Same same but different: A creative investigation through ceramics and glass into women with neurodiversity who experience distorted body awareness/pe

这项建议是在1990年我的学士学位陶瓷课程的基础上提出的，当时我调查了饮食失调和身体形象：题为《体重的形象》的论文和我的硕士研究与自我、身体和环境的关系：标题：人类正在经历自我的崩溃和丧失：创造过程，特别是粘土，在自我、他人、世界的重新整合和修复中发挥了不可或缺的作用吗？这源于我自己的生活经历和在一所专门大学的艺术和陶瓷系工作了20多年，该学院为对现象学有复杂需求和兴趣的年轻人而设。这项研究旨在填补该领域在女性艺术实践和神经多样性方面的空白。在我的研究中，我会使用我自己的生活经验，也会通过粘土媒介与神经分化的女性艺术家(亲自或放大)进行案例研究，探索她们与自己的身体和机构的联系和关系，以确定粘土的触觉创作过程是否可以缓解这种不安，并发展一种更具体化的体验。最终，我会根据这项研究的结果制作一系列艺术品，希望能回答为什么神经分化的女性不在诊断范围之内？是什么导致他们体验到自我/身体意识扭曲、饮食紊乱和囤积？作为背景审查的一部分，我将调查相关的博物馆藏品和档案，包括威康收藏，以确定这些问题是否在过去被艺术家记录下来。我认为，旧石器时代早期的具象艺术品是由女性在自我实现中俯视自己的身体并探索自我和他者的想法创造的；正如大英博物馆女性世界博客https://blog.britishmuseum.org/women-of-the-world/所描述的那样，作为经验的化身，女性艺术家的作品经常与不安有关，其中身体被用作一种隐喻，这可以在现代艺术家Lousie BourGeois的作品中看到，她将自己的艺术过程描述为‘技术的自我’米切森。K.(2015)，在那里她通过家庭材料以有形的形式重新创造了自己。今天，包括萨拉·卢卡斯、珍妮·萨维尔、丽贝卡·沃伦和玻璃艺术家艾玛·沃芬登在内的许多女性艺术家创造了模棱两可的具象作品，其中过度关注身体部位而不是整体来强调感觉。“现代主义时期乃至以后，内脏和脆弱的身体现在是生活经验的有力象征，也是正式审美询问的媒介”(O‘Reilly，2009；8)身体被表达为具有代理的对象和生活经验。在有碎片化或西方笛卡尔的身心分裂思想的地方，就有一种对物体或进食来定义自我的痴迷需求。弗洛伊德(1930)将其描述为“假肢之神”。最近对饮食失调的研究。Springer(2017)《当代心理学》报告说，人们对神经性厌食症和自闭症谱系障碍之间的关系越来越感兴趣。政治理论家简·班尼特在《充满活力的事物》(2010)一书中描述了物性、物体或非人体的代理，以及ADHD患者与物体之间的特殊关系，他们可能对物体的拉力有更深的感官意识，或者对事物的速度或速度有亲和力(2012)，这可能是囤积和饮食障碍的一种解释。她描述了物品、物体或食物对个人的召唤。她理解囤积者是唯一能够注意到“事物的召唤”的人，从而侵蚀了他/她自己之间的界限，挑战了主体和客体之间根深蒂固的二元性。Falkoff(2021年)在一个二元性的文化中，我们和他们以及相同和不同的对象等级，歧视和对他人的恐惧，更多的人被诊断为神经多样性，尽管患有自闭症的女性更少

The proposal is following on from my BA Ceramics in 1990 in which I investigated eating disorders and body image: Dissertation titled 'Images of weight' and my MA research into the relationship to self, body, environment: Title 'Humanity is experiencing a breakdown and loss of self: Does the creative process and especially clay, play an integral part in the reintegration and reparation of the self, other, world? This was born from my own lived experience and over 20 years working in the art and ceramics department of a Specialist college for young people with complex needs and an interest in phenomenology. This research aims to fill to a gap in the field with regards to arts practice and neurodiversity in women. In my research I would use my own lived experience and also engage case studies with neurodivergent women artists (in person or zoom) through the medium of clay to explore their association and relationship with their own body and agency, to identify whether the haptic creative process with clay can alleviate this unease and develop a more embodied experience. Ultimately I would develop a body of artwork based on the outcomes from this research, with the hope of answering why neurodivergent women fall under the radar of diagnosis? What leads them to experience distorted self/body awareness, disordered eating and hoarding? As part of the contextual review I would investigate relevant Museum collections and archives including The Wellcome Collection to establish if theses issue have been documented by artists in the past. I believe that early Upper Paleolithic figurative artefacts were created by women looking down at their own bodies in self realisation and exploring the idea of self and other; as embodiments of experience as described by Women of the world at the British museum women of the world blog https://blog.britishmuseum.org/women-of-the-world/ Often the work of female artists relates to unease, where the body is used as a metaphor and this can be seen in the work of Modern artists Lousie Bourgeois, who described her artistic process as 'Technologies of the self' Micheson. K. (2015) where she was re-creating her-self in tangible form, through domestic materials. Today, many female artists including Sarah Lucas, Jenny Saville and Rebecca Warren and glass artist Emma Woffenden create ambiguous figurative work, where hyper focus on body parts rather than wholes are used to emphasize sensation. The "Modernist period and even beyond, the visceral and vulnerable body is now a potent signifier of lived experience as well as a medium of formal aesthetic enquiry"(O'Reilly, 2009; 8] The Body is expressed as an object with agency and as a lived experience. Where there is fragmentation or the Western idea of Cartesian mind and body split there is an obsessive need for objects or feeding to define the self. Freud (1930) described this as 'The prosthetic god'. More recent research into Disordered eating. Springer (2017) Current psychology reports that "there is growing interest in the relationship between anorexia nervosa and autism spectrum disorder" and Political theorist Jane Bennett in Vibrant matter (2010) describes thingness, the agency of things or non human bodies and the special relationship that people with ADHD have with objects that they may have a deeper sensory awareness of the pull of the object or an affinity with the speed or slowness of things (2012) which could be one explanation for hoarding and eating disorders. She describes the agency of things, objects or food calling to the individual. "She understands the hoarder as uniquely able to heed the "call of things" thus eroding the boundaries between him/herself and challenging the entrenched duality between subject and object." Falkoff (2021) In a culture of dualities, us and them and same and difference of hierarchy of objects,discrimination and fear of other, more people are being diagnosed as Neurodiverse although fewer women with ASD