Therapeutic Art Quotes

A combination of fine tea, enchanting objects and soothing surroundings exerts a therapeutic effect by washing away the corrosive strains and stress of modern life. [... It] induces a mood that is spiritually refreshing [and produces] a genial state of mind.

Writing, like life itself, is a voyage of discovery. The adventure is a metaphysical one: it is a way of approaching life indirectly, of acquiring a total rather than a partial view of the universe. The writer lives between the upper and lower worlds: he takes the path in order eventually to become that path himself. ”I began in absolute chaos and darkness, in a bog or swamp of ideas and emotions and experiences. Even now I do not consider myself a writer, in the ordinary sense of the word. I am a man telling the story of his life, a process which appears more and more inexhaustible as I go on. Like the world-evolution, it is endless. It is a turning inside out, a voyaging through X dimensions, with the result that somewhere along the way one discovers that what one has to tell is not nearly so important as the telling itself. It is this quality about all art which gives it a metaphysical hue, which lifts it out of time and space and centers or integrates it to the whole cosmic process. It is this about art which is ‘therapeutic’: significance, purposefulness, infinitude. ”From the very beginning almost I was deeply aware that there is no goal. I never hope to embrace the whole, but merely to give in each separate fragment, each work, the feeling of the whole as I go on, because I am digging deeper and deeper into life, digging deeper and deeper into past and future. With the endless burrowing a certitude develops which is greater than faith or belief. I become more and more indifferent to my fate, as writer, and more and more certain of my destiny as a man.

Only those who have cultivated the art of living completely in the present have any use for making plans for the future, for when the plans mature they will be able to enjoy the results.

As Jung suggests, a better understanding of inner processes will benefit what we do in the “outer” world of therapeutic practice.

If you need inspiration, find the part of the target that most irritates you and use it as a springboard for some therapeutic conflict. The more real your cruelty, the more effective it is.

EPICURUS WROTE, “Empty is that philosopher’s argument by which no human suffering is therapeutically treated. For just as there is no use in a medical art that does not cast out the sicknesses of bodies, so too there is no use in philosophy, unless it casts out the suffering of the soul.

What you depicted is the healing process, the spiraling therapeutic process, where you return again and again to something to see it with new eyes.

For the artist himself art is not necessarily therapeutic; he is not automatically relieved of his fantasies by expressing them. Instead, by some perverse logic of creation, the act of formal expressions may simply make the dredged-up material more readily available to him.

For those called to art who do struggle with an overwhelming sensitivity, the creative process can have a therapeutic power. It offers a sense of deep connection. A safe place to voice the unspeakable and bare their soul. In these cases, art does not unravel the maker, but makes them whole. Although

Our quick tour through the many dimensions of cognitive and emotional dysfunction makes it plain why the practice of psychiatry has changed so profoundly over the past thirty years. The familiar caricature of the bearded and monocled Freudian analyst probing his reclining patient for memories of toilet training gone awry and parentally directed lust is now an anachronism, as is the professional practice of that mostly empty and confabulatory art. How such an elaborate theory could have become so widely accepted—on the basis of no systematic evidence or critical experiments, and in the face of chronic failures of therapeutic intervention in all of the major classes of mental illness (schizophrenia, mania and depression)—is something that sociologists of science and popular culture have yet to fully explain.

Not so long ago a psychiatrist told me that one of the marks of an adult who has never properly grown up is an inability to wait, and a whole therapeutic movement has been built on that one insight alone. Because music takes or demands our time and depends on carefully timed relations between notes, it cannot be rushed. It schools us in the art of patience. Certainly we can play or sing a piece of music faster. But we can do this only to a very limited degree before the piece becomes incoherent. Given today’s technology we can cut and paste, we can hop from track to track on the MP3 player, flip from one song to another, and download highlights of a three-hour opera. But few would claim they hear a piece of music in its integrity that way. Music says to us: “There are things you will learn only by passing through this process, by being caught up in this series of relations and transformations.”34 Music requires my time, my flesh, and my blood for its performance and enjoyment, and this means going at its speed. Simone Weil described music as “time that one wants neither to arrest nor hasten.”35 In an interview, speaking of the tendency of our culture to think that music is there simply to “wash over” us, the composer James MacMillan remarked: “[Music] needs us to sacrifice something of ourselves to meet it, and it’s very difficult sometimes to do that, especially [in] the whole culture we’re in. Sacrifice and self-sacrifice—certainly sacrificing your time—is not valued any more.”36

I regard the placebo response as a pure example of healing elicited by the mind; far from being a nuisance, it is, potentially, the greatest therapeutic ally doctors can find in their efforts to mitigate disease. I believe further that the art of medicine is in the selection of treatments and their presentation to patients in ways that increase their effectiveness through the activation of placebo responses. The best way to do this as a physician is to use treatments that you yourself genuinely believe in, because your belief in what you do catalyzes the beliefs of your patients.

Empty is that philosopher’s argument by which no human suffering is therapeutically treated,’ said the philosopher of the Garden. ‘For just as there is no use for a medical art that does not cast out the sickness of the body, so there is no use in philosophy, unless it casts out the sickness of the soul.

Art, used in the same way, can help. When mental health professionals suggest journaling or other expressive self-care, they don’t mean that the construction of sentences or the task of drawing is inherently therapeutic; rather, they’re encouraging you to find positive contexts to discharge your stress, through the creative process.

This therapeutic approach translated directly into the Buddha’s empathic art of teaching. Instead of pronouncing one doctrine supposed to fit all, he responded differently to each of his students, and was renowned for tailoring his insights and advice to their particular inclinations and needs. So the great Sage was said to listen to each student as his only child, and offer various teachings (symbolically numbered at 84,000) like so many medicines for the different forms of suffering that ail people of all kinds. This interpersonal way of teaching is embodied in the very idea of what it means to belong to the Buddha’s community, in his day and in ours. Entry into the Buddha’s care is said to begin with the act of personally asking for his guidance and advice, an act known as “taking refuge.

Yet skill in the most sophisticated applications of laboratory technology and in the use of the latest therapeutic modality alone does not make a good physician. When a patient poses challenging clinical problems, an effective physician must be able to identify the crucial elements in a complex history and physical examination; order the appropriate laboratory, imaging, and diagnostic tests; and extract the key results from densely populated computer screens to determine whether to treat or to “watch.” As the number of tests increases, so does the likelihood that some incidental finding, completely unrelated to the clinical problem at hand, will be uncovered. Deciding whether a clinical clue is worth pursuing or should be dismissed as a “red herring” and weighing whether a proposed test, preventive measure, or treatment entails a greater risk than the disease itself are essential judgments that a skilled clinician must make many times each day. This combination of medical knowledge, intuition, experience, and judgment defines the art of medicine, which is as necessary to the practice of medicine as is a sound scientific base.

A diet rich in readily available nutrients allows the bones to mineralize properly, particularly during gestation and early development, and gives the teeth immunity to decay throughout the stresses of life. Not surprisingly, he found that the native diets that conferred such good health on healthy, so-called primitive groups were rich in minerals, particularly calcium and phosphorus, necessary for healthy bones and teeth. What is surprising about the work of Weston Price is his discovery that these healthy diets always contained a good source of what he called "fat-soluble activators," nutrients like vitamin A and vitamin D, and another vitamin he discovered called Activator X or the Price Factor. These nutrients are found only in certain animal fats. Foods that provided these nutrients were considered sacred by the healthy groups he studied. These foods included liver and other organ meats from grazing animals; fish eggs; fish liver oils; fish and shellfish; and butter from cows eating rapidly growing green grass from well-mineralized pastures. Price concluded that without a rich supply of these fat-soluble nutrients, the body cannot properly use the minerals in food. These fat-soluble nutrients also nourish the glands and organs to give healthy indigenous peoples plenty of immunity during times of stress.

What Dr. Price's work teaches us is that the absolute fundamental requirement of healthy diets cannot be found in pasta, nor vegetable juices, nor oat bran, nor olive oil, but only in certain types of animal fats. These fats come from animals who consume green, growing organisms (such as grass and plankton), or who consume other animals that have consumed green, growing organisms (such as insects). What is tragic is the difficulty in finding such foods today. Most of our dairy cows spend their entire lives in confinement and never see green grass; chickens are kept in pens and fed mostly grains; pigs are raised in factories and never see sunlight; even fish are now raised in fish farms and given inappropriate feed, like soy pellets. Even worse, most people avoid these foods today because medical spokesmen claim they cause cancer, heart disease or weight gain, even though a number of highly qualified scientists have admirably refuted these charges. Suffice it to say that the patient who is afraid of consuming foods containing animal fats and cholesterol will make no headway in his efforts to improve his diet as these foods are absolutely vital for good health.

In the 1990s legal scholar and public policy advocate Wendy Kaminer published a brace of books engaged with the New Age cultures of recovery and self-help. She represented an Old Left perspective on new superstition, and although she was of the same generation as the cultural studies scholars, she did exactly what Andrew Ross warned academics and elites against. She criticized the middlebrow, therapeutic culture of self-help for undermining critical thinking in popular discourse. She encouraged the debunking of superstition, deplored public professions of piety. Her books were polemical and public interventions that were addressed to the maligned liberal and more or less thoughtful reader who took an interest in the issues of the day. In some ways, her writing was a popularization of some of psychoanalytic theory scholar, sociologist, and cultural critic Philip Rieff’s and Richard Hofstadter’s critiques of a therapeutic culture of anti-intellectualism.77 She speculated that the decline of secular values in the political sphere was linked to the rise of a culture of recovery and self-help that had come out of the popularization of New Age, countercultural beliefs and practices. In both I’m Dysfunctional, You’re Dysfunctional: The Recovery Movement and Other Self-Help Fashions and Sleeping with Extra-Terrestrials: The Rise of Irrationalism and the Perils of Piety, Kaminer publicly denounced the decline of secular culture and the rise of a therapeutic culture of testimony and self-victimization that brooked no dissent while demanding unprecedented leaps of faith from its adherents.78 Kaminer’s work combined a belief in Habermasian rational communication with an uncompromising skepticism about the ubiquity of piety that for her was shared by both conservatives and liberals. For Kaminer, argument and persuasion could no longer be operative when belief and subjective experience became the baseline proofs that underwrote public and private assertions. No speaker or writer was under any obligation to answer his or her critics because argument and testimony were fatefully blurred. When reasoned impiety was slowly being banished from public dialogue, political responsibility would inevitably wane. In the warm bath of generalized piety and radical plurality, everyone could assert a point of view, an opinion, and different beliefs, but no one was under any obligation to defend them. Whereas cultural studies scholars saw themselves contesting dominant forms of discourse and hegemonic forms of thinking, Kaminer saw them participating in a popular embrace of an irrational Counter-Enlightenment. Like Andrew Ross, Kaminer cited Franz Mesmer as an important eighteenth-century pioneer of twentieth-century alternative healing techniques. Mesmer’s personal charisma and his powers of psychic healing and invocation of “animal magnetism” entranced the European courts of the late eighteenth century. Mesmer performed miracle cures and attracted a devoted, wealthy following. Despite scandals that plagued his European career, the American middle class was eager to embrace his hybrid of folk practices and scientific-sounding proofs. Mesmerism projected an alternative mystical cosmology based upon magnets and invisible flows of energy. Mesmer, who was said to control the invisible magnetic flow of forces that operated upon human and animal bodies, built upon a network of wealthy patrons who were devoted to the powers of a charismatic leader, Mesmer himself. Mesmer’s manipulation of magnets and hands-on healing evoked for the French court the ancient arts of folk healing while it had recourse to ostensibly modern scientific proofs. Historian of the French eighteenth century Robert Darnton insisted that mesmerism could not be dismissed as mere quackery or charlatanism but represented a transitional worldview, one that bridged the Enlightenment and the particular forms of nineteenth-century Romanticism that followed.

Michelle Phan grew up in California with her Vietnamese parents. The classic American immigrant story of the impoverished but hardworking parents who toil to create a better life for the next generation was marred, in Phan’s case, by her father’s gambling addiction. The Phan clan moved from city to city, state to state, downsizing and recapitalizing and dodging creditors and downsizing some more. Eventually, Phan found herself sleeping on a hard floor, age 16, living with her mother, who earned rent money as a nail salon worker and bought groceries with food stamps. Throughout primary and secondary school, Phan escaped from her problems through art. She loved to watch PBS, where painter Bob Ross calmly drew happy little trees. “He made everything so positive,” Phan recalls. “If you wanted to learn how to paint, and you wanted to also calm down and have a therapeutic session at home, you watched Bob Ross.” She started drawing and painting herself, often using the notes pages in the back of the telephone book as her canvas. And, imitating Ross, she started making tutorials for her friends and posting them on her blog. Drawing, making Halloween costumes, applying cosmetics—the topic didn’t matter. For three years, she blogged her problems away, fancying herself an amateur teacher of her peers and gaining a modest teenage following. This and odd jobs were her life, until a kind uncle gave her mother a few thousand dollars to buy furniture, which was used instead to send Phan to Ringling College of Art and Design. Prepared to study hard and survive on a shoestring, Phan, on her first day at Ringling, encountered a street team which was handing out free MacBook laptops, complete with front-facing webcams, from an anonymous donor. Phan later told me, with moist eyes, “If I had not gotten that laptop, I wouldn’t be here today.

I’ll often liken the mind to a pool of water. When it is stormy and agitated, its reflection of reality becomes fragmented and distorted. Once the surface of water is calm, however, its reflection of reality becomes much more accurate and even. Life decisions and strategies are much better if they come from such times of calm reflection.

a repressive regime or dictatorship will only allow propaganda and limited versions of reality that fit with the prevailing ideology and beliefs of the tight regime. Any outside information that would contradict the belief systems of the dictatorship are either dismissed and rejected, or distorted out of all recognition until they fit the prevailing propaganda.

For those called to art who do struggle with an overwhelming sensitivity, the creative process can have a therapeutic power. It offers a sense of deep connection.

As you persist with Standing, your qi field becomes stronger and your sensitivity to qi imbalances becomes more precise. This means that you can have a stronger therapeutic effect on a client.

Association of dissimilar ideas “I had earlier devised an arrangement for beam steering on the two-mile accelerator which reduced the amount of hardware necessary by a factor of two…. Two weeks ago it was pointed out to me that this scheme would steer the beam into the wall and therefore was unacceptable. During the session, I looked at the schematic and asked myself how could we retain the factor of two but avoid steering into the wall. Again a flash of inspiration, in which I thought of the word ‘alternate.’ I followed this to its logical conclusion, which was to alternate polarities sector by sector so the steering bias would not add but cancel. I was extremely impressed with this solution and the way it came to me.” “Most of the insights come by association.” “It was the last idea that I thought was remarkable because of the way in which it developed. This idea was the result of a fantasy that occurred during Wagner…. [The participant had earlier listened to Wagner’s ‘Ride of the Valkyries.’] I put down a line which seemed to embody this…. I later made the handle which my sketches suggested and it had exactly the quality I was looking for…. I was very amused at the ease with which all of this was done.” 10. Heightened motivation to obtain closure “Had tremendous desire to obtain an elegant solution (the most for the least).” “All known constraints about the problem were simultaneously imposed as I hunted for possible solutions. It was like an analog computer whose output could not deviate from what was desired and whose input was continually perturbed with the inclination toward achieving the output.” “It was almost an awareness of the ‘degree of perfection’ of whatever I was doing.” “In what seemed like ten minutes, I had completed the problem, having what I considered (and still consider) a classic solution.” 11. Visualizing the completed solution “I looked at the paper I was to draw on. I was completely blank. I knew that I would work with a property three hundred feet square. I drew the property lines (at a scale of one inch to forty feet), and I looked at the outlines. I was blank…. Suddenly I saw the finished project. [The project was a shopping center specializing in arts and crafts.] I did some quick calculations …it would fit on the property and not only that …it would meet the cost and income requirements …it would park enough cars …it met all the requirements. It was contemporary architecture with the richness of a cultural heritage …it used history and experience but did not copy it.” “I visualized the result I wanted and subsequently brought the variables into play which could bring that result about. I had great visual (mental) perceptibility; I could imagine what was wanted, needed, or not possible with almost no effort. I was amazed at my idealism, my visual perception, and the rapidity with which I could operate.

Commercial polyunsaturated oils, such as soy oil, safflower oil, corn oil, cottonseed oil and canola oil, create serious imbalances on the cellular level. They are invariably rancid and a source of cancer-causing free radicals. Furthermore, they are loaded with hormone-like chemicals. The scientific literature indicates that overconsumption of polyunsaturated oils is especially damaging to the reproductive organs like the breasts. Even worse, most of the vegetables oils in our food come in the form of partially hydrogenated vegetable oils. When these altered fats are built into the cell membranes, they inhibit thousands of chemical reactions on the cellular level. Several major studies have definitely correlated consumption of partially hydrogenated vegetable oils with increased breast cancer but this fact is rarely mentioned, even in books that espouse alternative treatments to breast cancer.

In my estimation, Moralistic Therapeutic Deism points to a colossal failure of the imagination regarding both the claims and demands of the gospel. The failure isn’t primarily on the part of youth or even their parents: it’s on the part of the church.

For empty is that philosopher's argument by which no human suffering is therapeutically treated. For just as there is no use in medical art that does not cast out the sickness of bodies, so too there is no use in philosophy, unless it cast out the suffering of the soul – Epicurus

The enslaved soul is sick and needs reviving. In the early centuries of the church, people began to speak of the “cure of the soul.” One of the early church fathers wrote, “For the cure [sometimes translated as “care”] of the soul, the most variable and manifold of creatures, seems to me in very deed to be the art of arts and science of sciences.” He goes on to say that the cure of souls is harder work, more important than healing bodies. Sometimes when we use a therapeutic word like healing, it can sound as if we’re only talking about the wounds and the scars and the hurts we carry around. We do all have those. It’s good to be open about them, but at the core, the disease that really threatens our soul is sin. I am complicit in the sickness of my soul in a different way than in diseases that attack my body. I say yes to greed and lust in a way I don’t say yes to colds and strep throat.

For the artist himself, art is not necessarily therapeutic; he is not automatically relieved of his fantasies by expressing them.

Requiring caretaking and at the same time providing solace, “textiles are often mobilized in the face of trauma, and not just to provide needed garments or coverings but also as a therapeutic means of comfort, a safe outlet for worried hands, a productive channel for the obsessive working through of loss,” explains one art historian.17 Fabric is a special category of thing to people—tender, damageable, weak at its edges, and yet life-sustaining. In these distinctive features, cloth begins to sound like this singular planet we call home. Cloth operates as a “convincing analogue for the regenerative and degenerative processes of life, and as a great connector, binding humans not only to each other but to the ancestors of their past and the progeny of their future,” fiber artist Ann Hamilton has written. “Held by cloth’s hand,” she continues, “we are swaddled at birth, covered in sleep, and shrouded in death. A single thread spins a myth of origin and a tale of adventure and interweaves people and webs of communication.

The type of image you are exposed to makes a clear difference in your health. In a 2014 study led by Dr. Ellen Vincent at Clemson University’s School of Agricultural, Forest and Environmental Studies, researchers found nature images resulted in less pain and a lower diastolic blood pressure. Vincent and her team measured the amount of pain with a group of students with their hands in a bucket of ice water, then repeated the experiment with hospital patients. Nature images had the benefit of reducing pain more than no images at all. Also, nature scenes depicting hazard conditions, such as a storm, did not have a positive effect. Moreover, abstract art was found to cause stress and provided no therapeutic value. Other studies have also found that being surrounded by nature produces a balancing and healing response.

This is kinda cool,” Mike said. “There’s a satisfying sort of rhythm to it once you get the hang of it.” “That’s why people enjoy it,” I said. “It’s very relaxing. Almost meditative. And then of course there’s the sense of accomplishment from making something with your hands.” “I could see that.” “I’ve always thought it was sad that boys in this country aren’t encouraged to do handicrafts more, because they can be very therapeutic. But we’ve developed this ridiculous idea that the hearth arts are feminizing and anything feminine is inherently weak, which prevents men from pursuing them.” “Like how the girls all took home ec and the boys took shop class,” Mike said. “Exactly,” I said. “Although they’ve done away with home ec and shop at most schools these days. But you still see it in scouting. Boy Scouts learn wilderness survival skills, while in Girl Scouts it’s often more about cooking and sewing and selling cookies.” Mike frowned at his yarn. “It never even occurred to me when I was a kid to ask my mom to teach me how to knit. I remember she taught my sister, or she tried to, anyway. I learned how to change the oil in my dad’s car instead, which isn’t nearly as much fun.” “It’s arguably a bit more useful I suppose.

there is rarely only one way to treat a cancer successfully. As Keith Flaherty, a medical oncologist and the director of developmental therapeutics at Massachusetts General Hospital, explained to me, the best strategy to target cancer is likely by targeting multiple vulnerabilities of the disease at one time, or in sequence.

Some teachers refuse to call themselves teachers, because they feel they have nothing to teach; their teaching consists in their merely being present. And so on. Psychologist Guy Claxton, a former disciple of Bhagwan Rajneesh, has found the image of the guru as teacher somewhat misleading. He offers these comments: The most helpful metaphor is . . . that of a physician or therapist: enlightened Masters are, we might say, the Ultimate Therapists, for they focus their benign attention not on problems but on the very root from which the problems spring, the problem-sufferer and solver himself. The Master deploys his therapeutic tricks to one end: that of the exposure and dissolution of the fallacious self. His art is a subtle one because the illusions cannot be excised with a scalpel, dispersed with massage, or quelled with drugs. He has to work at one remove by knocking away familiar props and habits, and sustaining the seeker’s courage and resolve through the fall. Only thus can the organism cure itself. His techniques resemble those of the demolition expert, setting strategically placed charges to blow up the established super-structure of the ego, so that the ground may be exposed. Yet he has to work on each case individually, dismantling and challenging in the right sequence and at the right speed, using whatever the patient brings as his raw material for the work of the moment.1 Claxton mentions other guises, “metaphors,” that the guru assumes to deal with the disciple: guide, sergeant-major, cartographer, con man, fisherman, sophist, and magician. The multiple functions and roles of the authentic adept have two primary purposes. The first is to penetrate and eventually dissolve the egoic armor of the disciple, to “kill” the phenomenon that calls itself “disciple.” The second major function of the guru is to act as a transmitter of Reality by magnifying the disciple’s intuition of his or her true identity. Both objectives are the intent of all spiritual teachers. However, only fully enlightened adepts combine in themselves what the Mahāyāna Buddhist scriptures call the wisdom (prajnā) and the compassion (karunā) necessary to rouse others from the slumber of the unenlightened state. In the ancient Rig-Veda (10.32.7) of the Hindus, the guru is likened to a person familiar with a particular terrain who undertakes to guide a foreign traveler. Teachers who have yet to realize full enlightenment can guide others only part of the way. But the accomplished adept, who is known in India as a siddha, is able to illumine the entire path for the seeker. Such fully enlightened adepts are a rarity. Whether or not they feel called to teach others, their mere presence in the world is traditionally held to have an impact on everything. All enlightened masters, or realizers, are thought and felt to radiate the numinous. They are focal points of the sacred. They broadcast Reality. Because they are, in consciousness, one with the ultimate Reality, they cannot help but irradiate their environment with the light of that Reality.

The essence of creativity transcends the ephemeral nature of existence, for it possesses the power to weave together the scattered fragments of our being into a cohesive tapestry, akin to a cinematic masterpiece, allowing us to behold the raw beauty of our lived experience. This art form is not merely a source of aesthetic pleasure but a therapeutic balm that imbues us with the ability to become more fully human, for without it, the disparate moments of our lives would remain as lifeless shards, scattered haphazardly upon the floor of our souls.

One might say that instead of regarding psychoanalysis primarily as a therapeutic method, Lacan envisions it as a profoundly philosophical undertaking that—a bit like traditional renderings of the art of living—possesses the potential to revise the subject’s perception of the basic orientation of its existence.

We all know that we can’t change the past, but sometimes we may need a little help to let it go.

It can of course be suggested that it takes little courage for two strong eighteen-year old hoodlums, let us say, to beat in the brains of a candy-store keeper, and indeed the act—even by the logic of the psychopath—is not likely to prove very therapeutic for the victim is not an immediate equal. Still, courage of a sort is necessary, for one murders not only a weak fifty-year old man but an institution as well, one violates private property, one enters into a new relation with the police and introduces a dangerous element into one’s life. The hoodlum is therefore daring the unknown, and so no matter how brutal the act it is not altogether cowardly.

But, as I have written elsewhere, for the artist himself art is not necessarily therapeutic; he is not automatically relieved of his fantasies by expressing them. Instead, by some perverse logic of creation, the act of formal expression may simply make the dredged-up material more readily available to him. The result of handling it in his work may well be that he finds himself living it out. For the artist, in short, nature often imitates art. Or, to change the cliché, when an artist holds a mirror up to nature he finds out who and what he is; but the knowledge may change him irredeemably so that he becomes that image.

Trans-therapeutic (humanistic) psychoanalysis revises some of Freud's theories, particularly the libido theory, as being too small a basis for the understanding of man. Instead of centring on sexuality and family, it claims that the specific conditions of human existence and the structure of society are of more fundamental importance than the family, and that the passions motivating man are essentially not instinctive but a 'second nature' of man, formed by the interaction of existential and social conditions.

,Coloring is not just art—it's therapy for the soul. Escape into a world of nature, where every stroke brings peace, and every shade tells a story.

The God Commandment (Sonnet) Love who you like, stay single if you choose. Have kids when you like, or abort if you choose. Keep god or not as you need, convert to whatever you like. There is no other grand design, except a beautiful human mind. What you believe or don't is of no consequence, one true god or another. Imaginary friends are often therapeutic, just don't thrust your friend on another. In my heart there is Mecca, in my heart there is Bethlehem. Humans come first, gods are disposable, human choice is the God commandment.

What you believe or don't is of no consequence, one true god or another. Imaginary friends are often therapeutic, just don't thrust your friend on another.

Keep god or not as you need, convert to whatever you like. There is no other grand design, except a beautiful human mind. What you believe or don't is of no consequence, one true god or another. Imaginary friends are often therapeutic, just don't thrust your friend on another.

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