The role of place in mental health recovery

“Place for being, doing, becoming and belonging: A meta-synthesis exploring the role of place in mental health recovery” (2018) — Doroud, N., Fossey, E., & Fortune T.

In this paper, Doroud, N., Fossey, E., & Fortune, T. discuss the role of place in the recovery of mental illness. Through a clinical perspective we can understand recovery as a cure, or an elimination of all symptoms of the condition. However the concept of recovery is much more complex and must be analyzed through other perspectives. For instance, we must consider the significance of social aspects. The ways in which people experience place (i.e. connecting with others, creating meaning, participating in the community, etc.) are extremely important to the recovery process.

The Ateliers Living Museum has successfully built a ‘sense of place’ for the patients, staff, etc. Here is a safe space where patients are able to interact with one another, create a collective meaning about the space, and all value art as a means of therapy. It is this sense of place that we are interested in translating into the city of Wil.

“Exploring the role of ‘enabling’ places’ in promoting recovery from mental illness: A qualitative test of a relational model” (2012) — Duff, C.

Cameron Duff explores how the theoretical model of ‘enabling places’ can help us understand the role of place in promoting recovery from mental illness. An enabling place can be understood as a place that allows for the recovery from mental illness through social, material, and affective resources. Perhaps not as obvious as social and material, affective resources capture the feeling of a place.

What we were able to take away from Duff’s study, was that place plays an important role in the recovery process. We know this from the research of Doroud, N., Fossey, E., & Fortune, T (2018). Unlike their research however, place is not only about the social aspects, but the material and affective as well.

Furthermore, we are using methods similar to those found in Duff’s study used. His participants completed an exercise where they prepared a map of their local environment, marking out significant/meaningful places; they were even asked to identify their favourite places. We are also including a mapping exercise in our cultural probe, where we ask the patients to draw a map of their route from their home to the ceramics atelier.

Participatory design

“Participatory Design to Support Serious Mental Illness” (2018) — Snyder, J.

In this pilot study, Snyder and his team used participatory design methods to better understand how we can design technology for vulnerable populations. More specifically, they hoped to gain insight into the failures/shortcomings of self-tracking data for individuals diagnosed with bipolar disorder. The main issue with this kind of technology is that it relies upon some idea of what normal is, and this narrow definition is not well-suited to this group of people.

In order to gain a better understanding of this population, Synder and his team sit down with individuals who have been diagnosed with bipolar disorder. Using different methods, they ask the individuals to describe their disorder and clarify how the manage it (e.g. draw a line that represents their experience with bipolar disorder, find images that resonate with how you feel about the disorder, etc.).

From this example of participatory design we were able to reflect on our practices in the Ateliers Living Museum. For instance, we need to reassure the patients that there is no right or wrong answer.

“We learned that it was not only ethically imperative to identify ourselves as technologists and not clinicians, but that we also needed to convey to participants that we valued their perspectives outside of a clinical or diagnostic context”

Snyder, 2018, p. 5

Furthermore, we can learn from Snyder’s techniques and methods, how to better understand the experiences of people. Perhaps instead of only asking questions, we can use cultural probes to provoke responses, varying in quality.

Art therapy

“Art Therapy and the Aesthetic Environment as Agents for Change: A Phenomenological Investigation” (2013)— Lazarus-Leff, B.

In her study concerning individuals with traumatic brain injuries (TBI), Lazarus-Leff investigates the hypothesis that a change in the immediate environment (via personalization of the space) will positively affect the attitudes and behaviour of the individual, as well as the family. While she admits that changing the aesthetic quality of an environment is quite subjective, especially for an individual who is reliant on others to make decisions for them, she claims that, “helping clients restore balance to their sense of aesthetics may simultaneously improve their inner state of psychological balance” (p. 122). Using the Rancho Los Amigos Levels of Cognitive Functioning, a measure to examine responses to environment, Lazarus-Leff suggests that a positive change occurred with the study participant, as well as their family. She believes that the ability to change one’s own environment allows for self-expression, control, and decision making (p. 125).

While we are not working with patients who have suffered from traumatic brain injuries, or who cannot answer for themselves or make decisions, this study shows how art therapy is not only about the activity itself, but also taking note of the environment. In our case, it is important to understand that the ceramics atelier is not only about the process of making ceramics, but also the environment itself. We have recognized a specific feeling of the atelier environment and would like to transfer this to another place. What is now important is discussing with the patients how they understand the atelier themselves, otherwise we are making our own interpretations. Furthermore, we need to allow the patient’s to express themselves and also make decisions.

Guerilla art/art activism

“Arts Activism: Praxis in Social Justice, Critical Discourse, and Radical Modes of Engagement” (2011)— Newton, K.F.

With a professional background in visual art, art therapy, art education, and art activism, Newton, K.F. describes a course she developed for Lesley University, in Cambridge, MA, to highlight the relationship between art therapy and arts activism… She states, “arts activism is about making the invisible visible” (p. 52).

Social artwork in the city of Wil

“Eine Ausstellung, die irritirien soll” (2015) — Tagblatt

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Based on our brainstorm session we started to assemble the cultural probe. The probe consisted of four main parts.

-The Map
-The Post Cards
-Prefabricated Objects
-Work Material

With these we wanted to explore the boundries of the ceramics studio, its atmosphere, and the changes from atelier to home.

For the map component we provided a pre rastered paper with the request to draw their way from at home to the ceramics-atelier. Additionally we asked them to mark locations they especially like. Ideally this would get us closer to how they view the transition between atelier and home.

The post cards were print outs of four art pieces. Two are displayed in the town of Wil SG, works the patients had probably seen at some point. The others were examples of guerilla art. We asked patients to answer a set of questions to these pictures:

selected pictures on the postcard from left to right: Sonja Rüegg – “h”, Unknown (UK) -Guerilla Knitting, Nate Swain – Lego Filling, Roman Signer – Wasserbett

The concept of the prefabricated objects was to present the patients with three figures to place into their environment in public, i.e. along their way from the studio back home, or in a place they deemed fitting for the object provided.

They were presented with a Kinder Surprise, a colourful formation of three rocks and a 3d-print of a chicken with a human head.

The Kinder egg or its contained figurine represent a familiar concept with slight assembly required, though often seen as disposable. The rocks are a more natural thing to find along a path, but especially due to the colour retain a certain air of constructed artifacts. This object also takes the role of a more abstract piece. Finally, the chicken was included as a more finished work, with a certain ambivalence owing to the head.

The patients were instructed to place these in various places and to take photos of them and their environment using their smart phones. We provided a link to a survey page using zoho.com, on which they could upload their pictures. We chose this service partially due to its comparative ease of use and as it allows users to upload photos anonymously with no sign in required.

We saw this part of the probe as a preliminary step towards placing their own work into a public environment, just using objects we provided. We hoped to gain insight as to how they would select a location and how they would experience this act.

For the last part of the probe we provided a block of FIMO for them to create a small piece at home. This way, we aimed to explore how acts of creativity manifest at home and how they differ from similar acts in the studio.

While specifying, what we would include in our cultural probe, we focussed on bringing an unusual element into the familiar surrounding of the home of a patient. Narrowing down, we faced the question of, though we had a myriad of ideas, what we actually wanted to find out with these probes. We tried to find ways to help sparking a small creative process whose output we could interpret. These we wrapped up into a small scale set which we aimed to keep easy to use, friendly and balanced between being concise and open to elaboration by the patients.

We named our probes “Etwas von dir” (“Something from you”) to stay away from the feeling of being observed, the questions to the post cards were hand written to engage with a more personal feeling and we created english versions of the probes as to not exclude patients with a language barrier.

Today we were given a lecture on cultural probes from Dr Jean-Baptiste Labrune. While JB discussed many aspects of probes, what struck us the most was how they can be used to provoke an inspirational response.

In our case we are interested in better understanding the feeling of the ceramics atelier, in order to translate it into another space. However, we are simply observers of this environment; outsiders looking in. To even begin comprehending this sense of place we need to develop certain methods (i.e. cultural probes). Our cultural probe will most likely include the following:

1. FIMO/Mockup Object
2. “Kroki” Map
3. Postcard
4. Disposable Camera

During 30 minutes we came up with prototypes for probes and activities with patients.
We focused on potential modular systems and objects which could be modified in very simple creative ways. These could be given to patients who could adapt them and place them into their environment.

Other interesting aspects might be creating a standard part that can be elaborated upon by them. This could be used to both simplify placing an object into the environment as well as connecting and furthering them.

Introduction to Ateliers Living Museum

During our first week of the Interaction Design Process class we visited the Ateliers Living Museum Wil for the first time. We were greeted by Dr. paed. Rose Ehemann, leader and founder of the museum/atelier. She began with a brief introduction to the space, explaining how it was inspired by the philosophy of the living museum in New York. Afterwards we walked through each atelier (i.e. ceramics, art & media, paper, and glass & wood) and were introduced to various staff. At this point we began to realize our immediate impact on the surrounding environment. As the majority of the patients were concentrated on their work, it felt as if our presence was intrusive.

If we had to describe our overall impression it would be one of surprise. We were overwhelmed by the size of the facility, the choices of mediums available, the variation of work, and the freedom of the patients. Perhaps most striking however was this feeling of creativity that enveloped you once you entered the space.

Getting to Know Patients & Their Creative Process in the Ceramics Atelier | Day 1

The first day conducting field research was not about interviewing or filming patients, but gaining a sense of trust and understanding of how they work in the ceramics atelier. When we arrived at there, Stefan, head of the ceramics atelier, briefly introduced us to the patients there at the time. Immediately we were welcomed and asked to join in the ceramics process. The four of us spread out and began introducing ourselves individually to the patients at the tables we were working at. This was a wonderful way in which to meet patients. We were able to engage with them using ceramics as conversation starter. As most of us have little to no experience with modelling clay the patients shared their techniques and we were able to ask about their work.

Introducing Ourselves as Students | Day 2

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After building a certain level of trust with patients on the first day, we began to introduce ourselves more as design students who are working on a project together with them. Earlier that day we prepared a set of questions that would hopefully help us to better understand the patients and how they work creatively, both individually and collaboratively, as well as how they view/participate in the community at the atelier. Our questions were quite broad, but we were attempting to gain an initial understanding of this feeling provided for the patients in the ceramics atelier. It is maybe important to note here, although we were interviewing patients, our interview style was still conversational. We still focused on feeling the mood and understanding the limits of each patient. Below are the set of questions we prepared, along with the responses of some of the patients:

Where are you creative? (i.e. home, atelier)

• Everything is here in the ceramics atelier already, including a means of feedback. For this reason it is harder to find the motivation or help to be creative —Plate & Face
• I have to come to the atelier to be creative. At home I’m too distracted by other things —Pinguin
• I’m a cook myself, there I can be creative (I’m just doing pottery for the restaurant I’m currently working). I also do graffiti, but it is hard to find legal spaces for that —Tapas-Bowl
• I paint at home, but the ceramics-atelier is a nice place for me because I can do (useful) things, which I can’t do at home —Vase
• I have a small atelier at home, I work with felt and paint —B

How do you see yourself as an artist?

• Enjoys being creative, but does not define himself as an artist —Plate & Face
• Works precisely —Plate & Face
• Almost arrogant to call yourself and artist; someone must label you as that —Plate & Face

What inspires you?

• Other patient’s work (i.e. flowers), etc. —Plate & Face
• My surrounding (relatives, domestic animals) —Pinguin
• Things I see in shops… —?

How does art make you feel?

• More about the process than the final product —Plate & Face
• It’s not necessarily even about the result, It’s nice when it works out —B

What do you do with your art? (i.e. throw away, keep, etc.)

• Toss, create something useful, a gift, or just explore material —Plate & Face
• I took part in some exhibitions from the clinic —Pinguin
• I’ve sold some of my work, which makes me proud —Pinguin
• I make gifts to my friends, family etc. —Pinguin
• I’ll bring my pottery to the restaurant I’m working at the moment (for serving tapas) —Tapas-Bowl
• I take them home, slowly there’s no space left though, I make some specifically for people, family or friends —?

What do you like about ceramics as a medium?

• Able to work with hands —Plate & Face
• It is so easy to add and remove clay on the fly, which you can’t do with other materials/techniques (e.g wood) —woman1

What other forms of art do you enjoy?

• Describes himself as creative; plays the violin (enjoys classical; hopes to explore jazz, and irish) —Plate & Face
• …used to work as a poster designer,(…) screen printing —B

How do you exhibit your work?

• Feels no need to exhibit work —Plate & Face
• Not necessarily proud of work —Plate & Face
• At the exhibitions of the living museum —Pinguin
• I don’t feel good enough to exhibit ceramics. One thing I made otherwise, there’s a book coming out in England, by someone who also did a research project here, my work is on the cover —B

Do you wish to learn other things in the ceramics atelier? (i.e. oven, recycling process)

• Interested in seeing how the oven works —Plate & Face

How often are you in the ceramics atelier?

• 5x/week —Plate & Face
• 2x/week —Pinguin
• 1x/week, that’s all that was approved —B

How would you describe the community?

• Not a strong community feel, but people interact and sometimes exchange phone numbers —Plate & Face
• There are a lot people who take hard medicaments, which makes it hard to build a constant relationship, since they’re not mentally stable —Pinguin
• Just being here, I know most of the people here, some I’ve known for years —?

How do you meet people here?

• Ask each other about techniques (i.e. rose leaves) —Plate & Face
• It’s all about empathy, openness, some people don’t want to interact much, (…) one has to respect that —B

What do you do in your free time?

• Not much? —Plate & Face
• I’m going to play basketball afterwards —Tapas-Bowl

How do table arrangements work in the ceramics atelier?

• The table arrangements are more about who people want to work with/beside —Plate & Face

How do you feel about group work/projects?

• Group work can be difficult, as many people are coming and going quite often. However, many different techniques coming together could be nice —Plate & Face

What do you think about creating ceramics for the ateliers-living museum? (i.e. ash trays)

• Nice possibility, but not mandatory —Plate & Face
• I think those are more likely things that people didn’t want to take home —B

Can you describe the importance of the ateliers-living museum for you?

• “I would stay longer if I could” —Plate & Face
• Very important. It gives me stability in my life since about 10 years —Pinguin

Knowledge Gained

Not every technique for conducting interviews is suitable. It might be the case in our situation that recording is better, because the interview may become more of a conversation that flows naturally. In addition, you would be recording the interview word for word, instead of taking notes and potentially misinterpreting in the moment what the patient means. Lastly, taking notes may distract and/or affect the behaviour of the person being interviewed.

Shifting Focus

Our original question was “how do rituals provide stability?” More specifically, we wanted to explore how rituals could potentially ease the transition between the Ateliers Living Museum and the home. However, after spending two days in the field we began to understand that the entire process of working in the ceramics atelier is a ritual in and of itself; it’s not a collection of rituals you can separate and look at individually. In this sense the ceramics atelier provides more of a feeling to the patients. As a result we became interested in how to bring this feeling of the ceramics atelier to the home, or using it as a means of transition between the home and the ceramics atelier.

Imagined Scenarios

One of the ethnographic techniques we were introduced to by Nicole was this idea of “what if…” statements. The idea behind this method is to simply ask “what if…” and consider the consequences, whether they are positive, neutral, or negative, of carrying out this concept or project. The “what if…” questions; if we were to carry out a project what would the consequences be, both positive and negative

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