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July 18th, 2010
Portions Grow in Art of the Last Supper
Medical researchers and art historians recently engaged in a food fight about the meaning of changes in the portions and plates represented in pictures of the Last Supper.
The volley began with the publication in the May 2010 International Journal of Obesity of “The largest Last Supper: depictions of food portions and plate size increased over the millennium.” The article documented results of the examination of 52 realistic depictions of Jesus’s last meal with his disciples.
The scientist brothers who co-authored the piece, Brian and Craig Wansink, observed that “the relative food-to-head ratio in 52 representative paintings of the Last Supper showed that the relative sizes of the main dish (entree) (r=0.52, P=0.002), bread (r=0.30, P=0.04), and plates (r=0.46, P=0.02) have linearly increased over the past millennium.”
(A note for the uninitiated: P stands for the probability that results could be due to chance. The lower the number, the more likely they’re not. Not everyone believes that this method is reliable, but it’s currently the gold standard of proof.)
The Wansinks suggested that current increases in portion sizes have a long history, and used their findings to support that hypothesis. Assuming that such changes would be documented in representations of meals, they chose to look at the Last Supper because of how common a subject it’s been.
Art historians take issue with those conclusions. Objecting to the choice of the Last Supper as a typical meal, Jon Seydl, curator of European Paintings and sculpture at the Cleveland Museum of Art, shared his ideas with ARTNews (Summer 2010). The focus of the subject is not “about the act of eating food together,” he explained; it has a “specific Christian context.” He also posited that changes in portion size might be related to the emergence of “still life as an independent genre” and/or changes in plate sizes over time.
Rudolph Bell, author of How to Do It: Guides to Good Living for Renaissance Italians, agreed with the need to look at “the increasing importance of still life over the centuries,” pointing out that “what seems realistic in the 18th century is going to be different from what feels realistic in the 13th.”
Weighing in on significant developments in the history of cuisine, John Varriano, author of Tastes and Temptations: Food and Art in Renaissance Italy, talked about the increase in the variety of things in general and food in particular from medieval to Renaissance times. In the 16th and 17th centuries, artists and cooks liked to strut their stuff by loading plates and tables with artfully created spreads.
The lack of specificity in biblical texts concerning what was served at the Last Supper gave artists the opportunity to follow the example of chefs preparing 30-course meals based on the greatly expanded cookbooks of the time. “But,” said Bell, “that doesn’t necessarily mean people were eating more.”
What about another observation made by the Wansinks, that average head size increased concurrently with portion size? Martin Kemp, professor emeritus of art history at Trinity College, Oxford, and author of many books on Renaissance art, scoffed at the significance of that finding.
Reminding readers that over the years as representation became more naturally realistic and less stylized and symbolic, pictures of the infant Jesus, and children in general, looked less like miniature men and more like typical babies with proportionally larger heads than bodies. “If you applied [the Wansinks’] methods,” Kemp quipped, “you would decide that over the course of the centuries children’s heads got markedly larger.”
Although one might question these particular findings as proof that portion sizes have grown over many years, no one can dispute the extensive evidence that excess consumption is not a recent invention. Humans, in times of abundance, have always overindulged. Survival depends on feasting in preparation for the next famine. Evolution just hasn’t caught up with the reality of a food industry that purveys more for less, with less (nutritional value, that is) and woe to the human species because of it.
Posted in Art Historical Musings |
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July 16th, 2010
Vatican Codifies Pedophilia As Offense Against Church
In the latest revisions to the internal laws of the Catholic Church (as reported by The New York Times), the Vatican has grouped pedophilia with heresy, apostasy, schism and attempts to ordain women, all threats to the church itself. Additionally, the new amendments omit recognition that sexual abuse of children is a crime.
“It’s not for canonical legislation to get itself involved with civil law,” explained Charles J. Scicluna, internal prosecutor for sexual abuse cases. It’s not for it to ignore it either. In earlier guidelines, lacking the force of canonical law, bishops were advised to report sexual abuse to local authorities where laws mandated such actions. Such directions don’t appear in the revised laws.
Additionally, the statute of limitations was increased from 10 to 20 years after the victim turns 18. But those with any knowledge about the long-term impact of sexual abuse on children know that there can be a significant delay in the survivor’s ability to both remember and report such trauma. Limiting reporting, and not holding priests responsible even years later, does nothing to support survivors.
The changes were touted by Scicluna as “…a signal that we are very, very serious in our commitment to promote safe environments and to offer an adequate response to abuse.” The revisions speak more to the Vatican’s desire to promote a safer environment for itself.
There can be only one appropriate and indeed moral response to dealing with those accused of sexually assaulting children: to report them to the police for investigation and to remove them immediately from any contact with children. If found guilty, they must be held accountable. For the Pope to continue to take the law into his own hands in such matters represents a negation of his professed role as spiritual leader and raises the question of whether he even knows the right thing to do.
Posted in Therapist Musings |
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July 16th, 2010
Exercise Builds Strong Brains
Add one more benefit to getting off the couch and moving. Though scientists have known for a while that exercise increases neurogenesis (brain cell production), resulting in better thinking, until now they didn’t know just how that happened. Recent animal studies described in The New York Times uncovered the process.
A chemical circulating throughout the body, bone-morphogenetic protein (BMP), curbs cell proliferation by preventing stem cells from dividing and developing into the assortment of cells that keep the body going. The brain contains lots of stem cells just waiting to become neurons but with aging, BMP becomes more active and neurogenesis, and mental agility, declines.
Mice given access to running wheels showed drops in BMP production of about 50 percent within a week. At the same time, the BMP antagonist Noggin (a protein that interferes with BMP’s activity) increased. When mice were injected with Noggin, they showed great prowess in mazes and other tests of smarts.
But before drug companies rush to create a Noggin pill to be used and abused by those who want the benefits of exercise without the sweat, consider the unintended consequences of its overuse.
Noggin added to mice stem cells in petri dishes resulted in runaway production of neurons through its interference with BMP’s ability to check such growth. Sedentary mice injected with Noggin showed similar results; eventually the stem cells exhausted themselves and everything slowed to a crawl.
What does that mean for the real world effects of exercising? Is it possible to overdo it? So far there’s no evidence of that; the revved up neurogenesis eventually plateaus.
It doesn’t take much to get results, either. So don’t wait around for the pill that does it all. Take a walk, jog, swim or bicycle. Even a little can keep the brain young and spry.
Posted in Therapist Musings |
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July 14th, 2010
Understanding, Recognizing & Treating
Dissociative Disorders in Children & Adolescents
When children are sexually abused, particularly within their families, they are trapped. Lacking the power and resources to leave or fight back, they dissociate, hiding core aspects of themselves within. In an incestuous family, where the abuse is ongoing over a period of time, some children develop internal worlds, splitting off entire parts of themselves, developing other, incomplete selves. This workshop will help workers recognize Dissociative Disorders in children and adolescents, and provide guidelines for treating them.
September 30, 2010
9:30am – 4:30pm
Good Shepherd Services
Human Services Workshops
12 West 12th Street
New York, NY 10011
(212)243-7070 x479
Sign up for workshop #262
Posted in Upcoming Presentations |
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July 9th, 2010
Facial Expression Recognition Develops Over Time
The ability to decipher the emotional content of facial expressions requires time to develop, according to a recent study, and disgust takes the longest. Not until age five can most children tell the difference between disgust and anger. In fact, until age three, children see the world of faces divided into two types: happy and angry.
Perhaps only with the development of the left (verbal and logical) side of the brain do children become equipped to decode what faces communicate. That process doesn’t start till age two and doesn’t advance enough till age seven to dominate the right (emotional) side of the brain.
In research described in Science News, scientists came up with a developmental timetable based on observations of very young children. They found that most three-year-olds correctly linked faces to happy, angry and sad. Four-year-olds stopped misattributing angry faces for other expressions, and by age five children could recognize disgust as such. The report omitted mention of surprise and fear, the other two of the six major emotions previously believed to be innate across cultures.
Yet well before children possess the visual acumen to read faces, they can use the language of emotions appropriately, with words like “gross” and “yucky,” for example, to describe the experience of disgust.
Anyone who interacts with children regularly would be well advised to keep in mind these new discoveries. Trying to teach a toddler to refrain from ingesting nonfood objects by turning up one’s nose at them just won’t do the trick. And looking at a child with anything other than a happy face will be read as anger. It might make more sense to describe rather than display those other feelings.
Posted in Therapist Musings |
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July 9th, 2010
Serotonin Transport Gene Implicated Again
Already linked to depression and PTSD, the 5-HTT gene has been found to play a role in how bullying affects its victims. Having two short versions of the gene seems to predispose a bullied child to developing emotional problems severe enough to require treatment.
In a study described in Science News, researchers looked at sets of twins with identical versions of 5-HTT where one had been bullied and the other not. The results showed that 33 percent with the two short versions had symptoms of depression, anxiety and/or social withdrawal. One long and one short version conferred some protection; 29 percent had severe problems. The most resilient bullied children had two long forms of the gene; only 15 percent had observable negative reactions.
The 5-HTT gene, which has a critical role in regulating serotonin, the neurotransmitter involved in mediating stress and producing feelings of wellbeing, continues to be linked with how well a child responds to stressors. In other research, teenage girls who suffered various kinds of ostracism by their peers had worse outcomes than those fortunate enough to have two long, or even one long and one short, gene.
Important to keep in mind: a significant majority of even those children with short versions of 5-HTT do not develop serious symptoms. While such a combination does not doom children to misery, having it probably explains why some adults who were abused as children do better than others. It’s long past time to stop blaming victims for their negative reactions to their childhood trauma.
Posted in Therapist Musings |
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July 6th, 2010
The Impact of SSRIs on the Developing Brain
These days many depressed women contemplating pregnancy face the dilemma of whether to take antidepressant medications and risk harming the fetus or avoid the pills and suffer other consequences. Now, a growing body of knowledge offers them help with this decision though it still remains a tough call.
The most popular medications for depression, the selective serotonin reuptake inhibitors (SSRIs) such as Prozac, Zoloft, Paxil and others, work by preventing neurons (brain cells) from reabsorbing serotonin, a neurotransmitter involved in mood regulation. Keeping more of it around in the synapses (spaces between the neurons) increases feelings of well-being and decreases activation of other brain chemicals like those in the limbic system involved in sex, aggression and overeating.
Because of the powerful effect SSRIs have on brain functioning, researchers have been concerned about their effect on brain development. A recent study, discussed in Science News (June 5, 2010), revealed that “…children exposed to antidepressants in the womb are more likely to appear sad or withdrawn at age 3 than those whose moms didn’t take the drugs.” In other cited research, “…babies born with SSRIs in their systems had lower birth weights and were more likely to experience respiratory distress.”
Earlier animal studies linked antidepressant use in pregnant mice and rats with anxiety and depression in their offspring. On the positive side, some animals showed “improved decision-making and spatial-learning abilities.” In other animal experiments using SSRIs, additional effects of these antidepressants included “faulty brain organization and abnormalities” and an increased sensitivity to serotonin.
It makes sense that the brain would be affected by artificially altering exposure to serotonin prior to, or during, the development of the system that regulates it, whether through medication or the stress of depression. One theory holds that there is a critical period for the creation of the network of serotonin sites throughout the central nervous system. During this time, if there’s too much serotonin already in the system, fewer sites would be established, and if there’s too little, too many sites would be produced, both outcomes affecting a child’s ability to cope.
Some researchers have explored other variables in interpreting the results of these studies. Might the mother’s depressed mood also impact the baby’s serotonin system? Depressed women have difficulty with self-care. They are less likely to eat properly, exercise and get proper sleep, and are prone to risky behaviors like using drugs and alcohol, all of which can affect serotonin levels in the baby’s brain. In studies that followed mothers and their children’s adjustment for three years, researchers showed that a mother’s current anxiety level played a more important role in their children’s adjustment than her mood during pregnancy whether or not she used SSRIs.
Genetics also plays a part in brain development. The serotonin transporter gene (SLC6A4), implicated as a factor in susceptibility to depression and PTSD, has several variants. Findings in one study showed that children with two short copies of the gene (less efficient serotonin reuptake) whose mothers were depressed during pregnancy tended toward depression and anxiety at age three. Children with two long copies (more efficient reuptake) whose mothers were anxious during pregnancy showed increases in aggression at followup regardless of whether their mothers were on antidepressants.
What’s a depressed mother-to-be to do? Clearly the stress of maternal depression has its own documented negative effect on the baby-to-be. But taking SSRIs has potential for harm as well. Since SSRIs have been shown to be most effective for moderate to severe depression, perhaps milder depression can be treated in nonchemical ways. A woman needs to do her research, speak to her practitioner and consider her own individual circumstances in order to make an informed decision that minimizes the risks.
Posted in Therapist Musings |
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July 4th, 2010
Painted Drawings by Dorothea Tanning & Leon Golub
Situated in the Soho section of Manhattan, The Drawing Center with its annex, The Drawing Room, exists to promote drawing as an artistic practice in its own right. Since 1977, when this nonprofit exhibition space was established to foster emerging and under-recognized artists, it has mounted shows of historical, contemporary and innovative work. Designed to demonstrate the important place of this modality in the art of many cultures, many genres and many eras, The Drawing Center has brought a much needed emphasis to drawing as the foundation of all art.
The notion of what constitutes a drawing has broadened considerably since the first prehistoric tracings of hands on cave walls millennia ago. During the Renaissance, Michelangelo said of this art form,
“Let this be plain to all: design (disegno), or as it is called by another name, drawing (tratto), constitutes the fountain-head and substance of painting and sculpture and architecture and every other kind of painting and is the root of all sciences.” (1)
Times change and many of the drawings exhibited over the years by The Drawing Center might have left the Old Master pulling at his beard.
The drawings of Dorothea Tanning’s Early Designs for the Stage on view in The Drawing Room consist of watercolor or gouache and ink on paper while across the street at The Drawing Center, the drawings in Leon Golub: Live & Die Like a Lion? are mostly oil stick and ink on vellum or Bristol with the occasional paper and acrylic.
All these paintings, although works of art in their own right, were designed for specific purposes. In the case of Tanning’s, they provided instructions for creating costumes and sets for three ballets. For Golub, they expressed ideas that, had he the time and the strength, would have found their way into his usually expansive paintings.
The 99-year-old Dorothea Tanning (b. 1910), the oldest living surrealist, met the choreographer George Balanchine in 1945 at a party hosted by New York art dealer Julien Levy. Soon after, they began collaborating on producing the ballet Night Shadow (using music arranged by Vittorio Rietti based on operas by Vincenzo Bellini) in which the Poet becomes enamored of the Coquette at a masquerade ball, meets the Somnambulist (sleep walker), ends up murdered by the Host at the behest of the jealous Coquette and gets spirited away by the Somnambulist.
The otherworldly quality of La Sonnambula (the name by which it has been known since its 1960 staging) and of the other two ballets for which Tanning also designed sets and costumes, Bayou and The Witch, provided fertile ground for the artist’s surrealistic imagination. The fantastic characters depicted appear to have stepped right out of Tanning’s paintings though their rendering suggests images from children’s picture books. Gracefully executed, they both delight and intrigue.
With some of the same mystery inherent in Tanning’s creations, in works he produced during the last five years of his life, Leon Golub (1922-2004) stared down his own mortality. At 72, no longer able to summon the physical effort required to execute the large paintings he developed with repeated scraping and repainting, Golub returned to his roots as a draftsman. After studying drawing at the School of the Art Institute of Chicago in the late 1940s, he had spent the next two decades producing large, graphically based works. It wasn’t until the 1970s and 1980s that he shifted his energies toward painting.
In an interview that took place five months before Golub’s death, the artist had this to say about drawing:
“There’s something about a big painting that says, ‘Let’s be serious, this is a big item!’ Just by scale and ‘cosmic’ intentionality!…A small drawing says, ‘You don’t have to be so tight! OK? If you flub it, so what? The wastebasket is under the table!’” (2)
Considering how harshly most artists criticize their own work, Golub’s wastebasket must have been a treasure trove of discards. Nonetheless, 440 eight by tens did survive, about 60 of which were on display in the huge square gallery of The Drawing Center, punctuated by two centrally located vitrines containing, in one, the contents of a folder of photographs, ideas for paintings, and in the other, oil stick sketches of backgrounds for drawings.
Perhaps the exhibit’s title, Live & Die Like a Lion?, taken from the picture (2002) of the same name, was chosen because FUCK DEATH (1999), although the earliest piece in the show and therefore introductory to the rest, might present problems for the publicity department. Golub was never one to “go gentle into that dark night,” raging as he always did against the abuse of power. His late work continued that tradition, though this time he was raging “…against the dying of the light.”
Aging artists down through the centuries have tended to loosen up in order to speed up their artistic production, and have altered styles and mediums to accommodate their disabilities. Think Monet’s failing eyesight and his disintegrating form in his late years, Chardin’s late self portraits in pastel, and the elderly Titian’s expressionistic brush strokes. So many ideas, so little time.
Golub made good use of his remaining years, confronting the specter of death with images of old lions like the one holding a sign that says Getting Old Sucks (2000), of skeletons like the purple skull of FUCK DEATH, of resistance to enslavement epitomized by the man struggling against his bonds in NO ESCAPE NOW (2002) and the man with bared, white teeth in I DO NOT BEND BENEATH THE YOKE (2002) whose bald head lends it the air of self portraiture. Golub’s many depictions of erotica–nudes, satyrs, and couples copulating–brought to mind Picasso’s late etchings of the Minotaur and his model: the last flickering of a dimming libido.
With a palette of mostly uncut colors–red, blue, turquoise, green, orange–and occasional black, grey and brown, Golub’s “drawings” contain the words of their titles, perhaps in an attempt to render unambiguous his intentions, using all caps when he felt compelled to shout.
Older artists can be expected to incorporate in their work themes related to aging and death simply by virtue of their developmental stage. The tandem Tanning exhibit flashed back to her younger years. A more satisfying coupling with the Golub show would have included her latest, or last, drawings accompanied by her most recent writing; she has in her advanced years given herself over to her other great love, writing. For highly creative people like these two, “[o]ld age should burn and rage at close of day.”
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1 Stephanie Buck, editor, Michelangelo’s Dream, (London: The Courtauld Gallery, 2010), p. 105.
2 “Leon Golub with Douglas Dreishpoon,” Art in America (April 2010), p. 111.
Dorothea Tanning’s Early Designs for the Stage
Leon Golub: Live & Die Like a Lion?
The Drawing Center
35 Wooster Street
New York, NY 10013
(212)966-2976
Catalog available for each exhibit.
Posted in Art Reviews |
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June 30th, 2010
Re: Private Trauma Sheds Light on Terrorism (6/29/2010)
The following is a copy of a letter sent to The New York Times in response to an interview with Jessica Stern, an expert on terrorists and terrorism, on the occasion of the publication of her own story, Denial: A Memoir of Terror:
As a psychotherapist working for many years with adult survivors of childhood sexual abuse, I recognized immediately the phenomenon alluded to by Jessica Stern in the June 29, 2010 article by Charles McGrath, Private Trauma Sheds Light on Terrorism.
She describes a state of disconnection from her feelings, where she goes “into a calm,” elaborating on it later with, “I mean just lose feeling…like being in a fog.”
That experience has a name: dissociation. It’s a common reaction to overwhelming, life-threatening events. Although Ms. Stern recognized it as “…a chemical change in my body,” she was reluctant to “…medicalize it too much.” But everything that happens in our bodies happens first in our brains.
To maintain equilibrium, the brain produces both excitatory and inhibitory chemicals. States of high arousal, like terror, trigger reactions that prepare the body for action. When the threat passes, equilibrium is reestablished and the body goes back to a neutral state.
Most people are familiar with the flight or fight categories of response. Fewer are aware that there is a third, freeze, that occurs when neither of the first two is possible or either could exacerbate the danger. In the frozen state, the brain releases chemicals that shut down activity, produce a disconnection from the body and alter perception of the external world, conserving resources and seeking protective invisibility.
Ms. Stern could expect to react similarly when faced with any situation reminiscent of the original trauma, a defining symptom of Post-traumatic Stress Disorder. Revisiting her history to write her book would certainly elicit her original feelings and concomitant coping strategies.
The brain always seeks to protect the self from intolerable feelings. In her research into the motivations for violence, Ms. Stern discovered that a history of sexual humiliation played an important role. In my work with sexual abuse survivors, I have witnessed feelings of humiliation instantly morph into what my clients have called defensive rage, a state far more tolerable because of its power than that of their unbearable shame.
In another recent article about her new book, Ms. Stern observed that shame could be sexually transmitted. I would like to thank her for the perfect description of what happens to victims of sexual violence.
Posted in Therapist Musings |
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June 23rd, 2010
Epigenetic Changes Linked to Post-traumatic Stress Disorder
Most people who live through a traumatic event don’t develop Post-traumatic Stress Disorder (PTSD). Knowing what differentiates those who do from everyone else could provide valuable leads for prevention and treatment.
In a recent study described in Science News, researchers discovered that people who suffer from PTSD have more genetic changes to their DNA than those who don’t. It’s not clear, however, whether these alterations resulted from the trauma or predisposed individuals to develop a symptomatic response to it.
DNA is not immutable. Genes can be altered through a process called methylation whereby a methyl molecule gets tacked onto a gene, limiting the gene’s ability to do its job. Environmental factors can impact genes in this way.
One type of change to the PTSD group’s DNA involved less methylation in certain immune system genes, supporting previous research that implicated PTSD in immune system dysfunction. Conversely, certain genes involved in brain cell growth showed increased methylation, which would inhibit production of proteins necessary for brain functioning.
How these changes relate to PTSD and how they get expressed in the body still remains a question that hopefully future research will answer.
Posted in Therapist Musings |
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