At-f [Link]~, Vol. 5 pp. 171-180, Pergamon Press, 1978. Printed in the U.S.A.

THE EXPRESSIVE THERAPIES CONTINUUM*

SANDRA L. KAGIN, M.A., ATR, Director

AND VIJA B. LUSEBRINK, M.A., ATR, Asst. Professor

The Institute of the Expressive Therapies

University of Louisville

INTRODUCTION
level in its own right, clearly distinguished by the
The Expressive Therapies Continuum, re- integration, transformation and expression of
ferred to as the ETC for convenience hereafter, experiences into new forms. The different as-
is a conceptual model designed for, and of use to, [Link] creativity can be experienced on each
the various fields of the art and expressive level of the continuum. The descriptions of the
psychotherapies. The continuum is composed of creative experiences used in this paper are simi-
four levels, representing four modes of interac- lar to the five different forms of creativity pro-
tion with the media theoretically assumed to re- posed by I. A. Taylor (Taylor & Getzels, 1975).
flect the different modes of human expression. The authors designed the ETC to be general
This sequence of expression is encountered re- enough to encompass all the basic modalities of
curringly in human development, (Piaget & In- expression, i.e., movement, vision, touch, sound
helder, 1%9), in every day living and in creativ- and words. In this paper the authors will empha-
ity, as well as in therapeutic settings. The first size only the visual/tactile experience as a mo-
three levels of the ETC reflect three established dality of expression and will deal with the use of
systems of human information processing: the visual arts in therapy.
Kinesthetic/Sensory (K/S level); the Perceptu- To describe the expression elicited by the art
al/Affective (P/A level); and the CognitivelSym- media and the interaction with the art media, the
bolic (C/S level). The concepts involved with the following postulates are presented: (1) the con-
first three levels of the ETC are similar to those cept of Media Dimension Variables (MDV) (Ka-
of J. Bruner’s (1964) theoretical three modes of gin, 1%9); (2) media potentials; (3) quantity and
representation: the enactive mode, which re- boundary determined media; (4) mediated and
flects past events through an appropriate motor non-mediated materials; and (5) reflective dis-
response; the iconic mode, which selectively or- tancing (Rusch, 1970). The postulates of MDV
ganizes individual perceptions and images; and and reflective distancing define the possibilities
the symbolic mode, which is a system of de- of interaction between an individual and a given
signation and transformation of experience into medium, while the other three concepts deal with
what is believed to be abstract and complex methods of achieving this interaction.
methods of representing internal and external The MDV format describes three main effects
reality. The fourth level of the ETC is the Crea- of art therapy:’ the complexity of the tasks pre-
tive level (CR). It is seen as a synthesis of the sented by the art media; the structure of the art
other three levels of the continuum. It is also a and therapy experience; and the physical prop-

*Requests for reprints should be sent to Sandra L. Kagin, Director, the Institute of the Expressive Therapies, University of
Louisville, Louisville, Kentucky 40208.
OOVMO92i78/040171-10%02.00/0
Copyright e 1978 Pergamon Press. Ltd
172 KAGIN AND LUSEBRINK

et-ties of the art materials. Each medium pos- ceived as the carriers of expression, available for
sesses a certain potential for the manner and feedback to the individual, the therapist or both.
direction it can be utilized. The media properties The potential for conveying an expression is in-
impose limits, or boundaries on an experience; herent in every medium and the potential is ac-
thus media can be classified as quantiry deter- tivated at each of the different levels of the con-
mined or boundary determined with regard to tinuum, according to the catalytic skills of the
their abilities to impose. limits. therapist and the motivation or experience level
Finally, the materials can be either mediated of the client.
or non-mediated. A mediator is essentially a tool, Each level of the ETC will be discussed with
such as a brush or ceramic knife, which serves as respect to the uses of all the dimensions
a distancing agent between the individual and the enumerated in the preceding introduction.
materials. The emphasis of this paper concerns Examples will be given of the use of media which
the specific properties and propensities of art reflect the authors’ preference, but it is hoped are
media as they affect the behavior of the indi- general enough to stimulate the reader’s own
vidual interacting with them. The individual’s selection of media applications.
behavior is also influenced by the reflective dis-
tance between his action and his perceptions of
that act. The KinestheticlSensory level
Reflective distancing is an integrative experi-
ence where body sensations take on a perceptual The Kinesthetic/Sensory level focuses
organization and are then given a meaning. The primarily on the release of energy through bodily
reflective distance establishes a feedback system action or movement. On the kinesthetic level of
for the individual’s interaction with the media. expression the media are the passive part of the
The term “reflective distance” will be used in interaction between individual and materials, and
this paper to indicate a cognitive distance be- the pure media properties, the fluid or resistive
tween the art experience and the individual’s re- qualities, will determine the scope of the action
flection on that experience (Rusch, 1970). Gen- upon the media. At the same time the media
erally speaking, the greater the reflective dis- serve an activating role as the facilitators of the
tance the more objective the description of the kinesthetic response. The kinesthetic interaction
experience being described. Thus, reflective dis- either stimulates arousal or allows energy to be
tance provides a cognitive orientation (Kreitler & discharged and lowers the tension level. The
Kreitler, 1972) to kinesthetic and perceptual haptic perceptual system obtains information
experience. about the environment through the use of the
Reflective distance also depends upon the whole body, especially through touch, pressure
level of arousal. For our mu-poses, we use the and joint configuration (Gibson, 1966). The Sen-
term “arousal” to indicate an active state of en- sory component of this level of the Continuum
ergy mobilization which occurs when the or- refers to the sensations experienced through the
ganism is presented with resonant stimuli. A sub- haptic system and the internal activity of the or-
sequent return to a state of homeostasis reestab- ganism without the awareness of or involvement
lishes the equilibrium between the internal and with the affective response.
external processes (Amheim, 1964). In states of The theory of kinesthetic/sensory interaction
increased arousal, the individual identities with is based on the assumption that psychic energy is
the action, until the reflective distance decreases discharged or utilized through motor behavior.
to the point where the individual and his experi- When the psychic energy is released there are
ence become one (Fischer, 1%8, 1969). endless alternatives as to how to use or harness
Both the dimensions of reflective distance and this energy, but before it can be harnessed, it
MDV influence each other. The ETC is an at- must be realized by the client that the potential
tempt to examine this interaction on the different for action is open. The individual may therefore
levels of experience and expression, which also be aware of his own psychic energy potential,
purport to describe a continuum of experiences uncluttered by concepts, affects or any other pat-
available to the individual. The media are per- terned or limiting response.
 EXPRESSIVE THERAPIES CONTINUUM 173

At this level each medium is sensed without tion are needed for optimum therapeutic inter-
any particular form or goal and possesses a cer- vention.
tain potential for the manner and direction it can The K/S level is characterized by a minimal
be utilized. reflective distance. This is due to the individual
The K/S level emphasizes the uction potential being directly involved with generally unlabeled
of the given medium. At the Kinesthetic end of action. Further, the sensory aspect is empha-
the K/S component, the action is predominantly sized and perceptual interpretation kept at a
aggressive in its relationship with the materials; minimum.
slapping, throwing, pounding, etc. The Sensory The media potential on each level of the ETC
aspect of the K/S level, on the other hand, has a certain developmental, growth, or healing
utilizes a lowered potential, which allows a more aspect. The action potential of the media used on
haptic awareness; sliding, touching, daubing, the K/S level can lead to the awareness of rhythm
dripping, etc. An isomorphic (Amheim, 1972; created through the coordinated action of the or-
Koffka, 1935) awareness is intended, where the ganism. General consensus of the literature
individual may experience the analogies to his shows rhythm reflects the organism’s innate
internal action potentials. tendency to organize stimuli in repeated se-
The action potential of the .media at the K/S quences in time or space (Kreitler & Kreitler,
level taps the undifferentiated psychic energy of 1972). The rhythm itself becomes a healing
the individual. The media properties will become experience as the undifferentiated psychic en-
important in structuring this energy not only ergy present is patterned and expressed through
through their intrinsic qualities, but also through the body. As a growth experience, the action
internal and external limits or boundaries. The upon the materials can elicit an emotive affective
quantity of material available for the experience response which can lead the individual to another
will determine the limits of the experience. For level of awareness and another level of the ETC.
example, fluid media such as fingerpaints are de- Developmentally, the recognition and naming of
termined by the size of the container, while wood form which results from the action upon the
or clay is determined by the size of the material materials (Connolly & Jones, 1970) fosters in-
itself. The increase of quantity of the material is volvement at the Perceptual/Affective level of
presumed to amplify whatever is being experi- the continuum.
enced by the use of the material. Thus, the quan-
tity determined media will become amplifiers of The PerceptuallAffective level
psychic discharge on an undifferentiated level. It
is important for the art therapist to be aware of The Perceptual/Affective level deals with the
the amplification propensity of such materials as perceptions created and the affects aroused in
fingerpaint because there are numerous occa- the individual through the interaction with art
sions when heightening an undifferentiated materials. The perceptions are a developmental
experience is contraindicated. sequel to the actions and sensations of the K/S
The use of the mediator inhibits direct tactile level. These perceptions are experienced visually
involvement with the material, and becomes a and haptically as “form” through the differ-
limit which helps to differentiate the experience. entiation of figure and ground (Amheim, 1964).
Thus, a brush full of paint has more limited As discussed previously, action upon fmger-
possibilities for action than a jar full of finger- paints moves the paint around the paper. This
paint. The boundary determined materials, on kinesthetic action articulates the painting surface
the other hand, are already contained, such as (Koffka, 1935; Spielman, 1976) while the paint
wood, stone, paper and pencil. Both boundary creates an inhomogeniety of the visual field. The
determined and quantity determined media articulation of space and inhomogeniety of the
utilize a certain amount of energy which can be visual field encourage perception (Koffka, 1935).
limited or directed through the use of the As the visual field is organized, the human or-
mediators. The therapist and the client must be ganism forms closures on his experiences and
aware of how much energy they are willing to creates “good gestalts*’ from his perceptions
release, or how much energy release and utiliza- (Amheim, 1964).
 KAGIN AND LUSEBRINK

The affective component of this level is ac- K/S to the P/A level. The awareness of media
tivated through the haptic system of the indi- properties and the perception of form elicited
vidual or through affective responses to the vis- from them requires a certain amount of distanc-
ual forms. The operational assumption made ing from the direct experience with the materials.
here is that haptic involvement allows for the ex- For example, the smashing of clay will result in
pression of more intimate and primitive sensa- random form until the individual perceives the
tions and emotions, or emotions and experiences form potential in the clay and begins to control
which have not previously reached the level of and contain his motor behavior to actuate the
awareness (Pearls, 1969). The individual’s expe- form. The forms may be changed readily through
rience and expression of form is influenced by his the manipulation of the media or as result of
level of affect. The innate striving for good ges- further kinesthetic action upon the media. In-
talts mentioned above may be countered by an crease in the reflective distance and a more re-
emotional distortion of the form perceived or stricted use of energy with a concurrent concen-
created. tration are achieved through the use of boundary
The possibilities of the form expressed in a determined resistive materials. The therapeutic
particular medium will be determined by the design and goals will determine the use of the
properties of the medium (Kagin, 1968). The particular form potential of a given medium.
media on the P/A level are said to possess a form Working through the affective blocking or dis-
potential. The form potential will influence the tortion of good form may be one of the art
individual’s internal ability to form gestalts using therapist’s tasks at the P/A level. A working
the less differentiated sensory and perceptual through may be accomplished by focusing the
data. Thus, media with high structural qualities individual’s attention on the affect producing as-
and inherent good gestalt (such as wood or pects of the media, such as its texture on the
mosaic) will promote and evoke an inner organ- haptic level or its form on the perceptual level,
ization in the individual. The form potential of with the concurrent decrease of the reflective
the media in interaction with the haptic system distance. Identification with the forms facilitate
will promote identification with the body and the the expression of affect and the internalization of
reinforcement and differentiation of body con- structure (Rhyne, 1973). In general, the P/A level
cept (Wapner & Werner, 1965). of the ETC utilizes the Gestalt theory concept of
The media boundaries are important to the isomorphism or structural similarity of config-
P/A level. If the material used is quantity deter- urations in the different media (Armheim, 1972).
mined, and the individual is reacting to the emo- Recognizing and naming the affect associated
tive potential of the experience, then a continuity with the form provides reflective distancing and
or amplification of the experience can occur leads to the following C/S level.
simply by adding more and more materials. In
the alternative the boundary determined materi- The CognitivelSymbolic level
als may give a different feedback to the indi-
vidual by placing external limits on the emotional The C/S level is markedly different from the
release. Such external limits usually have a previous levels, since it requires the develop-
“safe” nonthreatening quality. In addition, the ment of abstract thought. The P/A level was
boundary determined materials have a tendency characterized by an immediacy of experience.
to limit the figure-ground possibilities more than With the internalization of actions and forms,
quantity determined materials which may create and the emergence of mental images associated
an endless number of forms. The form potential with the forms, a groundwork is laid for the
of a brush full of paint is limited not only by the Cognitive/Symbolic level. This level requires a
capacity of the media, but also by the capacity of qualitatively different approach to information
the brush. The brush, as a mediator, in this man- processing which permits the individual to deal
ner becomes a component of the media dimen- with the “nonpresent and with things that are
sion of structure as it limits the figure-ground remote in space, qualitative similarity and time
possibilities. from the immediate situation” (Bruner, p. 13).
The reflective distancing increases from the Both the cognitive and the symbolic components
 EXPRESSIVE THERAPIES CONTINUUM 175

of this level provide a release from the immediate combinations. The complexity of the media can
present, and allow the processing of increasing stimulate schema formation or it can lead to re-
amounts of more complex information. gression. An evaluation of the client’s devel-
The cognitive component of this level focuses opmental level and mental functioning will help
on analytical and logical thought. The operations to determine the complexity of the task and the
necessary to produce thought are based on the steps necessary to perform the task successfully.
representation through language and are The reflective distancing increases markedly
facilitated through the mental representation of on the C level as compared to the P level. The
action (Bruner, 1964). Problem solving through need to develop schema from the internalized
the [Link] media properties is an important part motor actions contributes to the ability to dis-
of the cognitive end of the continuum. The explo- tance. The increased reflective level and the
ration of media, their grouping along qualities, ability to sustain attention over a period of time
categorization, recognition of relationships, and to bring closure to the complex task of actualiz-
sequencing in time are the different aspects to be ing a schema all require a certain level of arousal,
considered at the C/S level. The exploration of mental development and ability to concentrate.
the media allow for the internalization of the To stay with the task also requires motivation.
media properties and the ability to understand The schema potential of the media facilitates
the actions necessary to manipulate the media. motivation through evoking curiosity and crea-
If a client is presented with diverse stimuli tive problem-solving.
such as pieces of wood, hammer and nails, he has The use of schema potential on the C level
to explore and experience the hammer and nails facilitates structuring and the mastering reality. It
kinesthetically to become familiar with their ap- also stimulates growth of intellectual facilities, as
plication. He also has to explore the pieces of the complexity of the schema potential will shift
wood and form a mental image of how these pieces awareness of the individual to the cognitive level
will fit together to build a desired object. Here of functioning.
the exploration proceeds-on the K level while A shift in awareness can also be used to over-
discovering the operations of the hammer and come emotional blocks or resistance. If a client
nails, and on the P level to form the mental im- has been asked to draw a Kinetic Family Draw-
agery which will coalesce on the C level into the ing (Kaufman & Bums, 1970) he is confronted
more complex systems of images necessary for not only with a complex image but also must
determining what the desired object will be. The probably face emotional issues. A boundary de-
motor and perceptual discovery lead to concrete termined, familiar, nonemotive producing
association of object and action and a schema of medium such as a pencil will reduce the com-
the operation emerges (Guilford, 1967). Thus, we plexity of the task. If difficulties are still
can say that on the level of concrete operation, at encountered, a change to a medium with differ-
the Cognitive end of the continuum, the media ent schema potential may be required. The
have a schema (Kreitler & Kreitler, 1972; Low- representation of family members may be shifted
enfeld, 1970) potential. to abstract shapes cut out from construction
Schema potential requires the knowledge and paper. Representing the family in this manner
experience of specific units of information and instead of pencil will differentiate the family
the ability to form internal schemata before the members through relationships in color and
schema potential can be actualized. abstract form (Rhyne, 1973). This more abstract
The mediators on the C level become an inte- manner of representation is presumed to increase
gral part of the schemata since they facilitate and the reflective distance from the task and to lessen
amplify the expression and modify the media the emotional involvement with the task. The
properties. The mediators also increase the re- ability to manipulate the media successfully is
flective distance and extend the realm of interac- necessary in’seeking alternatives to uses of the
tion, as, for example, the paint applied with media and later to discovering analogies to other
brush instead of fingers eliminates a major sen- problem-solving situations outside the therapeu-
sory component of the interaction, and the use of tic setting.
hammer and nails allows to join wood in many A percept has a concrete experiental basis
 KAGIN AND LUSEBRINK

(Piaget & Inhelder, 1969) in the early stages of awareness, or it may emerge in the conscious
the transition to cognition in the art therapy awareness presented by a less threatening
experience. Each material or object is associated metaphor through displacement.
directly with the sensations evoked through their The term “symbolic” is used here as a generic
manipulation. The naming of the experience at- name representing experiences which have either
taches a label to the object of the affect as- a displaced (Freud, 1967) or yet unknown mean-
sociated with the experience. The labels allow ing (Jung, 1965). Symbols can be either regres-
for the abstraction and formation of schemata sive or progressive, that is, futuristic (Jung, 1958;
and concepts, and they are useful in dealing with Lusebrink, 1974; Perry, 1953). Regressive sym-
complex representations. The labels can be bols may carry metaphors which are more primi-
words or abstract visual signs which stand for tive or archaic, while progressive symbols may
known objects, actions or ideas. Nevertheless, be more abstract. The more condensed is a par-
the many stimuli present in a complex situation ticular group of experiences, the more general
cannot be processed on a cognitive basis alone; will be the metaphor describing it, and the more
abstraction or concept formation based on intui- universal will be its symbol (Billig, 1970). The
tion also takes place. symbols are multileveled and multidimensional,
The symbolic component of the C/S level fo- involving movement or action, structure, form,
cuses on intuitive concept formation, symbolic affect and meaning. Physiognomic perception
expression, and the realization and actualization and synesthesia present in the experience of a
of symbols. Not all perceptions and experiences symbol reflect the whole organismic involvement
can also be labeled, since internally many sensa- in symbol formation. Synesthesia represents the
tions are not within the field of conscious aware- response to a stimulus of one sense modality with
ness. The perceptions can be stored in the pre- sensations in another sense modality (Kreitler &
ferred perceptual mode in which they are experi- Kreitler, 1972). As an emotionally charged inter-
enced (Bruner, 1964), or they can be mul- nal structure symbols have to be externalized be-
tileveled, that is, they can be experienced simul- fore they can be resolved on internal terms. At
taneously through the different perceptual sys- the same time a symbolic attitude, or readiness to
tems. The latter is manifested in physiognomic bring the physiognomic perceptions and the
perception, which includes intermingled internal sensed nonverbal formations into awareness, is a
and external, motoric, sensual, affective and prerequisite for symbolic perception of form.
imaginal elements (Kreitler & Kreitler, 1972). It Body relaxation facilitates the flow of internal
has been hypothesized (Chafe, 1977) that an images.
experiential coding system exists whereby in- The media are said to possess symbol poten-
formation is stored in large nonverbal “chunks” tial if they can facilitate the formation, expres-
and may be recalled much as a movie is oriented sion and resolution of symbols and intuitive con-
on a screen. These experiences may carry either cepts. Media which produce ambiguous forms,
conscious or subliminal affective charge or both. such as sponge prints, are useful in eliciting sym-
The experiences can be grouped together or con- bol formation. Complex media elicit abstraction
densed according to their affective valence, their or intuitive concept formation, since the indi-
internal or external structural similarity, or their vidual has to rely intuitively on internally experi-
personal or cultural meaning. The structural simi- enced structures while organizing a complex
larity can be internal or based on anatomical field; for example, magazine cut-outs present di-
structures and physiological processes, or it can vergent images which the individual has to orga-
be external based on the structures and proc- nize intuitively while constructing a collage.
esses present in the external reality. The overall Fluid media which lend themselves to physiog-
meaning of a particular group of experiences may nomic perception facilitate the expression of
only be sensed, but not known; in this case the internal symbolic forms; thus, fingerpaint with its
meaning may be represented only by a metaphor undifferentiated form potential can be manipu-
or parable (Jung, 1958), either imaginal or verbal. lated haptically to produce multilayered expres-
If an experience has a negative or threatening sion. In general, symbol formation and symbolic
aspect, it may be excluded from the field of expression is facilitated through quantity deter-
 EXPRESSIVE THERAPIES CONTINUUM

mined media which stimulate divergent produc- Singer, 1974) with archetypal symbolism, such as
tion (Guilford, 1967). climbing a mountain or descending in a cave,
On the other hand, boundary determined may help to direct the expression and the resolu-
media facilitate symbol resolution through con- tion of regressive or progressive symbols. In
vergent production (Guilford, 1967) and through general, the amplification of a concrete experi-
concretization of the meaning on a personal level. ence through the external input from cultural or
Resistive media facilitating the expression of the universal sources will help to structure and sub-
same symbol on a kinesthetic, haptic and visual limate the individual’s experience in a larger,
level, as, for example, wood, clay and felt tip more universal context. Depending on the
markers, will elicit different aspects of the same client’s needs and the therapeutic design, the use
symbolic experience. Nonmediated experiences, of mediated and nonmediated materials will help
such as clay work, allow the amplification of the to modify the reflective distance in these experi-
personal meaning of a symbol (Horowitz, 1970; ences.
Jung 1974; Naumburg, 1949) and facilitate the The resolution of a symbol on cultural or uni-
expression of its affective charge. Mediated versal terms will lead to the creative actualiza-
materials are useful in elevating a concrete, per- tion of the individual, and the emergence of a
sonal experience to a cultural or universal level. culturally meaningful creative expression.
Thus, organizing personal expression within the
quadrapartite division of a mandala (Jung, 1973;
Perry, 1953) form while using felt tip pens may
The Creative level (CR)
condense the meaning of these expressions and
put them in a more universal context. The creative level of ETC utilizes the synthe-
The reflective distance on the symbolic level sizing and selfactualizing forces of ego and self.
depends on the type of symbol and symbolic A synthesis takes place between the inner expe-
experience present. The reflective distance di- rience and the outer reality (Arieti, 1969; Ulman
minishes in the regressive identification with the & Dachinger, 1975), between the individual and
symbol, which is characterized by regressive be- the media, or between the different experiential
havior. The reflective distance increases if the and expressive levels of the ETC.
symbol carries emotionally threatening charges, The creative actualization level of the ETC is
or if the symbol is progressive pointing to future characterized by the active dialogue and in-
possibilities. The reflective distance can be too volvement between the individual and the media.
great if very abstract or universal symbols are This interaction culminates in an expression or
used. The more abstract is a symbol, the longer experience distinguished by its sense of unity be-
time it will take to resolve, and the more complex tween the media and the message, with a concur-
and larger will be its experiential basis. rent feeling of closure and/or elation in the indi-
Resolution of a symbol reveals its meaning. vidual .
Since the meaning of the symbol is unknown, it The media can enhance the creative climate by
has to be resolved through the expression of its providing a stimulating environment and/or sup-
behavioral and formal components and through port of the different phases of the creative proc-
the elaboration of its affective valence. The un- ess (Taylor & Getzels, 1975). The skillful use of
known component invests the symbol with media will provide rich stimuli for the informa-
numinosity (Jung, 1974), and the progressive tion gathering phase and alleviates undue anxiety
symbols contribute to the motivation for future in breaking old boundaries (Ehrenzweig, 1971);
directed action. media can act as an interphase between the yet
The resolution of both regressive and pro- unformed inner expression and reality, or they
gressive symbols leads to insight and growth. The can be seen as transitional objects facilitating
symbol formation per se may lead to sublimation inner and outer dialogue (Winnicott, 1953).
of aggressive and sexual drives into culturally The creative process is influenced by the in-
acceptable expressions (Freud, 1967; Kramer, trinsic qualities of the media which are actualized
1971). in the process. Thus, the media on the creative
The use of guided daydreams (Assagioli, 1971; level of the ETC can be said to have actualization
 KAGIN AND LUSEBRINK

potential. The creative interaction with media extensions of the human body and act in unison
can occur on any of the levels of ETC and the with it. The experience of time and space be-
media can be actualized in any of the above comes suspended through the involvement and
potentials (Taylor & Getzels, 1975). On the K/S identification with the creative act or extended
level the action potential manifests itself through through the amplifying action. In the creative
spontaneous expression, while on the P/A level actualization the modifiers expand the bound-
the actualization of form potential is manifested aries of the body ego. For example, the brush
through the creation of “good Gestalts,” the af- reflects the rhythmical movement of the body
fective experience of closure (Pearls, 1969; and extends it in space when the large muscles
Rhyne, 1973), and achievement of skill and per- are utilized in the expression.
fection of form (Kramer, 1971). On the Cognitive The reflective distance in the creative interac-
level the schema potential of a given set of infor- tion with media is characterized by a total in-
mation is actualized (Guilford, 1967), while on volvement while maintaining some awareness of
the Symbolic level the actualization of the sym- the interaction; or it can also alternate between
bol potential results in the resolution of the sym- periods of total involvement and subsequent re-
bol and the emergence of its meaning (Jung, flection upon the interaction. In the creative
1958; Perry, 1953). The stage of the individual’s transformation (Taylor & Getzels, 1975) the in-
development as well as the individual’s preferred dividual experiences a high degree of intense
mode of interaction will determine the optimal arousal while creating, and a sense of self-
choice of the media, and the mode of actualiza- fulfillment while reflecting upon the endproduct
tion of the media potential. as an independant unit. Usually this is concur-
For example, the young child will create best rent with a sense of closure, elation, and lack of
through unstructured use of paint and color. An the need for verbalization.
individual who experiences the external world The creative actualization (Maslow, 1968)
predominantly through his haptic perception will through art media involves the whole individual
create preferably in clay or other three- and therefore has a healing influence on the in-
dimensional tactile material. A visually oriented dividual. The experience of actualization may be
individual may prefer to create a symbolic paint- present even if the external product has a mini-
ing instead of using other forms of expression. mal independent value, as it is often true in spon-
In a true creative experience both the indi- taneous painting. This experience with the con-
vidual’s present potential and the medium current feeling of elation can be used for the in-
potential will be actualized. The creative experi- dividual as a reference point in the future, and as
ence thus becomes a quantity determined experi- such it can be thought out again in the different
ence. The “quantity” in this instance refers to activities in daily living. The true creative art
the potential within the individual himself and the work will evoke strong responses and involve-
potential of the medium. After the actualization ment in the viewer, and, thus, the creative art
of the above potentials, the individual experi- work influences and transforms its environment
ences wholesomeness and satisfaction with con- and suspends the experience of time.
current return to homeostasis. The creative The actualization of several levels of poten-
actualization can be also boundary determined in tials within and without creativity involves large
that it is either a boundary pushing or boundary and complex areas of action and awareness.
breaking experience (Eisner, 1968). Thus, the creative action requires large amount
The creative experience which actualizes the of energy, part of which is obtained from the en-
medium potential on several levels, or which ergy and excitement liberated through the break-
allows the individual to express himself involving ing of boundaries, and releasing the energy of the
actualization on several levels at the same time potential of the particular situation. Neverthe-
can be considered as a boundary breaking expe- less, the capacity for the ego and the organism to
rience. In this instance a deeper relationship tolerate and sustain such a high level of function-
within or without will be discovered, which is ing and energy is limited; after the creation is
common to the potentials on all the levels. completed, the healthy ego and healthy organism
The mediators on the creative level become return to homeostasis and rest. with concurrent
 EXPRESSIVE THERAPIES CONTINUUM 179

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