Abstracts

This page provides examples of abstracts that have been accepted for papers, workshops and posters. It also gives a description of each of the narratives. The full list of abstracts is available to download as a PDF (271KB)

Abstract types:

- Papers
- Workshops
- Posters

Papers

1 - Living with or without Colour

2 - Therapy

3 - Design

Top of page

1 - Living with or without Colour

Name: Jenna Carine Ashton
Organisation/company: The University of Manchester

Title of Paper: Colour/ "Chroma"
Theme: Living with or without Colour

Biography: Jenna is a PhD candidate in Art History and Visual Studies, supervised by Prof. Carol Mavor. Her thesis examines concepts of the child and the fantastic in the works of artist Rachel Whiteread and author Angela Carter.

Abstract: Colour/ "Chroma" is an ongoing outreach project exploring the role of colour within the arts, humanities and sciences. The project responds to Derek Jarman’s haunting book "Chroma: A Book of Colour – June '93" which was written a year before the author's death. Jarman's exploration of colour touches upon history, literature, philosophy, psychology, religion, science, art, alchemy and personal memory. It is all the more poignant due to his encroaching blindness from AIDS related complications. Colour/ "Chroma" aims to encourage cross-discipline discourse on the senses, and sensory impairment, and engage the wider public with the topic of colour.

This paper will respond to the conference category "Living with or Without Colour", emphasising the role of colour in discourses on health and the understanding of sensory impairment. The paper will discuss how Derek Jarman, through his text Chroma (1993) and his film Blue (1993), raised issues of sensory impairment and encroaching blindness due to AIDS related complications. The paper will also discuss the aims of the project Colour/ "Chroma" http://colourchroma.wordpress.com/, and the role colour can play in encouraging participants to engage with discourses on sensory experience. Concepts of sensory perception, the complex relationship between the visual and the auditory as well as the failures, idiosyncrasies, and ruptures of language and communication will be explored, along with the role colour plays in these discourses.

Name: Dr David Feeney
Organisation/company: Visual Impairment Scotland

Title of Paper: Engaging Individuals with Visual Impairment in Descriptions of Colour
Theme: Living with or without Colour

Biography: Currently managing Visual Impairment Scotland and the Edinburgh College of Art Collections Review, Dr. Feeney has published widely on the aesthetic experiences of individuals with visual impairment

Abstract: One contention that is common to many of the most diverse theories generated throughout the history of aesthetic theory, relates to the incapacity of words to do justice to beauty, and of verbal propositions to communicate the impact of art. Despite this, what passes for access provision in many contemporary art institutions is verbal description of the visual image as it is perceived by a sighted observer. The obvious problem of attempting to transmit a verbal description of an entity which, like colour, is widely celebrated as registering an ineffable impact on the awareness of its observers, is compounded in the instance of visually impaired beholders, as the entity described bears questionable relation to what the beholder actually perceives. The problem of ineffability, compounded by a lack of medical expertise among gallery staff, means that approaches to access provision tend to be determined by assumed modes of perception which are not reflective of, and betray scant relation to, the actual aesthetic experiences of visually impaired individuals.

This paper outlines how Visual Impairment Scotland are endeavouring to bridge this gap using Sight-Sim ™ technology which can equip the access provider with experiential understanding of how works of art are perceived by visitors with impaired vision. This paper gives a general outline of our AHRC/SFC-funded research, concentrating on the roles of ‘aesthetic testimony’ and vividness within the process of relaying of descriptions of colour to individuals with visual impairment.

Name: Jane Mills
Organisation/company: The University of Northampton

Title of Paper: Exploring how to communicate the syneasethete experience - a personal perspective.
Theme: Living with or without Colour

Biography: Jane Mills, Course Leader – BA (Hons) Fashion, Textiles for Fashion & Footwear/Accessories, School of the Arts at the University of Northampton.

Abstract: 'If when you are born you are given a pair of yellow tinted spectacles that you always wear what your view of the world compared to the view of other people'. Working in a creative environment in a University School of the Arts I am intrigued and inspired to explore the correlation between grapheme (colour) and ordinal linguistic personification synaesthesia and creativity. How it affects my view of the world, interpretation of language, verbal communication, visual information and ultimately my decision-making? My talk will be an exploration to the question of how to communicate the synaesthete experience from a personal perspective and how having discovered that I am a synaesthete how I became inspired to explore how it provides access to a visual experience that is completely unique to the individual. I will also focus on how or if the experience supports me in my professional working life in the creative industries.

Top of page

2 - Therapy

Name: Lynn Aulich
Organisation/company: Adolescent Forensic Service, Manchester, England

Title of Paper: Colour Me Sad
Theme: Therapy

Biography: I am an Art therapist working with young people with emotional and behavioral problems, mental illness and developmental disorders who have committed serious offences.

Abstract: My presentation will be based on my thoughts and research on the art work of young people who make images that are very uncomfortable to look at on account of the colours and images used. People who see these images feel very anxious and fearful about what the images mean and what they say about how a person is feeling. I will explore how disturbing images relate to myth, popular culture and the predicament and unhappiness of the individual artist. I will use some case examples to discuss themes that have arisen from a content analysis of the paintings and drawings of 20 young people.

Name: Karen Huckvale
Organisation/company: Insider Art / Devon NHS Child & Adolescent Mental Health Services, England

Title of Paper: Colour Mixing and Ambivalence
Theme: Therapy

Biography: Karen Huckvale is an artist and art psychotherapist, working in Child and Adolescent Mental Health and in private practice. She was a founder member of Arts & Health South West.

Abstract: This paper explores a practical application of an arts based understanding of colour to art psychotherapy work with young people. The methods synthesised over 25 years art teaching and psychotherapy experience. The therapeutic issue is managing ambivalence, the arts method is exploring colour mixing and colour wheels.

Understanding and managing ambivalence is a developmental task of adolescence as much as learning to walk in childhood. Thoughts, feelings, emotions and relationships are mostly, 'mixed'. Coping with this is linked with emotional maturity and resilience under pressure. Failing to manage ambivalence tends towards either rigid, ‘black and white’ thinking or chaotic disordered thinking. If we can’t tolerate ambivalence, we may avoid problems, or try and solve them unhelpfully.

Colour wheels and spectrums are a traditional artist tool for learning to paint. Psychologically they literally expose us to thinking about 'shades' (When, exactly, does the blue become purple?), and can provide a gentle, indirect approach to exploring ambivalence. (If blue was one feeling you have about a situation, and red another, where are you now? How would if feel if you had to choose to be only blue or red forever?)

The process of painting colour wheels is essentially a scientific one: working with increments and (fairly) precise measurements. A comforting amount of rules and certainty makes the process a safe holding form from which to see, think, feel and practices issues of ambivalence with less anxiety. Once practiced the skills are transferable to real life issues. We may paint more confidently too!

Name: Malcolm Learmonth
Organisation/company: Insider Art / Devon NHS Child & Adolescent Mental Health Services, England

Title of Paper: The Silent Rage of Strawberries: Colour and Meaning
Theme: Therapy

Biography: I have worked in community arts, arts and health and art psychotherapy for 30 years, and am Lead Art Therapist and Arts / Environments Development Lead for DPT.

Abstract: The meaning of colour emerges from a matrix of factors including personal resonances (memories and their associated feelings), cultural attributions (‘orange’ has specific and powerful connotations in Northern Ireland), and physiological responses.

Each of these ways of understanding may deepen our experience of colour in health contexts. Excluding their complexity is both tempting and unhelpful. Human desire for simple heuristics, (‘rule of thumb’ or ‘common sense’ solutions to complex problems), easily affects thinking about colour.

For an Ulsterman orange may not mean ‘vitality, play, creativity’. ‘Black is loss and grief’, yet Chinese culture represents these transitions with white. Individually, a colour may resonate with the wallpaper of rooms where good or bad things happened. Simple heuristics do not serve the exploration of complexity such as the multi-faceted meaning making of therapeutic image making. The fantasy of rigid ‘interpretation’ of images, the desire for a simple arithmetic of meaning, where a+b=c, has often employed colour in its sums. Attempts have been made to use colour to diagnose psychopathology, and elaborate systems of colour meanings created.

In a psychotherapy context the negotiation of meaning between maker, image and therapist is at the heart of achieving emotional growth and change, and assumptions and leaping to conclusions unravel these webs of understanding.

Therapists need to be open to possibility, to the anxiety of not knowing (and have the ability to hold it), rather than retreating into simplicity.

Name: Chandra Reber & Emily Lebowitz
Organisation/company: McLean Hospital, Belmont, USA

Title of Paper: The union of the expressive arts and Dialectical Behaviour Therapy with adolescents presenting with traits of Borderline Personality Disorder in a residential setting
Theme: Therapy

Biography: The authors have backgrounds in expressive arts & dance therapy and are the co-creators of expressive groups at McLean Hospital’s 3East program.

Abstract: This paper documents the journey of expressive arts based Dialectical Behaviour Therapy (DBT) groups with adolescent females struggling with Borderline Personality Disorder at McLean Hospital in Belmont, Massachusetts from their inception in 2009 through to the present. There has been minimal research done on the efficacy of fusing the expressive arts with DBT; the theoretical model used at the 3East Residential Treatment Programme. This paper documents the rationale, structure, and evolution of these groups. We pay particular attention to the interplay between the use of colour and emotional expression as it relates to indicators of potential benefits from these groups such as decreasing perfectionism, increasing mastery, coping skills, self esteem and self identity. We also propose changes that could continue to improve the current groups. Specific interventions and client observations such as the progression from minimal colour use, to multicolour projects as health increases are showcased with the purpose of sharing our experiences and expanding the dialogue between clinical psychology and expressive arts. Our work supports a positive outcome for the combination of these two treatments in this setting.

Name: Donna Savery
Organisation/company: Harley St Therapy, W1G London, England. www.harleystcounselling.co.uk

Title of Paper: The Red Trigger: An approach to working creatively as an Existential Psychotherapist to promote relationship change to a traumatic event, in clients with mental health issues.
Theme: Therapy

Biography: Donna is a Group facilitator, speaker, lecturer and an active researcher, writer and workshop leader. She is also a group therapist and programme leader for counselors, as well as taking on freelance projects for Eadus Limited.

Abstract: In this paper I consider how working creatively as an existential therapist can promote improved health and wellbeing in clients with mental health issues. I discuss how both the therapist’s and client’s creativity can be harnessed through relationship and chart how I use Existential Psychotherapy creatively to address trauma, through a case study with one client who has been diagnosed with Borderline Personality Disorder and PTSD. In his case the colour ‘red’ is a trigger, amongst others, for acute anxiety which in the past has led him to be sectioned for self- harm, suicide attempts and anger management issues. The paper explores his and other clients’ responses to working with the senses, and in particular with colour, and how this has contributed to changing his relationship to the colour red and its associations in the present, and to some degree to the traumatic experience, promoting improved mental health and general wellbeing. The paper draws upon the philosophies and literary writings of Jean-Paul Sartre, whose motif – Existence precedes essence – can be expounded in this work to foster a spirit of Becoming as opposed to being essentially defined by the traumatic event. Albert Camus uses Sisyphus as a symbol of defiance, and I explore how this enables client and therapist to ‘bear’ the anxiety aroused by working with the senses as a step towards more robust mental health.

Name: Efterpi Soropos
Organisation/company: Dept of Psychology, MDHS, Melbourne University, Australia

Title of Paper: Immersive sensory artwork (Sound, Film and Colour Lighting Installations) for psychological relief of suffering and stress
Theme: Therapy

Biography: PhD Candidate.

Abstract: Many of us have the urge to contribute to changing the hospital room for the better. The innate sterility of hospital rooms and lack of sensory stimulus produces the challenge of how can we effectively keep the purpose or site specific intention of the hospital room yet transform it with colour, light, sound and image? This paper will present some of the research and development by Efterpi Soropos that has produced whole rooms, mobile and inpatient systems in palliative care and for seclusion rooms in mental health. This research is currently expanding into measuring image, colour and sound types that target specific symptoms and needs in a way that is leaping from its original conceptual and abstract basis to scientific clinical research.

The Human Rooms concepts are derived from a long career as a stage designer. Efterpi Soropos, worked in the performing and visual arts in both experimental and commercial sectors and was always fascinated by the effect of lighting, sound and image on an audience. In her work making “chill out” spaces for large scale events or lighting stage shows at these events it would strike a cord at how the different types of environments affected people psychologically. After spending a lot of time with her dying Mother, Evangalia, in a hospital room, Efterpi started to formulate a theory where her past experience and musings could develop into healing transformative spaces in hospitals that immersed patients, families and staff. www.humanrooms.com

Name: Dr Linda Thomson
Organisation/company: University College London, England

Title of Paper: Healing Heritage: Can handling museum objects make you feel better
Theme: Therapy

Biography: As psychologist and lead researcher on UCL’s ‘Heritage in Hospitals’ project, Linda has a specific interest in how vision and touch enhance health and wellbeing.

Abstract: Researchers at University College London are investigating this question by exploring the therapeutic role of museum object handling on the health and wellbeing of hospital patients. In ‘museum object therapy’ a selection of archaeological artefacts, artworks, geological samples and zoological specimens are taken into hospitals and other healthcare settings to create a multisensory experience where participants are encouraged to use their senses to explore visual, tactile and kinaesthetic properties of these objects. Sessions are conducted in acute, chronic and psychiatric wards, neurological rehabilitation units and care homes in one-to-one or group discussions. Conversation focuses on the tactile and emotional properties of the objects (e.g. What does it feel like? How does it make you feel?). The research uses mixed methods including visual analogue scales and mood adjective checklists to assess psychological wellbeing and happiness. Findings show significant improvements in participants’ perceptions of wellbeing and happiness, at least in the short term. Recorded discourse is used to extract themes believed to contribute to these benefits. Museum object handling generates increased enjoyment and provides a positive distraction from clinical surroundings. Participants show improved social interaction and experience their hospital stay more positively. An assessment of object preference revealed that patients preferred colourful objects and detailed artistic scenes. Findings add weight to the need for provision of heritage- and arts-focused activities by museums and galleries for audiences excluded by their healthcare status. The project called ‘Heritage in Hospitals’ is funded by the Arts and Humanities Research Council (AH/G000506/1). For further information visit: www.ucl.ac.uk/museums/research/touch/wellbeing

Name: Nathalie de Wouters d'Oplinter
Organisation/company: asbl Alzheimer Belgique, Belgium

Title of Paper: Workshops of art-therapy: supports with reconciling potential of medical treatment and aesthetic sense
Theme: Therapy

Biography: Psychologist and art-therapist working with people with Alzheimer's disease since 2005

Abstract: The practice of art-therapy with persons presenting an Alzheimer's disease, or quite other similar affliction, justifies the most objective evaluation possible in which these artistic activities bring a greater welfare to patients and their carers. It also has to consider which effects will be connected to patients as well as those that are bound to the therapeutic frame. This frame will refer to the material environment, the therapeutic objectives and the artistic mediators proposed. In front of such patients, art-therapy will have to particularly support feelings of identity and individuality and self-esteem. Thus, on base of neo-functioning, art-therapy will sometimes allow the rediscovery of protected artistic capacities and the emergence of underlying potentialities in spite of impaired functions. To confirm some of the possibilities of art-therapy dispensed to such patients, we developed and begun to use an evaluation based tool on the theory of the operating art. Yet, these evaluations teach us on a small number of patients (n=3) that in spite of numerous initial hesitations and behavioral difficulties during the first sessions of art-therapy, these difficulties are resolved after some sessions (3 in our case) and allow afterward to reach initial objectives on the quality of life of patients and their carers.

Top of page

3 - Design

Name: Karen Bowley, Natalie Lewis, Tariq Hakim, & John Homer
Organisation/company: Royal Wolverhampton NHS Trust, England

Title of Paper: Dementia Design in the Acute Hospital Setting
Theme: Design

Biography: Karen has led development of a hospital-wide strategy to improve care of the elderly patients, including environmental design and new ways of working

Abstract: A multidisciplinary team worked creatively with estates and carer representatives to make the environment in the acute hospital patient friendly, compensating for anxiety and disorientation caused by admission. Including:

Use of colour

A Therapeutic Garden provides:

Principle features include:

Name: Karen Bowley, Natalie Lewis, Tariq Hakim, & John Homer
Organisation/company: Royal Wolverhampton NHS Trust, England

Title of Paper: Dementia Design in the Acute Hospital Setting
Theme: Design

Biography: Karen has led development of a hospital-wide strategy to improve care of the elderly patients, including environmental design and new ways of working

Abstract: A multidisciplinary team worked creatively with estates and carer representatives to make the environment in the acute hospital patient friendly, compensating for anxiety and disorientation caused by admission. Including:

Name: Nele Dael & Christine Mohr
Organisation/company: Institute of Psychology, University of Lausanne, Switzerland Institute of Psychology, University of Lausanne

Title of Paper: Disentangling the red-effects. The importance of emotional arousal and potency in the processing of red.
Theme: Design

Biography: Nele Dael obtained her PhD on nonverbal emotion communication. With Christine Mohr she now investigates the role of emotion and cognition in colour perception.

Abstract: "Colour and emotion are closely tied." This popular statement expresses everyday consensus, but holds comparatively little scientific evidence. The lack of systematic investigations is surprising considering this statement's implication to theoretical (e.g. emotion), applied (e.g. art, health), and economic (e.g. market of paints) domains. Recently, a series of experimental studies showed that exposure to “red” influenced performance suggestive of cognitive-affective processing (e.g., Elliot & Maier, 2007). These authors conjectured that red signals both danger and sexual readiness. Yet, others would argue that non-categorical, cognitive-affective associations such as high arousal (physical excitement) and potency (dominance or power) lie at the basis for these "red-effects" (e.g., Suk & Irtel, 2008; Valdez & Mehrabian, 1994). We test the predicted importance of arousal and potency versus valence (positive-negative) in a masked priming paradigm in which the briefly presented prime (red or non-word) is followed by a visual mask, before participants make lexical decisions on subsequent target words. We selected target words belonging to one of seven word categories, i.e. words that are high or low in valence, arousal, or potency, respectively, or are average in all dimensions. Thus, we can test whether red will facilitate processing of words associated with the arousal and potency dimension, rather than the valence dimension. This research will help to elaborate a new paradigm to disentangle the links between colour and emotion, and should explain why previous studies focusing on categorical meanings alone were inconsistent.

Name: Theo Stickley & Brian Crosbie
Organisation/company: The University of Nottingham, the University of Sheffield, England

Title of Paper: Colour Theory and Wayfinding in an A&E department
Theme: Design

Biography: Theo is an associate professor. He leads the East Midlands Arts and Health Research Group; he is also a Director of City Arts, Nottingham

Abstract: Colour or Chromatherapy has been reported on its supposed benefits to health and healing environments, particularly in long stay wards (Pantalony 2009). The purpose of colour theory application to healing environments is to reduce the potential for psychic stress as a issue of long term hospitalisation. For example, Ajayi et al (2006) explore the implications of colour in the recovery process of mental health patients; and Bishop (2010) has research colour use within a children’s ward. In contrast to the environmental effects of long term confinement, this paper presents a case study from a extended evaluation report of an Arts in Hospital project. The paper focuses on the design project of a new A&E department- an environment that is marked by a rapid and timely through-put of patients, but which none the less represents a stress inducing space. The design of the new A&E involved an artist commission who used colour theory as an explicit approach to managing patients’ emotional states within a trauma environment. As well as direct use of colour theory as a psychological intervention, design was used throughout the departments to enhance patient wayfinding. Using mixed research methods, including visual ethnography and in depth qualitative interviews with commissioning personnel and health care professionals, the presentation will focus on photographic and narrative accounts. In summary, the evidence indicates that the adoption of colour theory and built environment planning, has brought a positive change in the A&E department for patients.

Name: Jenny Tillotson
Organisation/company: Central Saint Martins College of Art & Design (University of the Arts London)

Title of Paper: Smell The Colour Of The Rainbow
Theme: Design

Biography: Senior Research Fellow at Central Saint Martins, Visiting Scholar at the University of Cambridge, Creative Director of Sensory Design & Technology and Fellow of the RSA

Abstract: 'Smell The Colour of The Rainbow' explores a multi-sensory step over the rainbow with a twist of wonder. Building on Dr Tillotson's heritage in 19th century printing, soap and lifestyle, a new 21st century body media will be introduced as a "scentsory" platform, using computerized scent-output systems worn on the body for fashion, wellbeing and health applications. The seven colours of the rainbow partner with therapeutic aromas to bring the body into a state of wellbeing and balance. Technology and responsive fashion merge with natural fragrances using the therapeutic power of essential oils, supported by the latest research in 'Aromachology', to reflect the colours of the rainbow, enhancing mood and improving lifestyle. The rainbow offers a fully personalized, controllable ‘scent bubble’ that is activated by the user alone from high-tech jewellery and clothing. These can be programmed to deliver a palette of fragrances, depending on emotion, mood, occasion and time of day, whilst complementing the audio/visual senses. If combined with biometric sensors that measure stress indicators, soothing scents could be released whenever the stress levels exceed a certain threshold. Similarly, refreshing and revitalising scents can be used to fight fatigue and boost self-esteem. Using colour in conjunction with therapeutic fragrances, gives the wearer a visual aid to alleviating their physiological and emotional state. Emerging technologies, 21st century design features and the healing powers of nature combine to produce a fundamentally simple concept of creating a positive personal space on this highly charged 21st century planet we all share.

Name: John Wood & Ellen Sharp
Organisation/company: The University of Northampton, England

Title of Paper: Inter-professional Research and Design project for a Hospice Out-Patient reception area
Theme: Design

Biography: John Wood, Senior Lecturer, Course Leader, Interior Design, Ellen Sharp, Senior Lecturer, Centre for Health Studies. Both have substantial Knowledge and experience in their subject specialisms

Abstract: This paper discusses the design of hospice reception area interiors, predominantly the application of colour in creating an empathetic environment for patients who have a life-limiting illness. Much has been documented about the effect of colour upon the human species. There is however, little research literature regarding the use and application of colour in public healthcare interior environments, (1) particularly with regard to hospice reception areas. Reception areas may represent the first point of contact with the Palliative Care team for people with life-limiting illness, their relatives and friends. Good healthcare environments can have a positive impact on the wellbeing of both patients and staff, therefore are a key influence on the patient experience. (2) Currently many reception areas reflect the medical interiors of hospitals in that they have the same or similar colour schemes, and do not address the holistic needs of patients who require the support of a hospice. Between January and March 2012 an initiative that evolved from the School of Health will be undertaken in partnership with Cynthia Spencer Hospice staff and service users, and interior design degree students, to research and prepare designs for the hospice reception area. The outcomes of which, with color recommendations, will form the basis for the hospice reception area. The outcomes of the research and design process, which is being led and directed by the authors of this paper, will form the content of the paper to be presented.

(1) Reference - King’s Fund, 2008 p7. ISBN - 978 1 85717 567 7
(2) Reference - King’s Fund, 2008 p5. ISBN - 978 1 85717 567 7

Name: Sue Wood
Organisation/company: Taunton and Somerset NHS Foundation Trust

Title of Paper: Enhancing the Healing Environment for People with Dementia in the Acute Hospital
Theme: Design

Biography: Qualified as a Registered Nurse in 1999 from UWE, I am currently the senior sister on an acute elderly care ward.

Abstract: Dementia affects over half million people in England and the number is set to rise considerably as more people live longer. The number of patient admitted to MPH with an acute health problem who also have dementia has increased and will continue to increase year on year with an associated cost to the trust. People with dementia find hospital admission confusing, it can cause them agitation with the associated possibility of being treated with sedatives and antipsychotic drugs to allow medical treatment. This not only leads to them staying in hospital longer but also it can have a damaging affect on their physical and psychological health. The physical environment has a major role in the care and support of people with dementia. A ward designed to meet their specific needs will enable them to retain their functions and skills, reduce their anxiety and enhance the healing process. As part of the King’s Fund Enhancing the Healing Environment programme Sedgemoor Ward an acute elderly care ward, has been radically redesigned. By removing the traditional nurse station in the centre of the ward a large, bright, colourful open social space has been created. Colour has been used extensively, not only in the decoration but also the furniture. Bright yellow, green, blue and lilac tub chair and a bright yellow reception replace the traditional hospital furniture. Art work including old black and white photographs, newly commissioned wall hung quilts and a glass welcome panel have been used extensively throughout the ward to stimulate and engage people in conversation.

Workshops

Top of page

Name: Pauline Allen
Organisation/company: The Sound Learning Centre, London UK

Title of Paper: Activating The Senses - The use of coloured light to help learning and sensory difficulties
Theme: Therapy

Biography: Pauline Allen, Neurodevelopmentalist, has pioneered the use of innovative programmes to treat learning and sensory difficulties with light and sound therapy and developmental programmes

Abstract: During Pauline’s 90 minutes workshop she will explore the five direct senses with particular emphasis on the visual system and she will explain how introducing coloured light through the eyes using Lightwave Stimulation (LWS), can help learning and sensory difficulties. The importance of the vestibular and proprioceptive systems will be discussed as well as the complex involvement of the visual and auditory systems as components of the vestibular system. Participants will have the opportunity to learn about the interpretation of Visual Fields of Awareness as well as experience the vibrant colours used to deliver LWS. Additionally, attendees will learn how sensory difficulties affect child development and also how this may lead to emotional difficulties in adults. This comprehensive workshop will provide invaluable background knowledge to understand how the senses are implicated in learning, sensory and behavioural difficulties.

Name: Andreas Edelmann
Organisation/company: F. Hoffmann-La Roche Ltd. , Basel, Switzerland

Title of Paper: The performance of the Luscher Colour Test and the clinical application of the test results
Theme: Living with or without colour

Biography: Dr. Andreas Edelmann, a neuropathologist and neuroendocrinologist, is a member of the Institute of Psycho-medical Diagnostics in Lucerne (Switzerland) headed by Prof. Max Lüscher, inventor of the well-known Lüscher Colour Test which is in clinical use since 1947. Andreas has routinely used the Lüscher Colour Test for personnel recruitment and is currently evaluating the diagnostic and predictive power of the test in monitoring clinical outcome and therapeutic improvement of patients with mental and emotional disorders.

Abstract: The workshop will include technical details on how the Lüscher Colour Test is being performed, how the colour plates are used for the colour selection procedure, how the test results are transferred into the assessment protocol and how the evaluation will be conducted following the defined rules. The participants of the workshop will be able to perform the test by themselves and will also obtain a test results evaluation reflecting their current emotional structure and signature.

Name: Neil Harbisson
Organisation/company: Barcelona, Spain

Title of Paper: Sound Portraits
Theme: Living with or without colour

Biography: Neil Harbisson (27 July 1982) is a British-Catalan cyborg artist, musician and performer best known for his self-extended ability to hear colors. In 2004 he became the first person in the World to be fitted with an eyeborg and to be officially recognized as a cyborg by a government. Colour and the use of technology as an extension of the performer's body and senses are the central themes in Harbisson's work.

Abstract: Neil will share his experience of the relationship between colour and sound in his life, and will create sound portraits so people can hear and experience the sound of the colours of their own face.

Name: Malcolm Learmonth & Karen Huckvale
Organisation/company: Insider Art/ Devon Partnership NHS Trust.(DPT), England

Title of Paper: Weaving and are un-weaving of the rainbow: an exploration of colours’ resonance, objectivity, subjectivity and context.

Abstract: In 1817 ‘Keats said that Newton had ‘destroyed all the poetry of the rainbow, by reducing it to the prismatic colours.' Two years later he famously made his accusation poetically, as ‘enweaving the rainbow’. Our borrowed title embodies questions of objectivity and subjectivity in our experiences of colour.

Through a series of hopefully thought-provoking exercises and experiences this joint workshop will build on the facilitator’s individual presentations ‘The Silent Rage of Strawberries: Colour and Meaning’ and ‘Colour Mixing and Ambivalence’. Together we will share responses to colour in art works and illlusions, and explore ‘hands-on’ experiences of colour-making with art materials. We anticipate that emerging commonality and difference, individual and shared perceptions will shed light on the complexity of personal, cultural and pictorial contexts that, often unnoticed, shape both our perceptions of colour and the meanings that we subsequently attribute to them.

We hope these experiences will develop the arguments made in our presentations that the elusive slippery-ness of colour perception and meaning is what gives the field its depth, richness and therapeutic value. Tolerating complexity, subtlety, ambivalence and the effect of context are psychological and emotional skills with major mental health implications, and are potentially developed through sharing experiences of colour seeing and making. The rainbow of experience cannot ultimately be un-woven into discrete facts.

Name: Birgit Rathje-Vale
Organisation/company: Independent Rehabilitation Services, Northamptonshire, England

Title of Paper: Assessment and treatment of abnormal colour vision in individuals following neurological damage.
Theme: Therapy

Biography: Specialist Neurological Occupational Therapist and Case Manager

Abstract: Relatively little research has been done into the effects of problems with colour awareness and recognition in everyday life for individuals following neurological damage. Individuals who have difficulties in recognising colour, face many difficulties in everyday life which normally sighted people are just not aware of. Problems can arise in even the most simple of activities including choosing and preparing food, gardening, sport, driving a car and selecting clothing or keeping down a job. This places the person at risk of injury, self neglect and isolation, plus vulnerability to low mood and depression. Occupational Therapy through the use of a number of assessments and treatment techniques can help identify the colour recognition problems experienced by a person following neurological damage and through various of interventions or by using a variety of visual and adaptive aids can manage risk improve the quality of life and independence. This workshop will investigate the importance of colour in daily life and function, particularly with a focus on risk management and safety. A number of assessment techniques suitable for individuals following neurological damage to identify problems with colour perception will be discussed. Intervention techniques that can be applied by a range of healthcare professions will be explored. The knowledge gained in this workshop will be transferable to other areas of life other than therapy, such as child care or care of the elderly.

Name: Karl Ryberg
Organisation/company: Monocrom, Stockholm, Sweden

Title of Paper: Colour for health and education
Theme: Therapy

Biography: Trained as an architect and psychologist. Specialized in therapeutic photobiology. Studied laser biology in Moscow and lectures internationally. Has published the book Living Light

Abstract: Colours are not only pretty decorations of everyday life but also the fastest message carriers nature knows. They immediately catch our eyes and on subconscious levels rapidly activate our innate feelings and survival patterns.

Experiments have shown that both plants and animals are extremely sensitive to combinations of coloured light. And for humans the situation is the same. Colour information can be seen as a software programme to run and upgrade the human brain.

Our biological rhythms are largely regulated by coloured light and the therapeutic effects are quite pronounced. The archaic reptile brain is essentially non-verbal but acutely sensitive to visual stimuli of colour and light. These control bodily patterns of sleep and wakefulness, appetite and thirst, sympathy and sexuality.

The therapeutic potential of coloured light is vast and includes a range of symptoms like depression, nervousness, insomnia, stress, dyslexia and infertility. Beyond the curative aspect lies a purely creative dimension – athletes and dancers rehearsing a performance, artists and musicians wanting to be on top, students and researchers preparing an exam.

Emotional and intellectual performance benefits greatly from a tailor made colour code adapted to the needs of the individual. In order to create functional workspaces, homes and interiors it is necessary to have a fair knowledge of the deeper effects of light and colour. The expansive field of visual ergonomics is a truly international and transcultural discipline.

The workshop will include a slide demonstration, explanation and opportunity for exploration of using therapeutic coloured light.

Name: Donna Savery
Organisation/company: Harley St Therapy, W1G London, England

Title of Paper: The Use of Colour in Building a Therapeutic Relationship
Theme: Therapy

Biography: Donna is a Group facilitator, speaker, lecturer and an active researcher, writer and workshop leader. She is also a group therapist and programme leader for counselors. www.harleystcounselling.co.uk

Abstract: My philosophy around working with clients with mental health problems and diagnoses is that to get to a possible cause, the therapist must first build trust with the client and see beyond the label to the person. In order to embody the client’s world and walk in their shoes, the therapist attempts to understand what it feels like to be the client. By harnessing her creativity, and opening herself up to expression through a range of faculties, the therapist frees herself to resonating with the client and in so-doing both models a way of being, for the client to open themselves to a range of experiences, work around verbal blocks and feel safe to take risks. This workshop demonstrates a number of these techniques through experiential participation and the chance to experience being both client and therapist. There will be a focus on the significance of colours and participants will have an opportunity to explore phenomenologically what the colours mean for them and how this knowledge can be worked with in therapy to improve general wellbeing. Activities include the following

Name: Vanessa Volpe
Organisation/company: Colour for Wellbeing, Northampton, England

Title of Paper: Colour for Wellbeing
Theme: Therapy

Biography: Vanessa is an independent therapist and educator specialising in colour awareness with people experiencing mental health issues and trauma. She is studying colour within MSc Advanced Occupational Therapy

Abstract: The Colour for Wellbeing pilot project was developed within the context of the Learn 2be programme, jointly developed by Northamptonshire Teaching Primary Care Trust, The Changing Minds Centre, and the Northamptonshire County Council Adult Learning Service. The Colour for Wellbeing (CfWB) classes were developed to teach individuals experiencing mild to moderate mental health difficulties how to enhance their sense of personal wellbeing by incorporating the colour awareness exercises they learnt through the CfWB programme into their daily lives. The project was designed, delivered, and evaluated by an experienced occupational therapist with extensive experience in the therapeutic use of colour within complementary therapy. Over an eight week period, individuals attending the group programme were taught a variety of colour awareness exercises, which they could then choose to adopt within their daily lifestyle. A follow up evaluation 1 year later found lasting positive outcomes being implemented by learners. The Aim of this workshop:

On completion of this workshop it is anticipated individuals will be competent in beginning to apply theory to practice within their own personal and/or professional context.

Name: Linda E. Wheildon
Organisation/company: University of Derby, England

Title of Paper: An absence of colour : Not Just the black and white of it.
Theme: Living with or without colour

Biography: An occupational therapist, Linda undertook further training in group work and dramatherapy (1987) and has worked nationally and internationally using image, video and text to facilitate both social and emotional aspects of reflection. More recently she has explored the act of Dromena- the thing done in relation to reflective practice. Now Head of Mental Health & Therapeutic Practice.

Abstract: This workshop intends to provide an opportunity to explore both the nature and facilitation of reflective practice through the creation of ‘reflective forms’. Reflective forms are the three dimensional forms that allow for active ‘journaling ’, keeping a record of the experience of reflecting on an activity.

In using reflective forms it seems important to acknowledge two things, firstly that emotion is central to the process of reflecting and reflection and secondly, that the successful management of the emotional content and awareness of emotional intelligence will not only facilitate the learning process and practice but enhance it. The reflective form allows for the concretisation of reflection giving both a sense of permanence and growth.

Secondly, that it is in the doing, the making special and thus the creative act itself, that allows us a deeper understanding of the sense making process and thus the embodiment of the act.

The workshop will afford an opportunity to experience and explore working without colour to reflect on your own practice. Working with an ‘absence of colour ‘ requires us to be more aware of texture and sensation in relation to reflective practice and journaling.

Name: Mark Wentworth
Organisation/company: Colour for Life, Portugal & London

Title of Paper: Colour Stories
Theme: Therapy

Biography: Mark Wentworth has inspired people around the world for 25yrs with his pioneering work of uniting colour, drama and other expressive arts

Abstract: By bringing colour to life through inspired play and improvisation we gain a deeper understanding of our own inner worlds. Each colour has a story to tell and each story is unique to the individual and yet somehow connects us with the collective unconscious. By telling our colour story we accept the invitation of the soul’s longing to step up to the threshold and embark on our very own hero’s journey. This mythical magical journey allows us to encounter and find useful allies to guide us in our day-to-day living, turning mundane ordinary life into one filled with grace and wisdom. Be inspired as we learn to turn colour from a silent language into a fun-filled action packed experience. Plato said that you could know more about a person in one hour by watching them play than you could in a year of conversation. Bring to life your colour characters through body wisdom and let the journey through the rainbow begin. Watch or take part in your very own colour play and let the alchemy of your story transform ego lead into soulful gold. Within every colour a story is waiting to be told. What colour is yours?

Posters

Name: Hilgart J, Iredale R, French H
Organisation/company: Cardiff University, Tenovus the cancer charity, Wales

Title of Paper: The therapeutic benefits of artistic activities for cancer patients
Theme: Therapy

Biography: Research Assistant in the School of Medicine, Cardiff University

Abstract: Background Many psychosocial issues arise when an individual has cancer, including fatigue, depression and anxiety. Engaging in artistic activities can help banish intrusive thoughts about cancer, provide a sense mastery and control, and provide increases in positive emotion. Working with a ceramics artist, Tenovus, the cancer charity in Wales, have piloted a course of ceramics workshops for people affected by cancer. Aims The Cancer Genetics Research Team at Cardiff University have undertaken a brief evaluation of the project to explore the benefits of taking part in artistic activities for people who have had cancer. The workshops Five Tenovus clients attended the workshops. Ceramics workshops were held at the same time every week for 5 weeks in Newport, South Wales. Participants were encouraged to explore working with clay and were able to create a range of ceramic wares, including mugs and bowls. Feedback forms were completed to explore participants’ perceptions of the workshops. Results Participants recognised the potential for creative activities to be therapeutic. All feedback from the group was very positive, which related to the tutor, the group atmosphere, and the creative activity. Participants particularly appreciated the relaxed atmosphere of the group as compared to more formal cancer support groups. All participants would take part in further creative activities. Conclusion Results from this small pilot project suggest that artistic activities such as ceramics workshops are beneficial to individuals affected by cancer, in providing distraction from daily worries and the opportunity to meet others affected by cancer in an informal setting.

Top of page

Site navigation

Page navigation