive,embodied‘answer’thatbestowsself-efficacy.Third,thisleadstoatransformationoftheexperiencingsubject. But fourth, processes of resonance cannot be instrumentallycontrolled or designed, they involve an intrinsic element of elusiveness(Unverfügbarkeit). Of course, aesthetic experiences can be interpreted asparadigmcasesforprocessesofresonance.Assuch,resonanceis‘alienation’sother’, foralienationisamodeofbeing inandrelatingtotheworld inwhichtheworldisexperiencedassilentorashostile.Furthermore,thelectureseeksto identify three ‘axes’ of resonance: A horizontal or social axis that impliesrelationships between subjects, a material or diagonal axis that refers torelationshipsbetweensubjectsandthings/artefacts/objects,andaverticalaxisthat is established between subjects and ‘the world’ as an ultimate totality(‘DasUmgreifende’ in the senseof Karl Jaspers). In this latter realm, art andnaturecanbeidentifiedascentralspheresofresonanceformodernity.

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JanROUBAL*&GianniFRANCESETTI**,*Brno(CzechRepublic),**Torino(Italy)

Howtomaintainjoyandcreativitywhenimmersedinthedepressionwiththeclient: Therapists‘ own experiences and working strategies with depressedclients

Psychotherapists experience a client´s depression themselves. It seems inevi-tablewhenattuningtoandremainingopentotheexistentialhumanmeetingwiththeclient.Theclientandthetherapistare inthisway„depressingtoge-ther.“Therapist1says:“Ithappenstome…thatIfallintoitsomehow.Down.Iamsayingtomyself:‘Thisissoterriblyhopeless.It’snowonderatallthatthereisnowayout’”; Therapist2 says: “When Iamsittingwithhim there, I feelaterribletiredness…AsifIwillnotbeabletoraisemyhandanymore”.Theseareexamples from the research, which will be presented and which provides adetailedGroundedTheoryofhowpsychotherapistsexperiencea relationshipwithdepressiveclientsduringapsychotherapysession.Resultsofthisresearchenable us to deduce strategies to cope with our own experiences and toenhancethetherapeuticrelationship.Wesuggestpossibleapproachesforthetherapist and examples of practical steps with these particular, depressive,clients.

RosemarieSAMARITTER,Rotterdam/Heerlen(Netherlands)

AliensorAlliances:Anaestheticperspectivetomentalhealth

The Arts and especially dance and music are present in many public healthdomains. The specific contributions of art-based practices to wellbeing andmentalhealthhavebeenwidelydiscussed in the literature (e.g.Dosamantes-Beaudry, 2003;Wiedenhofer et al. 2016). Arts-informed structures offer theopportunity toarticulateandexpressexperiential content throughembodied(inter-)action.Throughartsbasedinterventions,thetherapistaddressesinthepatientthepotentialforsensing,forplayandimprovisation,forbeinganagentandmaker in aesthetic procedures (Feder& Feder, 1980). The therapistwillguide thepatient towardsaestheticmoments that createa zoneofproximaldevelopment, into which the therapeutic dyad can unfold. The aestheticmoment here is understood as a simultaneity of inward deepening of livedexperience and outward appreciation of and meaning assignment to aphenomenon or event (Gadamer, 1960). This simultaneity is crucial for theaesthesis,inthatitisnotamatterofaparticularseriesofactsoractivitiesthatcanbeperformedsubsequently,but ratheracomplexevent inwhich inwardexperience and outward appreciation are defining each other and evolvewithinthedynamicsoftheenactivelyengagedtherapist-patientsystem(Koch

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& Fishman, 2011). In the case of dance therapy, the therapist will seek toprovoke this simultaneity in the patient’s exploration of mutually sharedmovements, inwhich the inner experience of deepened sense of self occursentangledwiththeappreciationofasharedobjectofattentionthatpresentsitselfwithinthesharedmovementexperience.Thepresentationwilldiscussanarts-informed,aestheticperspectivetomentalhealth as this has been developed in the projectAliens or Alliances that hasbeen conducted for Codarts Master of Arts Therapy Programme Rotterdam(NL).

Pietro SARASSO, Irene RONGA, Raffaella RICCI & Marco NEPPI-MODONA,Torino(Italy)

Investigation of the relationship between Aesthetic pleasingness, RTs andneurophysiological indexes of visual processing efficiency during theobservationofabstractimages

Recent neuroaesthetical research suggested the existence of a relationshipbetween aesthetic pleasure and the dynamics of the perceivers’ neuralprocessing: the efficacy of stimulus processing has been hypothesized to bepositively correlatedwith individual aesthetic response. In thepresent study,we specifically aimed at measuring the relation between aesthetic pleasureandvisualprocessingofabstractblack-and-whiteimagesatbothabehaviouralandaphysiologicallevel.58 healthy subjects participated to a visual search task experiment, inwhichtheyhadto identifythepresence/absenceofagreydotagainstanoisyback-groundbypressingabuttononthekeyboardasfastaspossible.Backgroundswererandomlygeneratedby thecomputer,according to thepower law1/fB,which enabled us to specify the chosenB exponent, in order to control thebackground spatial frequencies spectral power. 21 different categories ofbackgroundswerecreatedwithBexponentsvaluesrangingfrom0.8to2.8.Attheendoftheexperimentsubjectsratedtheimagesaestheticpleasingnessona 10-points Likert scale. Subjective aesthetic judgments replicated the datapresentintheliterature,peakingforstimuliwithaBexponentvaluecloseto2.Furthermore, response times were found to be inversely correlated toaestheticpleasingnesslevel.Inasecondexperiment,5imagecategorieswithBvaluesequalto0.8,1.2,1.6,2, 2.4 and 2.8 were presented to 13 healthy subjects while recording EEGactivity. More appreciated images show an enhancement in electrophysio-logicalindexesofearlyattentionalprocessingsuchasC1andN1components.

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Thesecomponentsareknowntocorrelatewiththeefficiencyofvisualsensoryprocessing.Weinterpretthesefindingsspeculatingthatbeautyappreciationmightemergeas a result of a hedonic marking of stimulus processing efficiency. Theserewardingactivationsmighthaveevolvedtosignalwhereitismostprofitableforthesensorysystemtoinvestattentionalandprocessingresourcesinordertooptimizetheprocessofknowledgeacquisition.

AndreaSCHIAVIO,Graz(Austria)

EmbodiedActionandtherootsofMusicality

The role our bodily power of action plays in shaping mental life is drawingincreasing attention from cross-disciplinary scholarship in brain, mind, andsubjectivity.Inparticular,itispositedthatourbodyisactivelyinvolvedindoingmuchof thework thatwepreviouslyassumedwasdone solelyby thebrain.Thishas ledanumberof researchers to suggest that cognitiveprocessesareco-constitutedbythebiologicalcomplexityoftheentirelivingorganism,ratherthanbeing fully realized throughbrain-boundmanipulationsofabstract sym-bols.Thistalkwilladdresssuchclaiminthecontextofmusiccognition,explor-ing empirical research associatedwithmusic-making andmusical learning inbothadultsandinfants.Novelfindingswillbediscussedthroughtheenactiveprinciples of ‘sense-making’ and ‘embodiment’, showing that corporealexperienceisfundamentalfortheflourishingofone’smusicalidentityandcul-turalintegration,therecollectionofmusicalexcerptsinmemory,andtheearlyunderstandingofaudio-visualsynchronicity.Theseinsightsserveatheoreticalandapracticalpurpose:first,theymightinspirearicherunderstandingofwhatactionentails inhumanmusicality; second, theymightoffer relevantsupportto the growing number of music theorists who highlight the importance ofeducational settings based in creative action, real-time collaborations, andexperientialopenness.

WilfriedSCHLEY,Zürich(Switzerland)

INTUSx3:Resonancebasedinteraction–TheLeapfromTeachingtoLearning

INTUS 3 produces a relevant contribution to de-stressing the teacher, com-binedwith an increase of learning intensity and teaching quality. In this sys-tem,youbringyourownenergytobear,withagilityandawareness,andatthe

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same time act mindfully. In each module, we use online coaches and filmscenestoleadyouthroughtheexperience.- Module 1: Basic Attitude of a Resonant Relationship “sensing needs andwantsempathically”You accept what you encounter, you intuitively understand the scene as awhole,youseethesituationthroughalensthatemphasizespotential,andyouempathicallysenseneedsandwants–thoseofyourpupilsaswellasyourown.This way you can remain, even in conflict situations, relaxed and solution-oriented,andincontactwithyourselfandwithyourpupils.Inthesefilms,westoptheactionatcertainpointssothatdon’tseehowtheteacherwill inter-vene.Thishiatusgivesyoutimetograspthesituationandfocusyourpercep-tions,while stayinggrounded in theBasicAttitude:Youwillbeable to senseneeds and wants empathically, intuitively understand situations holistically,recognizepotentialsusingaresource-oriented lens,andacceptwhateveryouencounter.-Module2:DialogicInterventions"intuitivelygivingovertowhatishappeningintherelationship"Youwill learn toperceive sceneswhilebeinggrounded in theBasicAttitude.You will fine-tune your intuition, and this will sensitize your resonance. Theteacher’s interventionsarebased intheBasicAttitude,whichmeansbeing incontact.Inthescenes,youwillpreciselyobservewhetherornotthecolleagueis incontactwhenhemakeshis interventions.Thecompetencymodelofdia-logicinterventionisaboutintuitivelylettingyourselfgowithwhatishappeningintherelationship.Itisnotbasedonintentionality,norisitachievedthroughlogicalreasoning.TheBasicAttitudehelpsyoutoavoidgettingcaughtupinoldpatternsofvaluejudgementsandemotionalirritation.Youstayincontactwithwhatishappening,andarecapableofdialogue.Inthefilms,yougetasenseof:howneeds andwants becomeempathically accessible and lead to solutions,how regarding the scenes holistically increases your ability to create andmodify the atmosphere, how presence and authority develop out of accept-ance, and how a resource-oriented approachmakes it possible to recognizeyourowndestructivepatternsandactaccordingly.- Module 3: Body language “Students clearly reveal their mental states andfeelings,andtheseaffectyou,theteacher,directly”NowouronlinecoachOliverPosenershowsyouhowtoreadyourpupils‘bodylanguage: Students clearly reveal their mental states and feelings, and thisgivesyouadirectwindowintotheirwantsandneeds. Ifyoupayattentiontothese impressions, you canuse them in your interactions. In the scenes, yousense the interactions bilaterally: you take part in a shared atmospherebetween the two. Using screenshots helps you develop your ability to readbody language. You learn to intuitively recognize the significance of facial

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expressions. This gives you the ability to sense, in the heat of themoment,whatthesituationisemotionallyabout.-Module4:Compass“foragoodorientation,takeadetourthroughrelation-ship”Thismoduleisaboutusingtheinteractivestructureof learningasacompass.Dr.HelgaBreuningershowshowyoucangraspandlocateinteractionsbothintherelationshipdialogueandthelearningdialogue.Withinteractivestructuresas your compass, you are in a position to decide in the immediate situationwhattodo.Youlearnhowtotakeadetourviarelationshipasthequickestwaytosuccessfullearningoutcomes.JohnHattiegivesushisinsight:„Whereverwedirect our attention, our energy follows.” But sometimes it doesn’t work. Atypical failed interaction lets you reflect on this experience in self-coaching.Youcanusetheseaslearningopportunities.-Module5:PersonalizedLearning“whoworksharder,youoryourstudents?”I will show you how to use personalized learning to set up your school daymore efficiently and significantly relieve some of the pressure on yourself.”Don’tWork Harder Than Your Students”! The learning designs for persona-lizedlearninghelpcreatetheconditionsforcooperativelearning.Youactivateyourstudentsandencourageagoodclimateforindependentlearning.Stress-free, you can follow the learning process and figure out what’s happening.Personalized learningmakesa fundamentaldifference inyour relationship toteaching. It redefines your professional approach. Building on that, it comesquitenaturally toworkwithin the conceptof inclusion.Diversity, integrationand talent developmentwill no longer be irksome extra homework. Instead,theyareformedasnaturalresultsofpersonalization.It’slearningasflow.

WolfgangSCHMID&KarinMÖSSLER,Bergen(Norway)

What’sthisadorablenoise?Relationalqualitiesinmusictherapywithchildrenwithautism

Background: Shaping sensory perceptions, regulating affective dynamics, orjoiningattentionareabilitiesthatenablehumanbeingstorelate.Childrenwithanautismspectrumcondition (ASC) can facechallenges inallof theseareas.However, their bodily and emotional expressions form and inform relationalabilities. By creatingmusic that is embodied and attuned to the child’s rela-tional resources, therapistsmighteffectivelyempower the child’s social skillsonageneralizedlevel.Toexaminetheimpactofatherapeuticrelationshipthatisgroundedinthebodyandsituatedinthecontextwastheaimofthepresentpaper.

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Methodology: A predictor study including music therapy sessions from 48childrenwithASC,aged4-7,hasbeenconducted.Musictherapywasprovidedweekly over a period of 5 months. Generalized interaction skills weremeasuredusing theAutismDiagnosticObservation Schedule (ADOS) and theSocialResponsivenessScale(SRS)questionnaireatbaseline,5and12months.ThetherapeuticrelationshipwasassessedusingtheevaluationtoolforAsses-sing theQuality of Relationship (AQR).Associations between the therapeuticrelationship and generalized outcomes have been analyzed using a linearmixedeffectmodel.Results:ThisstudyfoundthatthetherapeuticrelationshippredictsgeneralizedchangesinsocialskillsinchildrenwithASC.SignificantinteractioneffectscouldbefoundbothfortheADOSSocialAffectdomainat12months(B=-3.89;CI=-7.51,-0.26;p=0.0399)andtheSRSat5months(B=-23.46;CI=-45.63,-1.29;p=0.0426).Conclusions:Theseresultsemphasizea therapeutic relationship, inwhichthetherapist attunes to the child’s expressions musically and emotionally, asimportantmechanismof change.These resultsmightcontrastabehavioristicparadigminautismtreatment.

Maurizio Leonardo SICORELLO*, Jasmina STEVANOV*/**, Heiko HECHT* &HiroshiASHIDA**,*Mainz(Germany),**Kyoto(Japan)

EffectofGazeonPersonalSpace:AJapanese-GermanCross-CulturalStudy

The Equilibrium Theory (Argyle & Dean, 1965) assumes a compensatoryrelationshipbetweeneyecontactandinteractiondistancewhichpeopleutilizetoattainandmaintainacomfortablelevelofintimacyinsocialsituations:e.g.too much eye-contact of a conversation partner can be compensated withlarger interpersonal distances. While cultural differences in gazing behaviorand interaction distance are consistently reported, it is still unclear whethertheeffectofdirectgazeoninteractiondistancevariesacrossculturesaswell.We compared the effect of direct gaze on interpersonal distance betweenJapaneseandGermanstudentsinalaboratorytask,usingaveragedfaceswithmanipulatedgazedirection. In linewithprevious findings,weconfirmed thatJapanese participants prefer larger interpersonal distances than Germans.Therewasneithera significantmaineffectofgazedirectionnora significantinteractionbetweengazedirectionandnationalityondistance.Bayes factorswerecalculatedtoassesswhethertheabsenceofsignificantinteractionswithnationality can be interpreted as cross-cultural generalizability. There wasstrongevidenceagainstamaineffectofgazedirectionondistance(BF=11.9).Still,aBayes factorof8.12 indicated that thedataweremore likely tooccur

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underamodelincludingtheinteractionbetweengazedirectionandnationalitycomparedtoamodelincludingonlythemaineffects.DirectgazeledtosmallerdistancesforGermansandlargerdistancesforJapanese.Thesefindingsspeakagainst the cross-cultural generalizability of the effect of eye contact onintimacy,butareequivocalasFrequentistandBayesianinferencediverged.

Kurt STOCKER*, Asha-Naima FERRANTE**, Gregor HASLER** & MatthiasHartmann*,*Zürich,**Bern(Switzerland)

Counteractingsadnessanddepressionwiththebeautyoftheuprightposture?ABSM(BodilySensationMap)study

Early accounts of depression have emphasized the bodily and spatial (down-ward) aspects of depression: “The ‘de-pressed,’ with his head bent, hisshoulders lowered, his arms fallen to his sides, with his slow, short steps,succumbstothepressurewhichpusheshimdown.”Contemporaryembodiedfindingshaveconfirmedthatdepressionisassociatedwithsuchaspectsasslumpedposture,slowwalkingspeed,andinteroceptivelyreporteddeactivationofregionscorrespondingtothehumanwalkingappara-tus–thelattermeasuredwithbodilysensationmaps(BSMs).Inhealthyindivi-duals,we investigatewhetherupright posture can alleviate sadness/ depres-sion,andwhetherthisshowsincorrespondingchangesinbodilysensation.Inducing sadness (movies) is followed by an upright (one group)/slumped(othergroup)30-minutepostureexercise.BSM,ProfileofMoodState(POMS),and Beck Depression Inventory (BDI) are administered before sadnessinductionandafterposture intervention;BSMadditionally alsoafter sadnessinduction.Wepredictthatinducingsadnessleadstointeroceptivedeactivationof theentirebody forbothgroups,andthatuprightposturewill support theovercomingofnegativeemotionsmoreeffectively than the slumpedposture(moreactivationoftheentirebodyandlowerPOMS/BDIscores).Furthermore,asareplicationofanotherstudy,thepostureinterventioniscombinedwithataskinvolvingnegativeandpositivememories,predictingmorerecall/recogni-tion of positive memories for upright posture. Artists have long recognizedanotheraspectofuprightposture:beauty.InMilton’sParadiseLost,AdamandEveappearas“of farnobler shape,erectand tall, /God-likeerect… in theirlooksdivine/The imageof theirgloriousMakershone.”Wewillalsodiscusstheroleofbeautyanduprightpostureindepressiontreatment(mainlyinthecontextofthesocialcompetitionhypothesisofdepression).Theoverallaimofour study is tomakea first step toward treatment indepression thatmakesexplicituseofitsbodilyandspatialdimension.

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WolfgangTSCHACHER,Bern(Switzerland)

Nonverbal synchrony – Measuring bodily resonance in psychotherapy andaestheticappreciation

Ithasbecomeincreasinglyevidentthatembodimentplaysaconsiderableroleinpsychotherapeutic interaction, even inpurely 'cognitive' psychotherapy. Inaddition to this, Ibelieve thatsignificantchangeevents inpsychotherapyareanalogicaltomomentsofaestheticimmersioninthearts.Making such statements is nice, but how can we measure this? Firstly, wedevelopedmethodshowtooperationalizetheembodiedsynchronizationandresonancebetweenpeople.Therapeutic interaction isgroundedintherapists'andclients'posture,bodymotion,physiology,i.e.intheirbodies.Ourempiricalprojects have, for instance, supported the idea that the affective quality ofalliance1isembodiedbythedegreeofnonverbalsynchronybetweentherapistandpatient2.Embodiedsynchronywasfoundassociatedwithpositiveaffectinconversing dyads, with personality features of patients such as attachmentstylesandinterpersonalproblems.Thestrongaffectivequalityofresonance3isprobably what is experienced as aesthetic moments in the appreciation ofartworks.Wehavestartedtomeasuresuchsynchronyinconcertaudiences.Secondly, the synchrony methodology allowed defining nowness as thedurationofsignificantsynchrony4.Bythismeasurewemaybeinapositiontobetter understand therapeutic presence, a core variable of the alliance inpsychotherapy.Evenifacknowledgedandutilizedbypractitioners,embodiedresonanceisstillwidelyunchartedterritoryforacademicpsychotherapyresearch.Theevidenceaccumulated so far suggests that the degree of nonverbal and physiologicalsynchrony may be a pivotal predictor of emotional features of therapeuticinteraction,andofaestheticmoments.

FelicitasWEINECK,Ulm(Germany)

Potentialpathwaystoimproveinteroceptiveability

Previous research has shown that deficits in interoception are linked toimpairmentsinemotionalawarenessandmayrepresentapotentialriskfactorforthedevelopmentofpsychiatricdisorders(Murphyetal.,2017).Despitethegrowingknowledgethatinteroceptiveabilityiscrucialtoemotionalregulation,there are very few interventions available to improve interoceptive ability inclinical populations.We aim to inform participants about recent preliminaryresearchtoimproveinteroceptiveabilityincludingmindfulness,enhancingself-focus (e.g. by looking in amirror; using autobiographical narratives) and the

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manipulationofpower.Forexample,Kunstmanetal. (2016) foundthatstateinteroceptive accuracy could be improved through an experimentalmanipulationofpowerinindividualswithhighlevelsofbodydysmorphia.Wewillalsopresentsomepreliminarydatalookingattheeffectsofmanipulationof power on interoceptive abilities of healthy students at Ulm University.Potentialapplicationsofthemanipulationofpowertoclinicalpopulationsareexplored.

Leonardo ZAPATA-FONSECA*, Dobromir DOTOV**, Ruben FOSSION*, TomFROESE*, Leonhard SCHILBACH*** & Bert TIMMERMANS****, *Mexico City,**Juriquilla(Mexico),***München(Germany),****Aberdeen(UnitedKingdom)

Quantifying movement patterns during embodied interaction: High-functioningautismasacasestudy

People with high-functioning autism (HFA) usually present restricted andrepetitive patterns both in movement and behaviour. Recently, it has beenproposedtostudypsychopathologiesassocialinteractiondisorders,HFAbeingone of the most studied cases. Particularly, these patients seem to haveimportant difficulties in everyday ongoing social interactions. Embodiedaccountsofcognitionhavesuggestedthat,insteadofsmoothlyinteractingpre-reflectively, autistic population rely mainly on introspection or simulationroutinesinmosteverydaysituations.Usingaminimalisticparadigmknownasthe perceptual crossing experiment (PCE)we studied real-time interaction inpairsofhealthyparticipantsandHFAindividuals,aswellasinpairsofhealthyparticipants. This constrained setup aims to isolate the interaction-aspect ofreactivity, i.e., action contingency. However, it has been proven to be asuitableparadigmforelicitingformsofalignmentfoundinmorecomplexreal-lifesocialinteractions.InthePCE,pairsofblindfoldedparticipantsareembodiedasavatarsinaone-dimensionalandloopedvirtualspaceandmovetheiravatarswithamouse.Atactile vibration stimulus is delivered whenever the avatar crosses anotherobject in the space. Eachplayer can encounter threeobjects: a static decoy,theavatarof theotherplayer, andamobile “shadow” that copies theotherplayer’s avatarmovements at a constant distance and that is not reactive inthat the other does not receive any feedback when her “shadow” isencountered. Hence, the only event when both partners receive feedbacksimultaneously is when they cross each other’s avatar. The task is to markthese encounters but not those with the decoy or partner’s “shadow” viabuttonpress.

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Weanalysedtheparticipants’movementtrajectoriesduringaPCEbyapplyinga multi-scale time-series method called intra-daily variability (IV), whichquantifieshowmuchsmall-scaleandlarge-scalecomponentscontributetothevariance of any given time series. IV excludes the trend of the signal bycomputing the derivative of the original time series. Hence, the players’positions(X)wereturnedintovelocities(X’),andwecomputedvariancesasafunctionofdifferentresolutionfactors(P)andnormalizedtothevarianceofX’:

IV(P)=Var(X’P)/Var(X’)

Thus,thisrelativemeasuremadepossiblethecomparisonwithinandbetweensamples. Our preliminary results show distinct velocity profiles within andbetweenpairs,directlyrelatedtoparticipants’movementpatterns.Thetime-seriesfromthePCEcanbeinterpretedasactivestrategiesforsolvingthetask,encompassingbothsensitiveandmotorcomponents.In this sense, it can be said that control-control pairs converge towards asimilar strategy, i.e., their movement trajectories tend to be less variablebetween successive sessions and across all scales. In contrast, controlparticipantsoftheHFA-controlpairsareratherstableacrossallscales,withoutsignificantlychangingtheirvelocityprofilesaccordingtosessions.Furthermore,the variability observed in autistic population’s movements has a significantincrease for larger scales but a decrease for smaller scales in consecutivesessions.Consequently,thestrategiesoftheHFA-controlpairsseemtodivergeacrosssessions.Withthepresentresearch,wesupportpreviousworkandproposeanobjectiveway for quantifying clinically relevant behaviours, namely, the movementprofilesofHFApatientsduring aperceptual interactive task.Moreover, two-personreal-timeexperimentalparadigmsandatime-seriesapproachpromiseto have important clinical implications, by complementing subjectiveassessments, and by objectively characterising psychopathologies whenregardedassocialinteractiondisorders.

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POSTERSESSIONS

SessionI-ThursdayOctober5th,13.10–13.55

I-1 Kamila BIALY: Sociology of contacting. Inspiration from the philosophy ofperceptionandGestalttherapy

I-2 Sabine C.KOCH, KatjaMERGHEIM, JudithRAEKE, Dorothee v.MOREAU&ThomasK.HILLECKE:TheEmbodiedSelf inParkinson’sDisease:EffectsofaSingleTango InterventiononPsychologicalHealthOutcomesandAestheticExperience

I-3 Gudrun LANGE & Sabine KOCH: The effect of active creation on humanhealth

I-4 Susanne MAUS-HERMES, Kerstin SCHOCH & Constanze SCHULZE: Arttherapy for the activation of body perception in chronic pain patients: anexplorativestudyinmulti-modalpaintherapy(MMPT)

I-5 KatjaMERGHEIM&SabineC.KOCH:Experiencingbeauty.Thehealingfactorof aesthetic experience in art therapies and its relevance for Parkinsondisease

I-6 Robert G. MOULDER, Steven M. BOKER, Fabian RAMSEYER & WolfgangTSCHACHER:Methodstoassessnonverbalsynchrony

I-7 Dolores VARA, Marta MIRAGALL, Ausiàs CEBOLLA & Rosa M. BAÑOS:Changing the motivation to achieve a goal through approach bodymovements

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SessionII-FridayOctober6th,12.40–13.25

II-1 SandraADIARTE: One soul, one body -Methodology of LabanMovementAnalysisintherapeuticandscientificpractice

II-2ThomasBERGMANN,JoanaBIRKNER&TanjaSAPPOK:AutCom–Evaluationofamultimodalgroup trainingprogramsupportingadultswithautismandintellectualdisability

II-3 Sergio CERVERA TORRES: Emotion in the hand: A direct interaction withemotionalpicturesonatouchscreeninfluencestheirvalenceevaluation

II-4 Marta MIRAGALL, Ernestina ETCHEMENDY, Ausiàs CEBOLLA & Rosa M.BAÑOS:Manipulatingthebodypostureinwomenwithbodydissatisfaction

II-5 Susanne QUINTEN: The common ground of mixed-abled creative art –Embodiedparticipation

II-6 Stefan SCHNEIDER & Ricarda Emma BAUMANN: Sensing gravity: AphenomenologicalinvestigationofsomaticlearninginTaijiquan

II-7 Kerstin SCHOCH: Where art thou? Necessity and development of aquantitativepsychometric rating instrumentmeasuringpictorial expression(RizbA)

II-8 SilviaTOSI:Spontaneityandintentionalityofcontact:Amodalityofworkingwithchildren,theirparentsandtheirworld

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POSTER–ABSTRACTS

(inalphabeticalorder)

SandraADIARTE,Heidelberg(Germany)

Onesoul,onebody–MethodologyofLabanMovementAnalysisintherapeuticandscientificpractice

Asmovement therapists, we use our bodymindfully to resonate during theentire therapeutic process, aswe offer our clients regainingmental stability,self-regulationandawarenessabouttheirselfandkinestheticsense(CapelloP.P. inChaiklin&Wengrower, 2009). In therapeutic sessionsour clients revealtheir embodied personal history through their unique move-mentalappearance as they share their actual state ofmind,which is carried by thisone and only, unique body (Damasio, 2000). Clients and therapists, likeperformers and audiences, design their shared spaces in varying levels ofembodiedsynchrony (Storch&Tschacher,2014).Theappearingpatternsandrhythmsofcommunicationandbehaviorscolorthesharedspace,likeabrushcolorsacanvas.As opposed to thorough psychological anamnesis, structured observationalassessmentofthemove-mentalappearanceofclients,however,isneitherpartofthetraininginhealth-relatedprofessionsnorextensivelyconsideredduringdiagnostics in psychological theory and practice. Laban Movement Analysis(LMA) trains practitioners to observe, evaluate andnotate anymovementofthe human body (Adiarte, 2016) and appears to be a suitable tool formovement analysis in scientific contexts. LMA trained observers capturekinematicandnon-kinematic featuresofmacroandmicropatternsofhumanmovements(Lourens,vanBerkel&Barakova,2010,Studd&Cox,2013)usingaspecificsetofcategorieswhicharebasedonRudolfvonLaban´sartisticworkandanalyticaltheories.PotentialityanddifficultiesinusingtheLMAframeworkforprofessionalandscientificuseareexemplifiedanddiscussed.

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ThomasBERGMANN,JoanaBIRKNER&TanjaSAPPOK,Berlin(Germany)

AutCom – Evaluation of a multimodal group training program supportingadultswithautismandintellectualdisability

Aims: Even though autism spectrum disorder (ASD) is a lifelong conditionfrequently co-occurring with intellectual disability (ID), there is a lack ofstructuredtreatmentconceptssupportingadultswithIDandASD.TheAutismCompetence Group (AutCom) is a newly developed, mixed-gender grouptraining to foster social, emotionalandexecutive skills.AutComcombinesaneducational approach with musical-bodily interventions. Setting and coursewerestructuredconsideringASD-typical features.Thisstudyaimstoevaluatetheprogram’sefficacyandappropriateness.Methods: A group of 6 adults completed the program including 16 sessions,conducted by amusic therapist and a psychology student. A gender and IQmatchedcontrolgroupwasselectedfromthewaitinglist,receivingtreatmentas usual. Efficacywas assessed by a pre-post-comparison of self-reports andexternal assessments. Outcome variables were measured by establishedscales:social responsiveness(SRS),challengingbehavior (ABC,MOAS),qualityoflife(POS),appropriateness(ZUF);social,emotionalandexecutiveskillsbyaselfdevelopedquestionnaire.Results: In the self-assessment, competences increased in all domains. Theexternal assessment showed higher improvements on most scales for thetreatment group compared to controls. All participants showed high ZUF-scores,indicatingappropriatenessandbroadacceptanceoftheprogram.Conclusions: AutCom is a promising approach fostering social and emotionalskills, which was highly accepted by the participants. The combination ofmusical-bodily interventions and educational principles showed to be verysuitableforadultswithIDandASD.

ThomasBERGMANN,RosemarieCAMATTA,JoannaBIRKNER&TanjaSAPPOKBerlin(Germany)

Vision, concretism, repetitism. Typical artistic design features in drawings ofadultswithautismandintellectualdisability

Aims:ManypeoplewithAutismSpectrumDisorders(ASD)showphotographicmemory and visual strength. Artists with high-functioning autism enrich theworldofartwiththeiruniquedesignsandaesthetics.Geometricforms,serialstructures and the combination of images and writings are described ascharacteristicfeatures.However,theartisticexpressionofindividualswithASD

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and intellectual disability (ID) has been less noted up to now. This studyassesseswhichspecificdesignfeaturescanbefoundspecificallyforthisgroup.Methods: Inorder todevelopa listofdesigncharacteristics,120paintingsofindividuals with and without ASD were systematically sifted. Reocurringfeaturesintheareaofform(e.g.arrangement)andcontent(e.g.realism)wereassessed and grouped to these categories including various subdomains. Thelist of characteristicswas tested psychometrically using a sample of patientswithASDandanageandIQmatchedcontrolgroup(N=40).Allpaintingswererated by three independent and blinded experts. Inter-rater-reliability wasmeasuredbythemeanabsoluteagreement.Theselectionofitemswasbasedontheirdiscriminantvalidity(Phi>.20).Results:Overall, 60design featureswere identifiedandgrouped to the cate-gories'form'and'content'andthedifferentsubdomains.Inter-rater-reliabilityshowedtobegood(M=82.6%).Nine itemsdiscriminateddistinctlybetweenindividualswithandwithoutASD,whereoflinestructureandrepetitionshowedtobesignificantmarkers.Conclusions: Also in adults with ID and ASD, the artwork displays specificformaldesign features.Thismaygive importantdiagnosticcluesandsupportthediagnosticprocessinthisgroup.

KamilaBIALY,Lodz(Poland)

Sociology of contacting. Inspiration from the philosophy of perception andGestalttherapy

Inspired by LambertWiesing "The Philosophy of Perception" I turn from theprimacy of the perceiver to the primacy of perception to see some majoradvantages of this non-dualistic approach for understanding socio-culturalprocessesinlatemodernityaswellasthesocialsciencesdiscourseconcerningthelate-capitalisticsocieties.Forthesamereason,IapplytheGestalttherapyapproachwhere,similarly,thefirstandprimaryrealitybecomesacontacting/withdrawingprocess.Inbothoftheseconstellationsthe"I"becomesonepoleinarelation,amerecorrelate,andthusnomorea"worldless"subjectseekingin vain resonance (Hartmut Rosa) or denying there is one. The phenomeno-logical notion of "intentionality", and respectively, Gestalt therapy focus onphysiologicalexcitementandgrowth(aggressionas"ad-gredere")overcomeadualdisjunctivemotivationascribed tohumanbeings inWesternphilosophy,i.e.instrumentalandsocial.Theposterpresentationisanattempttoshowthatthe givenperspectiveoffers awayout of the impassepresent both in socialreality and the social sciences discourse between colluding sides of too fluidand too fixed ways of being and knowing, where an already mentioned

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worldless subject is either confused/confluenced with the reality (and itsenchanting ideologyof freedom,participation, individualism)or isolated (andsoegotised,disenchantedandobsessedwithinterpretinganddeconstructing)fromit.

SergioCERVERATORRES,Tübingen(Germany)

Emotion in the hand: A direct interaction with emotional pictures on atouchscreeninfluencestheirvalenceevaluation

Recently,twolinesofresearchhavereportedimportanteffectsofhandand/orrelatedarmmovementsontheprocessingofemotionalvalence: (a) researchonnear-handspacesuggestingthatplacingthehandsinclosespatialproximityto valence-laden stimuli increases the visuospatial attention to the stimulicomparedtoadistantplacementofthehands;and(b)researchonembodiedcognition suggesting that hand and related armmovements (e.g., rightward-leftward, upward-downward, or forward-backward) are associated to theprocessing of valence-laden stimuli. These findingsmight be very relevant inenvironments with direct stimuli interaction through hand- or related armmovementsasforexamplewhenusingtouchscreentechnologies.Surprisinglylittleisknownaboutthepotentialinfluenceofsuchdirectinteractionsonthevalenceprocessingofemotionalstimuli.Accordingly,inthreedifferentstudieswe examined the effects of direct interaction on the valence evaluation ofemotionalpicturesusingalarge-scaledtouchscreenmonitor.Forthispurpose,in a first session, 180participants judged the valenceof twenty positive andtwentynegativepicturesonaLikertscalerangingfrom1(verynegative)to9(very positive), without directly interacting with the pictures (i.e., valenceevaluationwithouthandinteraction). Inasecondsession,participants judgedthe valence after touching and subsequently moving the pictures on thetouchscreen(i.e.,valenceevaluationwithhandinteraction)eitherrightwardorleftward (Study 1), upward or downward (Study 2), or forward or backward(Study3).Wecalculatedthevalencechangebetweenthefirstandthesecondsession (i.e., valence evaluation with hand interaction minus valenceevaluation without hand interaction). The results of all studies highlight animportant point: The valence evaluation of the emotional pictures differsdependingonwhetheradirectinteractionwiththepicturehastakenplaceornot.

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Sabine C. KOCH*/**, Katja MERGHEIM*, Judith RAEKE*, Dorothee v.MOREAU*,&ThomasK.HILLECKE*,*Heidelberg,**Alfter(Germany)

The Embodied Self in Parkinson’s Disease: Effects of a Single TangoInterventiononPsychologicalHealthOutcomesandAestheticExperience

There is convergent evidence that TangoArgentino brings health benefits toParkinson patients. This has been found for functional variables such asbalanceandgait,aswellasforqualityoflife,buthasnotyetbeenshownforpsychological variables. In our study, 34 Parkinson patients were tested inthreeworkshopgroups.TheypracticeddanceexercisesandTangoArgentino.Afterthetangointervention,weobservedanincreaseinwell-being,bodyself-efficacy, and outcome expectancies – all central health- and commitment-relatedfactors.Furthermore,participantsexperiencedanincreaseinbeautyoftheirownmovements.Wesuspectthattheaestheticexperienceindancemaybe an important therapeutic factor -- in addition to functional and psycho-logicalfactorsidentifiedsofar--possiblymediatingseveraloutcomesofdanceandotherarts-basedinterventions.Acontrolledstudyisnecessaryforfurtherempiricalvalidationoftheroleoftheaestheticexperienceforhealth.

RonitLAND,Remscheid(Germany)

The interconnectedness of cognition and aesthetic perception in danceimprovisation

In my presentation, I would like to describe an interactive working group,dealingwith the implementations of body-mind healing encounter based ontheimprovisationalworkofAnnaHalprinsLife-Artprocess.Thismethoddealswith the inquiringmind, searching for thedifferentaspectsofunderstandingbody expression and has, in my opinion, a high relevance to contemporaryneuro-research.Someofthemainpointstobeworkedoutatthisunit:* Freedom of choice and responsibility, in working with artistic/embodied

material.* Integrationofemotionandsoma-aestheticmemory.* The correspondence of the I-you-we perception. The social space and the

impulsesforanintersubjectivereciprocation(basedontheprincipalsofM.Buber).

* Movementtransferandmovementsemioticsandtheirtranslationintoper-sonalawarenessandcommunication(basedontheprincipalsofE.Levinas).

* Thefocusofverbaldialogvis-à-visnonverbaldialog.

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The dynamics of creation and re-creation of dance could be looked at, as acycle of generating internal phantasy, trying to communicate creativeexplorationwithdifferentminds.Thecyclesofexplorationarenon-linearandintegrate emotion and creative cognition. Each process involves awareness,body-memory, decision (responsibility) andaction. Thedirect and, of course,nonverbal perception of movers and witnesses, all implementing mirrorneurons, happening in space and time, trains the cognitive and attentionalcapacitiesofbothgroups.My aim is to pay attention to the interconnectedness of cognition andaestheticperception,aswellaslookingatthisphenomenonasapossibilityofdevelopinghumancapacities.

GudrunLANGE&SabineKOCH,Heidelberg(Germany)

Theeffectofactivecreationonhumanhealth

Artstherapiesarepartofbiopsychosocialhealthcare.Creationisanimportantpartofartstherapiesinterventions.Theactivepartofartmakinginrespecttoarts therapies has not yet been thoroughly researched. The present studycommits to this field of research using a Triangulation Design. In an artisticinquiry, representing the qualitative side of this research, art making wasactively done by N=44 student participants in a free choice of the artisticmaterial, vocabulary was found to express the experiences during theseprocesses,andacreationwascomposedbytheresearcher(GL)basedonthedevelopedartisticmaterials.Basedonthequalitativeresultsthetheorymodelof embodied aestheticswas further developed.On the quantitative side,wehypothesized that the experience of empowerment, freedom, efficacy, andcreativity (Sensation of Creation-Scale)mediates the positive effect of activecreationonhealth.Theseaspectshavebeencollectedpreandpostartmakingtothenevaluatewiththehelpofmediationanalysis inordertotestwhetherthey exert an effect on self-efficacy and well-being. Results suggest asignificant indirect effect of active creation on both self-efficacy (fullmediation) and well-being (partial mediation) mediated by the Sensation ofCreation-Scale.Thequalitativeandquantitativeresultsarebeingdiscussedandputinrelationtoeachotherinordertoshedmorelightontothemeaningofactivecreationforhumanhealth.

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Susanne MAUS-HERMES, Kerstin SCHOCH & Constanze SCHULZE, Ottersberg(Germany)

Arttherapyfortheactivationofbodyperception inchronicpainpatients:anexplorativestudyinmulti-modalpaintherapy(MMPT)

Background:Arowofarttherapeuticinterventionshavebeendescribedtobeprocess- and body oriented. One of these is “Mess painting” as special andartistic-creativeintervention(inventedbySchottenloher1994).Itisaprocess-driven and body oriented art therapeutic intervention, trying to stimulatememorization process and thereby intensifying body- and self-perceptionthroughoutthecreativeprocess.Hypothesis:Currentinterdisciplinaryapproachesinmemory-andembodimentresearchsuggestatheoreticalfoundationformesspaintingasanexplicitbody-orientedintervention.Thisfoundationisneededforfurtherempiricevaluationofpotentialfactorsfortheeffectsofthisintervention.Scientific Issue: Is it possible tomodify andmanualizeMess Painting for thetherapyofchronicpainpatientsinthecontextofmulti-modalpaintherapy?Study design: In an explorative, 2-phase study we gained the theoreticalfoundation to define Mess Painting as a body oriented intervention in arttherapy.Duringthisprocess,wecreatedamanualforthetherapeuticalusageof Mess Painting in chronic pain patients, which we will further check forapplicabilityandreliabilityinmulti-modalpaintherapy.Discussion/Limitations: The therapeutical application of Mess Painting as anintervention seems to be ameaningful addition tomulti-modal pain therapyunder the aspect of embodiment. Based on our theoretically founded andhands-onexperiencedmanual,wearenowabletodefinepossiblechangesinthebodyperceptionofchronicpainpatients.Besidesfurtherevolutionofthemanual, short-termeffectsofpain reduction,painandbody-perceptionneedtobefurtherevaluatedinarttherapy.

KatjaMERGHEIM&SabineC.KOCH,Heidelberg(Germany)

Experiencingbeauty.ThehealingfactorofaestheticexperienceinarttherapiesanditsrelevanceforParkinsondisease

There isan intensivediscussionabout the factorsofeffectivenessof theartstherapies and their acknowledgement. We examined the healing factor ofaesthetic experience in the arts therapies on the basis of the scientificliterature. The theory and results of empirical research from embodimentapproaches, phenomenology, movement analysis of the dance therapy andneurobiologyenteredintoaliteraturereview.Welookedatthenatureofthe

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aesthetic experience, its effects, and its bodily expression. Aesthetic expe-rience is possible from art perception aswell as from art-making in the artstherapiesascircularinterdependentprocesses(Koch,2017).Thereisevidencefrom the literature review that the aesthetic experience can cause attentionmodulation,well-being and free flow, aswell as themodulation of emotion,self-efficacyexperience,satisfactionofneeds,knowledge,andspirituality.Theliterature suggests that lust, pleasureand the feelingofhappinessaswell aseffort,motivationandcreativityincreaseinaestheticmoments.Thevegetativenervoussystemmayfindbalance.Weassumeacircularitybetweenbody,mindandenvironment(Fuchs&Koch,2017),andahighrelevanceofaestheticexpe-riencesforhumanbeings(Mergheim,2015).Wediscusstheempiricalfindingswith regard to the clinical work with patients suffering from Parkinson’sDiseaseandsuggestempiricalresearchthatneedstofollowinordertotestthefindingsofthisresearch.

Marta MIRAGALL*, Ernestina ETCHEMENDY**, Ausiàs CEBOLLA* & Rosa M.BAÑOS*,*Valencia,**Teruel(Spain)

Manipulatingthebodypostureinwomenwithbodydissatisfaction

Introduction: Mirror exposure (ME) is one of the main components of thetherapyinpatientswithbodyimagealterations,whichconsistofobservinganddescribingtheownbodyinamirror.MEhasshownimprovementsonseveraloutcomes, but more studies are needed to improve its efficacy. Fromembodied cognition theories, the adoption of an expansive (vs. contractive)bodyposturehasbeenassociatedwithpsychologicalchangesthatmighthelptoovercomestressful situations.Theobjectiveof this study is toanalyze theeffectofadoptinganexpansive(vs.contractive)posturebeforetheMEonself-confidence,happiness,andbodyimage.Method: The sample was composed of 68 women (age:M=21.74,SD=3.12;body mass index:M=22.60,SD=2.66) with body dissatisfaction (≥ 81 in theBody ShapeQuestionnaire; Cooper et al., 1987). Participantswere randomlyassignedtotheexpansiveorcontractivecondition,wheretheopennessofthearms/legs and the back position (upright/slumped) were manipulated for 2minutes before the ME. Participants filled in a Visual Analog Scale (self-confidenceandhappiness)andtheBodyImageStatesScale(Cash,2002).Results: Parallel multiple mediation analyses showed that the effect ofcondition on the change in body imagewasmediated by the change in self-confidenceandhappinessaftertheME, Indirecteffectforself-confidence,b=-.15,95%CI[-.46,-.01],andhappiness,b=-.14,95%CI[-.42,-.02].

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Discussion:Adoptingacontractivepostureprovokedanegativechangeinself-confidenceandhappiness,whichinturnsledtoanegativechangeinthebodyimage after the ME. In contrast, an expansive posture improved self-confidenceandhappiness,leadingtoapositivechangeinthebodyimageaftertheME.Psychologicalinterventionsinwomenwithbodydissatisfactionshouldencouragetheadoptionofanexpansiveposturebeforetheexposure.

Robert G.MOULDER*, StevenM. BOKER*, Fabian RAMSEYER** &WolfgangTSCHACHER**,*Charlottesville(USA),**Bern(Switzerland)

Methodstoassessnonverbalsynchrony

Nonverbal synchrony between individuals (i.e., coordinatedmotion betweenindividualsengagedininformationtransferwithoneanother) isanimportantcomponent of the way humans communicate. Such synchronous behaviorsincludeeyegaze,headnods, andmotions suchashandwavingandposturalchanges.Researchersinterestedinnonverbalsynchronyusemultiplemethodstoquantifythesebehaviors.Someresearchersusebehavioralcodingtoassesssynchrony from recorded interactions, some researchers offer surveyswhichaskquestionsregardingtheperceptionsofbeinginsynchwithaconversationpartner,andstillotherresearcherscollectmultivariatetimeseriesfromwhichresearchers derive measures of synchrony. One such measure of nonverbalsynchronyfrommultivariatetimeseriesiswindowedcross-correlations(WCC).InaWCCframework,twotimeseriesarecross-correlated insmallwindowedsectionsatmultipletime-lags.Thisprocessbuildsacorrelationmatrix,R,whichcanthenbeusedtoderiveameasureofsynchrony.However,becausehumansare constantly in motion, and these motions follow regular patterns, manymetrics of nonverbal synchrony will show some level of synchrony betweenindividualsevenwhensaid individualshavenot interactedwithoneanother.This concept of pseudo-synchrony makes standard null hypothesis testingmethods an unviable option for researchers interested in distinguishing truesynchronous behavior from pseudo-synchrony as a significant amount ofnonverbal synchronywill always be present in this framework. To solve thisproblem, we propose methods of surrogate data generation to test fornonverbal synchrony. Each of these surrogate data generation methodscreates new null hypotheses, which can then be tested against in order todistinguish true synchronous behavior from pseudo-synchrony. We showthroughbothsimulatedandrealdata that thismethodcanbeusedto rejectand fail to reject the new null-hypotheses created by surrogate datageneration and discuss implications for future research on nonverbalsynchrony.

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SusanneQUINTEN,Dortmund(Germany)

Thecommongroundofmixed-abledcreativeart–Embodiedparticipation

Actually there is a significant increasing of inclusive artistic ensembles incultural festivals and theaters, e.g. the Sommerblut-Festival in Cologne, theDisabled Theater of Jérôme Bel or the European art project Un-Label. Theartistsofthesegroupsarecomingfromdifferentdivisionsoftheartssuchasmusic,dance,theateroracrobatic(Interdisciplinarity),theybelongtodifferentculturesandspeakdifferent languages(Interculturality)andtheyhavespecialabilities and needs (Mixed-ability). Such a diversity furthers the creativeprocess. But it also mirrors the big potential of interdisciplinary and mixed-ability in the artistic work to develop new ways of communication andunderstanding,andasaresulttofurthertheparticipationofall.Bymeansofaninternationalprojectwithartistswithdifferentabilitiesandneeds,theroleofmultisensory perception andofmultimodal expression for communicationandparticipationisshownintermsofembodiedparticipation(Quinten,2017).

SilkeRIEMER-WEIDENHAMMER&ThomasWIRTH,Burgerbrach(Germany)

Aestheticprocessesinprojectworkinclinicalpsychosomatictherapyandtheireffectsonpatients'innerandouterprocesses-„AusdemRahmenfallen…umeinenneuenPlatzzufinden“

Thestructureofthecreativearttherapiesinthepsychosomaticdepartmentofthe Steigerwaldklinik Burgebrach is usually associatedwith thematicwork ingroups. In accompanying creative and free processes, beside the verbalconfrontation patients are given the opportunity to deal with non-verbal,perceptual qualities. At least once a year, a project work is realized thatthematicallyunites theworkofall groups fora certain timeandendswithapresentation,leavingthefamiliarframeworkofaweeklystructureandcreatingaspecialexperiencewithinthetherapy.Thisaffects intensivelytheformationoftheclimateonthewardandoftherespectivepeergroups.Inthisposter,thecourseofthe2017´sprojectonthetopic„AusdemRahmenfallen…umeinenneuenPlatzzufinden“-whatmeans"tofalloutofaframe...andfindanewplace"-willbeshown,concerningsettingandmethodaswellasindividual design results. The starting point of the multiprofessional projectwork including music therapy, body therapy and art therapy was vicariousfailure as an opportunity for experience and development. In the semi-opensetting,apersonal resonancespacecouldbecreatedaccording to themediaused.Inaddition,theresultantconcretedesignsintheformofcushions,whichcan now and beyond be used in the studio, have resulted in a resounding

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resonance space that offers participants, subsequent patients and teammembersamoreconsciousapproachtotheirpersonalseating.The questions arising from the project work and its designs on the content,individual and relationship level will briefly be sketched. In particular, thequestion of the project structure as a time-closed form within a semi-openwardstructurewillbediscussed.

StefanSCHNEIDER&RicardaEmmaBAUMANN,Osnabrück(Germany)

Sensing gravity: A phenomenological investigation of somatic learning inTaijiquan

Continuousimprovementofbodilymotions,e.g.insmoothingtheexecutionofa golf swing, requires a pre-reflective, albeit subjectivelymonitored "feel" ofthe moving body. Movement practices like Butoh, Feldenkrais, or Taijiquaneven center on the cultivation of somaesthetic awareness, or the body andmovementassubjectivelyexperienced.Ravndistinguishes twodimensionsofexperience. First, a "pre-reflective, performative dimension", which is not inthe foreground of experience, but is rather a background “mode” duringmovement execution, and second, a reflective "scrutinizing of sensations" intermsoffunctionalconcepts.Combining thesenotions,movement training canbeunderstoodas involvingthe intended maintenance of a (higher-order) movement quality whileprocessing multifarious proprioceptive and kinematic sensations, some ofwhich are perceived as irritations. Through interpretation of sensations intermsoffunctionallyrelevant,e.g.anatomicalorkinetic,concepts,movementimprovement is possible. The experience of improvement goes alongwith areductionofirritations.Theacquiredsimplicityandclarityofexperience,whichcan be conceptualized as a form of "skilled attention", can be perceived asaestheticallypleasing.Tosupportthisthesis,wepresentaphenomenologicalinvestigationofsomaticlearning in a simple Taijiquan exercise developed by Master Huang Sheng-Shyan (1910-1992): "Connecting heaven and earth". The exercise, whichconsistsinasimpleup-downmovementofthebodyalonganimaginedverticalaxis,requiresmonitoringandunderstandingsystematicbodilychangesduringmovement. Through persistent practice, a clear sense of uprightness in thefieldofgravityisdeveloped.At the centerof the investigation is a case study involving twopractitioners,one novice and one advanced. Detailed phenomenological interviews shedlight on the questions: How is advice by teachers integrated into one's

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practice? How are sensations interpreted? How does the overall pattern ofexperiencechange?

KerstinSCHOCH,Ottersberg,Witten/Herdecke(Germany)

Where art thou? Necessity and development of a quantitative psychometricratinginstrumentmeasuringpictorialexpression(RizbA)

Art therapy assumes that artwork is related todifferential constructs of theartist. Quantitatively, this hypothesis has barely been proven yet becausemethods are rare. The Rating Instrument for two-dimensional PictorialWork(RizbA)isdesignedtoaddressthisnecessity.Theconstructpictorialexpressionis theoretically defined by seven content areas (representation, color, shape,space,motion, composition, expression), which combined create the overallconstruct. Test development is based on art historical and art therapeutictheoriesandsupportedempirically.Sofar,atest-retestwasconductedusingasmallbutrepresentativesampleofninepictures,whichwereratedbyexperts(n1=12,n2=8).Thecurrentversionof RizbA includes 26 items. Its ability for differentiation between pictorialworks ranges between .897 (T1) and .766 (T2), its inter-rater reliabilitybetween.525(T1)and.917(T2).Test-retestreliability is .919.PCAsuggestsafour-factor solution,which in large part is consistent across studies. Anotherstudybasedonlargerepresentativesamplesiscurrentlybeingconductedandwillfurtherinvestigatereliabilityandfactorialstructure.Before long RizbA will allow an assessment of pictorial expression and thecalculation of correlations with a multitude of constructs. As a reliablemeasurement it opens new perspectives in fundamental art therapeutic andpsychologicalresearch.

SilviaTOSI,Milano(Italy)

Spontaneityandintentionalityofcontact:Amodalityofworkingwithchildren,theirparentsandtheirworld

ThisposterisbasedonexperiencesofworkingwithchildreninGestalttherapy.Gestalthasinitstheoreticalgroundmanypossibilitiestodevelopmodalitiesofworking with children. This work is part of a chapter that I wrote with mycolleague(Conte&Tosi,inSpagnuoloetal,2016).Iwillpresentaperspectiveon therapeuticwork relyingon the conceptsof intentionality for growthandcreationofagroundasprimarysupport to thecontact.The infant is seenas

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suffering in a relational and phenomenological field perspective, not as anindividual event. I consider the specificity of psychotherapeutic interventionwithchildrenasbasedontheconceptofco-creationoftheexperience,onthecentrality of bodily processes and on the “polyphonic development ofdomains.” These are considered essential competences for contact-making.Because of the typical characteristics of childhood, we can trustingly let ourown aesthetic criteria guide us. By following these criteria, we becomesensitive to the presence at the boundary of harmony and vitality – orconversely,desensitization, lossofspontaneityanddisruptedintentionalityofcontact.I’llillustratemyworkusingclinicalcases.

DoloresVARA,MartaMIRAGALL,AusiàsCEBOLLA&RosaM.BAÑOS,Valencia(Spain)

Changingthemotivationtoachieveagoalthroughapproachbodymovements

Introduction:Goalachievementmotivationisacrucialcomponentofbehavior,and ithasbeenassociatedwithemotionalandcognitiveprocesses.Recently,embodied cognition theories have also emphasized the role of postures inapproach motivation, which assist in goal-directed actions. In fact, leaning-forwardbodypostures increasepatternsofneural activationassociatedwithapproachmotivation. Few studieshaveanalyzed theparticipationofpositiveemotions in pursuing goals, and there is no research analyzing jointly theeffects of positive emotions and body on approach motivation. This studyexamines the effects of an approach posture with body movements oncognitionsaboutachievingagoalduringajoyinductionprocedureusingvirtualreality(VR-MIP).Method: The samplewas composed of 85 students (Mage=23.92;SD = 4.19;76.5%women)withnodepressive symptomatology (<14 in theBDI-II; Beck,Steer,&Brown,1996).Thesamplewasdividedintothreeconditionsinwhichpostureandmovementsweremanipulatedduringa joyVR-MIP:a)approachbodymovements(leaning-forwardposture+pedalingonastationarybicycle);b)non-approachbodymovements(reclining-backwardposture+pedalingonastationarybicycle); and c) control condition (reclining-backwardposture+nomovement). All participants completed a Visual Analog Scale (4 questionsaboutapproachmotivation,perceivedcompetenceandplanningtoachieveagoal).Results:ANCOVAs showed amain effect of condition for the item related toapproachmotivation“Iammotivatedtodo it”,F(2,79)=3.79,p= .027,ηp2=.09, indicatinghigherscores intheapproachbodymovementsconditionthancontrol condition (p = .030). Discussion: Participants that adopted a leaning-

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forward posture and pedaled on a stationary bicycle during the joy VR-MIPweremoremotivated to achieve their goal. Results suggest the relevanceofbody posture and movements in the therapy aimed at increasing themotivationtoachievegoals.

WORKSHOPABSTRACTS

MiriamKYSELO,Berlin(Germany)

EnactingtheSelf–ABodilyExplorationofSelfwithOthers

Thisworkshopoffersanopportunitytoexplorethedynamicsofself-construc-tion in interaction with others at the embodied level of self-experience.Through movement, stillness and touch we will discover in individual andgroupexerciseshowfeelingsofdistinctionandseparationandofopennessandconnectivitythatformpartofoureverydaysocialexistencefindexpressioninourbodies. Inaplayfulmanner,wewillraiseawarenessofourroleandposi-tionasanindividualinasocialcontextthatattimesaimstoengagewith,butatothersalsotodisengagefromothers.Theexerciseswillbebasedonamixofguided and improvised activities derived from Yoga, Vipassana meditationpractice, and contact improvisation dance. During the practical sessionparticipants are invited to bracket scientific or reflexive judgment allowingthem for a short period of time to simply be (bodily). After the practicalsession, we will have a feedback-discussion round in which the workshopparticipantsaretheninvitedtoshareandreflectontheirpreviousexperiences.

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LilyMARTIN&BirgittBODINGBAUER,Heidelberg(Germany)

Embodied Aesthetics of Flow – Creating „optimal experiences“ throughmovement

Within the Creative Arts Therapies, flow is considered to be a part of theaesthetic experience, one of the central therapeutic factors of the field. The“aestheticexperience”inthiscontextreferstoanykindofintegratedsensoryorsensory-emotionalexperience.Flow–astateofabsoluteconcentrationorabsorption inanactivity– is awell-knownpsychological concept.CreatedbyMihaly Csikszentmihalyi in the 1990s, it describes an active state, in whichpeople become so involved in what they do, that the activity becomesspontaneous, almost automatic. People stop being aware of or judgingthemselves,forgetaboutemotionalproblemswhilefeelingatthepeakoftheirabilitiesandincontrol.AccordingtoCsikszentmihalyiflowcanbetrainedandregularflowexperiencesfosterhappinessandwell-being.Throughmovementand playwewant to explore differentways of entering flowwith ourselves,withothersandinthegroup.Therewillbeintensephysicalactivity.Therefore,sportswearisrecommended.Ampletimeforreflectionwillbeprovided.

JohannesMICHALAK,Witten/Herdecke(Germany)

Embodimentinmindfulness-basedinterventions

During thepastdecade,Mindfulness-BasedCognitiveTherapy (MBCT)aimingatrelapsepreventionindepressionhasbeendevelopedandempiricallytested.Mindfulness means paying attention to the present moment in a non-judgmental and compassionateway.Most exercises taught duringMBCT arebased on the development of a heightened awareness of one’s body. Theimportant role of the body is also stressed in the rapidly evolvinginterdisciplinaryfieldofresearchtermed‘embodiment’.Intheworkshop,Iwillintroduce central mindfulness exercises of MBCT. Moreover, the theoreticalfoundation and empirical evidence on the role of the body in mindfulnesspracticewillbepresented.