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Voices:AWorldForumforMusicTherapy,Vol17,No1(2017)

Research

UsingAestheticResponseAPoetic
InquirytoExpandKnowing,PartII:
TheoreticalPerspectivesonArts
basedResearch
AnnaGerge1 (anna@insidan.se) MargaretaWrja1 2 3
IngeNygaardPedersen1
[1]DoctoralProgrammeinMusicTherapy,DepartmentofCommunicationand
Psychology,FacultyofHumanities,AalborgUniversity,Denmark [2]Departmentof
ClinicalCancerEpidemiology,KarolinskaInstitute,Sweden [3]ExpressiveArtsInstitute
Stockholm,Sweden

Abstract
Apartfrombeinginspiredfrombothaninterpretiveanda
constructivisttradition,researchmethodsbasedinaestheticscan
thrivefromaclearrationaleconcerningitsperceptualbuilding
blocksinboththeintersubjectiveandintrapsychologicaldomains.
Thisarticleaimstoaddressthecomplexityofsharingimplicit
processesandtacitknowledgeintheartsbasedinquiry.Layersof
thisinquiryisreflectedalongwiththeoreticalperspectivesofsuch
undertakings.Thearticlealsooffersatheoreticalrationaleforwhyto
addandacknowledgeimportantperceptualandaffectivebuilding
blocksinartsbasedresearch(ABR).Throughtheoriesfrom
expressiveartstherapy,heuristicinquiry,attachmenttheoryand
contemporaryaffectiveneurosciencesomethoughtsonthe
embodiedfeltsenseasaperceptualhubisshared.Basedin
contemporaryattachmenttheoryandpsychotherapyresearch,a
rationaleisgivenforwhyengaginginABRcanoffercliniciansand
researchersadeepenedunderstandingofthestudiedphenomena.
Ourundertakingsarepresentedinpart1ofthesetwoarticles.From
thisembodiedperspective,thedescribedartsbasedinquirycanbe
consideredasaprivilegedwaytonuanceandenlarge
understandinginboththeintersubjectiveandintrapsychological
domain,whichcouldbeparticularlyhelpfultoABRresearcherswho
areinformedbyapsychodynamicperspective.
Keywords:Artsbasedresearch,Artsbasedinquiry,Embodiedfeltsense,
Implicitprocessing,Perceptualandaffectivebuildingblocks

TheoreticalConstructsUnderpinningthe
Rx6Method

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Contemporaryaffectiveneuroscienceandattachmentresearch
(Cozolino,2002/2010Schore,2012,2014a,2014bSiegel,
1999)giveimportantinsightinunderstandingwhatmightbethe
bearingagentsofimageformation(Horowitz,1983,2012,2014).
Thevalueoftheaestheticresponse,asasourceofknowledge,
cannotbeunderestimated.AmmanitiandGallese(2014)noted,
Beforeandbelowmindreadingisintercorporealityasthemain
sourceofknowledgewedirectlygatheraboutothers(p.16).They
alsoseethisembodimentasaprerequisiteforsharingand
understandingsymbolicrepresentations.Ouractivatedmirror
neuronsimpactourabilitytoempathizewithunconsciousstatesof
others.Intercorporeity,ratherthanthesymbolicrepresentation,
thereforeisplacedatthecoreofemotionalresonance.
Intercorporeitymeanstheexperienceofbeingembodiedanditis
neveraprivateaffair,butisalwaysmediatedbyourcontinual
interactionswithotherhumanandnonhumanbodies(Weiss,1999,
p.5).
Csordas(2008)andAllegranti(2013)pointedoutthatourexistence
inrelationtoothersourintersubjectivityissomethingtangible
andbodily.Intersubjectivityisnotonlydeclarativeorexplicitbutan
analogicalmapoftheotherwithinus,andneedstobereadon
implicitlevelsfrominsideourselves(LyonsRuthetal.,1998).
Gerge(2016)exemplifiedthisinheranalysesofcliniciansdrawings
ofaworryingorreassuringclinicalmeeting.Theartsbasedinquiry
offerseachandeveryoneofuspossibilitiestoread,byexperiencing
thosemapsandworkwiththeembodiedaestheticresponse
(Panhoferetal.,2011),thusallowingadeepenedsharingovertime
andspace.

TheAestheticResponse
Thefunctionofanaestheticresponse(Robbins,1971,1987)is,
accordingtoConrad(2010),tostabilizethebrainssemirandomly
generatedneuralcircuits.Theneuronalcircuitsareselectively
steadiediftheysucceedinmakingsenseoutofrawsensoryinput.
Underthebrainsdevelopmentalprocess,theaestheticresponseof
humansservesthefunctionofcalmingthecircuitsornetworksthat
successfullymediateperceptionandinterpretation.Thesewill
becomemoreagile,intheprocessofmakingsomethingspecial.
AccordingtoConrad(2010),thisistriggeredbystructuresinartand
nature,whichprovokethesensemaking,adeliberatehumanaction.
Whendiscussingthetheoreticalunderpinningsofhowselfidentityis
revisedthroughportraitureinpalliativecare,Carr(2014)stated:
Therelationshipbetweenthecontainerandthecontainedisan
intersubjectiveone,andthiscombinedexperiencebecomesinthe
portraitaconcrete,sensoryandsymbolicform(Langer,1953),offering
auniquewaytohold,containandsafeguardthisattunedexperience.
(pp.5758)

Carrs(2014)clinicalstandpointisbasedinthetraditionfocusedon
theartwithinarttherapy(Allen,1992,2001Malchiodi,1999
McNiff,1986),thusatherapeuticendeavourcloselyconnectedwith
ABR.
Theartisticexpressionsconstituteintherapyanexpandedfield,in
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Theartisticexpressionsconstituteintherapyanexpandedfield,in
whichnewstructuringoftheinnerworldispossible.Thisleadsto,that
conflictloadedmaterial,i.e.overwhelmingaffectandnegatively
chargedimages,canbeexternalized,perceivedandprocessed.
(Gerge,2010,p.69)

Thisendeavourcanbeasvaluableinresearchasinclinicalwork.
Theaestheticsensibilityneededinartsbasedinquiry(Viega,
2016a)canbeconsideredespeciallywellsuitedforprofessionals
trainedinthecreativeartstherapies,forexamplessee(Gerge,
2016Gerge,Wrja,&Pedersen,2017).
InPhenomenologyofPerceptionMerleauPonty(1963)described
thebody'sencounterwiththephenomenon,asitisthroughthebody
weunderstandtheworld(Bullington,1999).Damasio(1995,1999)
statedthatathoughtalwaysisadescriptionofanembodiedstate.
Byusingourtheoryofmind(Frith&Frith,1999)andourembodied
empathy(Rothschild,2000)wecanimagineourselvesastheother
andauthenticallymeettheotheranimportantprerequisitefor
changeinducingmeetingsinpsychotherapy(Gerge,2011,2015)
andresearch(Gerge,2016).Thiscapacityrestsonanembodied
feltsenseexperience(Gendlin1964,1978),whichisthecoreof
theaestheticresponse,empathy,imageformation,andatitsend
point,anacknowledgedperception.Wethinksuchastandpointis
valuablealsoinresearch.

TheExperienceoftheFeltSense
Gendlin(1978)developedMerleauPonty's(1963,1973)ideasto
showhowinteractionsaremorefundamentalthanperception.The
bodilyexperiencewasessentialtotheworkofMerleauPonty,who
referredtotheinternaltotalawarenessasbodyschema(1963,p.
113114)seedefinitionattheendofthearticle.Thisembodiedfelt
senseissupposedtogroundourconsciousawareness,inlinewith
Damasios(1995,1999)notionathoughtisanongoing
descriptionofastateinthebody.Ineverydaylanguage,welack
wordstonamethesecrucialprocesses,howeverinthetherapeutic
practiceofFocusing(Gendlin,1978),itisdescribedasan
embodiedtacitknowledge.Thisisaspecialkindofinternalbodily
awareness,abodysensefocusedonmeaningmaking,whichoffers
apotentialresearchtoolforcollectinganddescribingdatafromnon
verbalsources.Whatisdescribedcanfurtheronbeanalysed.

AttachmentTheoryandContemporary
NeuroscienceinABR
Thecapacityofbeingtogetherismediatedoverourmirrorneurons
(Rizzolatti,Fadiga,Fogassi,&Gallese,1999).Ourbrainsarein
Galleseswordswecentric(Gallese,2009).Ourcapacityto
resonateanecessaryprerequisiteforreasoningcanbeusedas
avehiclefordeepeningourunderstandingofthetopicsofinterest
wewanttostudy.Theseprocesseswillalwaysbepartlypreverbal.
Recently,McCaffrey&Edwards(2015)discussedABRasnon
narrative,asmanyprocessesandproductsinartscreation
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transcendliteralmeanings(p.516).Wefullyagreewiththeir
reflection,thoughwethinkthattheconceptnonnarrativehastobe
problematized,asnarrate,apartfromreferringtospeechand
writingcanbetotellbymeansofimages.Ourconscious
awarenessresidesinlargerordersofaffectiveandcognitive
narratives,whicharebasedinexperientialimplicitbodilyprocesses
referredtoastheneuronalarchitecturewhichsupports
consciousnessbyDamasio(1999,p.15).In1992,DanielStern
introducedtheterm"protonarrativeenvelope(pp.291295).This
envelopehestated,containsexperiencesorganizedwithinthe
structureofanarrativeandarebuiltfromthechildsexperiencesof
happenedorimaginedevents,astheseareunfolding.However,it
referstoastorywithoutwordsorsymbols,aplotvisibleonlythrough
theperceptual,affective,andmotoricstrategiestowhichitgives
rise.Stern(1995)stressedhowearlyexperiencesofmotherchild
interactionshaveabeginning,amiddle,andanendandalineof
dramatictensiontheyaretinynarratives'protonarrative
envelopes'(Stern,2002,p.6).In2004,Sternchangedtheconcept
protonarrativeenvelopetolivedstory(Stern,2004,p.xiii).This
conceptisrelatedtoanemotionalnarrativethatisfeltratherthan
toldasacognitivelyconstructedstoryforbothinfantsandadults
(Stern,2004)andisaprerequisiteforamomentofmeeting,(see
furtherdefinitionsattheendofthearticle).Theconceptlivedstory
andourcontemporaryneuroaffectiveunderstandingofhuman
recognitionprocesses(Gallese,2009HassCohen&Findlay,
2015),makestatementssuchastheartsbasedinquiryis
nonverbalornonnarrativehighlyquestionable.Ontheotherhand,
theypointtopossiblewaysinwhichmusic,experiencedon
preverballevelscangiveusimagesandevokestories(Stern,2000,
2004,2010).Fromthisperspectivearts/artifactscanbeseenas
frozenmomentsintime,evenifthepersonwhohasproducedthe
artifactisnotpresent.
Asshowninthemethoddescriptionofpart1,(Gergeetal.,2017),
wewanttohighlighttheshorttimeframeofahalfofaminute,tobe
usedwhenbecomingtouchedandinitiatinganaestheticresponse
(eventhoughconductinganartworkorperformancemighttake
somewhatormuchlongertime).Anextendedmomentofmeeting
willnotbelongerthan30secondsaccordingtoStern(2004).We
proposethatthislimitedtimeframeisanessentialbuildingblockof
thefeltsenseexperience.Itisaprerequisitefortheaesthetic
response,evenattimeswhenthefinalartsbasedinquiryinvolves
composingamusicalsymphonyorcreatingamuralpainting(taking
monthstoprepare).
Wehypothesizethatthesimilarprocessesasinattachment
modulationareactivealsowhenwerelatetoanartifact,for
examplesseepart1(Gergeetal.,2017),wherepoeticresponses
wereachieved.Inpoetictranscription(Faulkner,2009Furman,
2006Leavy,2015)theinquiryisderivedfromagroundedtheory
perspective,whereselectedwordsandphrasesfromtheinformants
becomebuildingblocksofthepoemsconducted.Inpoetic
transcription,accordingtoFaulkner(2009),notesofwritten
statementsoftheinformantsaredirectlycited,andthenputintoa
structurechosenbytheresearcher.Inourwork,poeticstatements
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werecreatedasaestheticresponsesinlinewiththeprimary
significationofthewordpoetry(poiesis)meaningtocreate.When
workingwiththeaestheticresponseinanartsbasedinquiry,we
consideritpossiblethattheimplicitinformation,theprotonarrative
intheartpiece,canbelistenedtoinasimilarwayaswhenoneis
presentwithanotherhumanbeing.Inthisway,ABRhasthe
potentialtoresembletheregulatoryprocessesoftheearlydyad
wheretheconceptmomentofmeeting(MoM)iscrucial(Sander,
2002Stern,2004).Thesetimeframedimportantbuildingblocksof
earlydevelopmentandattachmentcontinuestobeactiveinhuman
perceptionallthroughourlives.Asadultswealsoformlivedstories
inourongoingendeavourtounderstandtheworldandourselves.
OrganisationofmeaningisimplicitasLyonsRuth(1999)stated.
Shehighlightedthatwedonotrequirereflectivethoughtor
verbalizationtobeknown(p.578).
Theprocessofbeingknown,orfeelingfelt,iswelldescribedin
attachmentresearch(Schore,1994,2003a,2003b,2003c,2003d
Sander,2002Stern,2004).Weconsiderthesecommunicative
aspectsofattachmentresearchalsorelevantintheexperiential
beingwithinrelatingtoanartpieceinart/creativeartstherapyor
ABR.Theprocessesthatbuildtheexperienceofbeingknownare
scientificallyvalidatedinrecentneuroaffectiveresearchon
mirroring(Ammaniti&Gallese,2014Gallese,2009)andinter
subjectivity(Siegel,2010).

Sander(2002)highlightedthecommunicativeaspectsofaffectsand
affectregulation.InlinewithSchore(1994),hedescribedaffectsas
observablestatesandthushighlycommunicative.Suchperspective
isemphasizedincontemporarysocialpsychologicalresearch
(Wetherell,2015).DanielStern(1985)developedSilvanT.
Tomkinsaffecttheory(1962,1963)andaddedtheconceptvitality
affects,wherethemusicalityanddynamicqualityofbeingtogether
(andbeingwithemotionsandaffects)andrelateonpreverballevels
asbuildingblocksofperceptionwerehighlighted(Ammaniti&
Ferrari,2013Stern,1985,1994,2000).Buildingonnonlinear
systemstheory,Sander(2002)andStern(1985,2010)developed
ourunderstandingonhowhumanbeingscanfittogether.By
accuratepreparatoryattunement(recognitionprocesses)special
momentsofsharedexperience(MoM)cangeneratestrongfeelings
ofconnectionbetweenpeople.Theseprocessesarewelldescribed
inpsychotherapyresearch(Hughes,2007),includingmusictherapy
(Blom,2014Coomans,2016)andarttherapy(HassCohen&
Findlay,2015).Also,whenmovingintoarelationshipwithan
artifact,wecanopenuptoatransformativemeeting.Byusingthe
timeframeofanextendedMoMinprofoundmeetingswithother
humanbeingsand/ortheirartifacts,weconsiderthatacertainrigor
canbebroughtintothemultilayeredthemesofimplicitprocessing,
whichwillbeactivatedeverytimeourattachmentsystemis
activated(Trevarthen&Aiken,2001).Thisprocessingwillalsobe
activatedeverytimeweallowourselvestobetouched,whichisan
essentialpartoftheartsbasedinquiry.
Researchonattachmentpointstotheroleofshared
interconnectivitydescribedby(Gallese&Ferri,2014Bowlby,

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1968Gaensbauer,2016Schore,2003d,2009Siegel,1999)as
aprerequisitefordevelopment,empathy,andmentalization(Fonagy
&Luyten,2015).Kenny(1989,2006)describedanintuitivelevelof
togethernessthatencompassestherapistandclientinclinicalwork.
Kennys(2006)metatheoryonwhatmighthappenintheencounter
betweenclientandtherapistishighlyrelevantforABR.She
highlightedtheneedforanexistentialphenomenologyimmersion,
tacitknowing,andintentionalverificationofthefeltsense
experience(Douglass&Moustakas,1985)tomakesenseofwhat
oneexperiences.Thisneatlyfitsintocontemporaryattachment
research(Gallese2009Narvaezetal.,2013).Kenny(2006,
2015)labelledtheprocessofmakingsenseasanactofcreativity,
empathy,andlettingoneselfbetouchedbytheother/theothers
expression,andwhatmightbecalledexistentialbeauty.Shealso
statedPerhapsmywordswillneverbeabletodescribethe
beautyofthesemoment(Kenny,2006,p.192),thusaddressing
theimplicitnatureoftogetherness.ThisisinlinewithSterns
reflectiononecannotgettothelivedexperienceandstaythere
whiletalkingaboutit(2004,p.xiii).Butofcourseweoughttotry,
andwearegeneticallyhardwiredtomakesenseof,andshare
implicitinformation,bothforoursurvivalasindividualsandas
species.

ArtasMakingSpecialandImplicit
Processing
Dissanayake(1988,2000,2003)arguedthatartservesasthekey
socialroleofmakingspecialwhenexperiencingphenomenaand
thuscanhelpusbothinvestandresearchcertainphenomenawith
specialsignificance.InJungianpsychologythisprocessisdescribed
ascrystallization(Henderson,1964).Knill,Barba,andFuchs
(1995)spokeofcrystallizationasthebasichumanneedto
crystallizepsychicmaterialthatis,tomovetowardoptimalclarity
andprecisionoffeelingandthought(p.30).Thisisakeyfunctionof
artmakingandartexperiencingandcanbeconsideredanimportant
principlewhenmakingsenseofinformationintheaestheticdomain.
Inthiswaytheartisticprocesshasgreatsimilaritieswiththe
pragmaticandeclecticapproachtoqualitativeresearch(Gordon,
1999Leavy,2015).
AccordingtoFaulkner(2005),citedinLeavy(2015),Thepoetic
criteriarelatedtoqualitativeandartisticcriteriaareartistic
concentration,embodiedexperience,discovery/surprise,conditional,
narrativetruth,andtransformation(p.97).Inlinewiththis,Leavy
(2015,citingRichardson,1997andPelias,2011)putforward
whatwemightspeakofcrystallizationinsteadoftriangulation.She
continued,poetryisbothastyleofrepresentationaswellasa
vehiclethroughwhichtheresearchcommunitycanengageinlarger
questionsaboutthenatureofsocialresearch,truthandknowledge
(p.97).Inthiswaytheartsbasedresearchorinquirycanhelpus
grasptheessenceofthestudiedphenomenaandexperiences.It
canaddresonancetoreason.TheABRpotentialexperienceof
resonanceandtouchingessencesupposedlyaddstothe
experienceofdeepenedsharing.Thisencompassesalsotolower
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theguard,tomakeoneselfvulnerable,andopentoapotential
experienceofawe(Gerge,2016).

ConcludingWords
Ouraiminthispaperwastodescribeavitalprocedureincludinga
timeframeinlinewithcontemporarytheoryofthephenomenonof
themomentofmeeting(MoM)(Sander,2002Stern,2004).The
useofthemethodanditssixstepsrelate,resonate,respond,
reflect,react,andresultswasexemplifiedinUsingAesthetic
Response,aPoeticInquirytoExpandKnowing.PartI:TheRx6
Method(Gergeetal.,2017).TheRx6methodisgroundedona
theoreticalframeworkofintersubjectivityandimplicitprocessing,in
linewithrelationalpsychodynamics.EngaginginABRcanoffer
cliniciansandresearchersofallorientationsadeepened,expanded,
andembodiedunderstandingofthestudiedphenomena.Thiscan
beconsideredaprerequisiteforheightenedempathy.Weconsider
theABRapproachespeciallyimportantwhenworkingwiththe
indwellingproceduresofimplicitprocessing,eg.,whenusingtacit
knowledge(Polanyi,1958),inresearchandpsychotherapy.
WehopethattheMoMcanbeconsideredaperceptualtooltomake
senseofwhatweencounterintheexperienceofbeingwithanother
humanbeing,and/orwithher/hisartifacts,orwhenbeinginanI
Thourelation(Buber,1962/1993).TheMoMtheoryhelpedus
conceptualizetheperceptualbuildingblocksofcomingcloseto
anotherhumanbeing.Thisunderstandingisnecessaryin
attachmentwork(Schore,19942003a,2003b,2003c
Trevarthen,1993),whichiswelldocumentedandimplementedin
psychotherapywithpsychodynamicorientation(Schore,2003d
Terr,2003),musictherapy(Blom,2014Coomans,2016),andart
therapy(Carr,2014).Thoughweproposethatthisapproachcanbe
ofvalueforcliniciansandresearchersofotherorientationsaswell.
ThetheoryofMoM,(Sander,2002Stern,2004)andconsciously
workingwithintermodaltransfercanbuildloopsofABRoveran
extendedtime(days,weeksandmonths)(Gerge,2016).Weregard
theMoMasagroundingbasicbeatapulseofperceptiona
buildingblockoftheflowofhumanexperienceinprocesseswhere
themediumisthemessage(LyonsRuth,1999)asinexperiential
psychotherapy(Gerge,2015)orABR(Gerge,2016Gergeetal.,
2017).AlthoughLedgerandMcCaffrey(2015)arguedthatitistoo
earlytocreatedefinitionsasthesemightlimitthepossibilitiesfor
innovationsthatABRmightbringtomusictherapy(p.453),we
considerthestructure,includingthetimeframesuggestedhere,as
animportantreflectivetool,bothasamethod,andfor
methodologiessteepedinaesthetics(Viega,2016b,p.5).In
puttingfocusonperception,asdescribedinattachmentresearch
(Sander,2002,Stern,2004Narvaezetal.,2013),contemporary
affectiveneuroscience(Ammaniti&Gallese,2014)andclinical
work,(HassCohen&Carr,2008Hughes,2007),wecanbeginto
structureABR.Fromasolidhuboftheoreticalframeworks(with
spokesinalldirections),variousmodalitiesandartdisciplinescan
radiate.Fromsuchahub,seenasanorientinglensfor
understandingaphenomenon(Creswell,2009ShannonBaker,
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2015),avarietyofsoundresearchandinnovativeapplicationsmight
rise.Inthiswayancientrootsofcreativitycanmeetandbe
nourishedfromheuristicresearchperspectives(Moustakas,1990,
1994),expressiveartstherapy(Estrella,2005Levine&Levine,
1998,2005Richardson,2016)andattachmenttheory,including
thetheoriesofthelivedstory(Stern,2004),andthetheoryofMoM
(Sander,2002Stern,2004).Thiswillfurtherenrichqualitative
research,thediscursivepractice(Wetherell,2015),and
psychotherapyresearchincludingtheartsbasedtherapies.
Toconclude,firstweproposethatclinicians,conductingclinical
research,scholarsinpsychologyandhealthcareresearch,including
rehabilitationmedicine,considerusingABRasameanstoexpand
theirunderstanding.Second,theseprocesseswilldeepentheir
compassionforandunderstandingoftheirresearchparticipantsand
theirprocessesofchange.WithChenail(2008)weansweredthe
questionconcerningABRButisitresearch?withafirmYES.

GlossaryofTerms
Bodyschema:MerleauPonty(1963,p.113114)referredtothe
internaltotalawarenessasbodyschema.Thisembodiedawareness
isconceptualisedasanongoingbodilyinteractionthatopensusto
asenseoftheworldbeyondwhatweconventionallycallperception.
Thebodysensecanencompassperceptionsandemotionsbutalso
memoriesofpastsituationsandoptionsofwhattodonext.
Presentmomentornowmoment:DanielStern(2004)defined
thepresentmomentasalivedstorywithabeginningandanend,
intentionalcharacters,togetherwithatemporalcontouralongwhich
theexperienceformsduringitsunfolding(p.219).Thepresent
momentisdefinedaslivedthroughasitunfoldsandisnotdistanced
bylanguageorabstractexplanationfromthoseexperiencingit.The
nowmomentconsistsofanemerginginterpersonalprocessthatis
unpredictablehencesloppy,consistingofthepresentmomentin
lifeaslived,whichSterngeneralizesfromattachmentresearchto
psychotherapy.TheconceptiselaboratedfromTheInterpersonal
WorldoftheInfant(Stern,1985).
Momentofmeeting:Thenowmomentisoftenfollowedbya
momentofmeeting(Stern,2004).Whenthisoccurs,newwaysof
beingwiththeotherunfoldsthroughtheofferedtimeframed
togetherness,wherewecanreadinthebehavioroftheothera
reflectionoftheirownexperience(p.220221).Thisleadstothe
possibilityofeventsbecomingintersubjectivelyconscious,and
furtheronverbalizedandnarratedexperiences.

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