Revista DIGITALIS

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=BFM=E9todos y t=E9cnicas o metodolog=EDa y = epistemolog=EDa? La=20 teor=EDa visual contempor=E1nea y su relaci=F3n con las = metodolog=EDas para=20 investigar el Arte =

INTRODUCCI=D3N

Cada vez m=E1s se solicita a los = profesionales=20 de la salud que puedan asesorar, evaluar y aportar evidencia = de las=20 prestaciones que brindan. Adem=E1s, se espera que puedan = demostrar que=20 ofrecen un servicio efectivo y tambi=E9n que sus pr=E1cticas = est=E9n=20 respaldadas por investigaciones recientes dentro de cada = campo en=20 particular. Como Andrea Gilroy (1996) se=F1ala, todo esto es = perfectamente razonable:

=93La cuesti=F3n es que en este = momento en el=20 que los recursos disminuyen, se pone un gran =E9nfasis en la = evaluaci=F3n de la pr=E1ctica y en la provisi=F3n de = tratamientos que=20 tienen su eficacia demostrada. Hoy no somos muchos los que = queremos=20 discutir esto, pero podr=EDamos debatir c=F3mo puede = demostrarse esta=20 eficacia=94 (Andrea Gilroy, 1996).

El principio fundamental que subyace = a esto es=20 la necesidad de que los cl=EDnicos de cualquier profesi=F3n = se=20 actualicen constantemente, renueven sus conocimientos y sus=20 habilidades. Los cl=EDnicos deben familiarizarse con las=20 investigaciones y bibliograf=EDa m=E1s recientes para = ofrecer a sus=20 pacientes el mejor servicio posible. Esta es la base de una = buena=20 pr=E1ctica cl=EDnica. Como dice Gilroy (1996), no podemos = =FAnicamente=20 creer en nuestra fe o confiar solo en nuestra convicci=F3n = para que el=20 arteterapia como tratamiento sea efectivo. Es necesario que=20 evaluemos nuestro trabajo para mejorar nuestra credibilidad=20 profesional y para preservar y crear nuevos trabajos. = Adem=E1s, es=20 esencial en cualquier disciplina que exista un = cuestionamiento=20 constante, ya que =E9sta es la base para el desarrollo y el = cambio=20 futuro.

Sin embargo, la cuesti=F3n no es = simplemente si=20 los arteterapeutas como grupo profesional deben llevar a = cabo=20 investigaciones para justificar su pr=E1ctica o evaluar y = desarrollar=20 su pr=E1ctica como parte de un buen desarrollo profesional. = En Gran=20 Breta=F1a, el desarrollo profesional continuado (CPD) es un = requisito=20 que se exige desde el Estado a trav=E9s del Consejo de las = profesiones=20 de la Salud. Una manera muy v=E1lida de llevar a cabo este = desarrollo=20 cuando ya se est=E1 trabajando en el campo del arteterapia, = es enfocar=20 el desarrollo profesional en el campo de la = investigaci=F3n.

Autora:

Dra. Margaret Hills de Z=E1rate, = Queen=20 Margaret University, Edinburgh

Los l=EDmites del marco=20 arteterap=E9utico
3Dlinea=20

Actualmente podemos esperar el apoyo de = nuestros=20 lugares de trabajo para realizar nosotros mismos = investigaciones.=20 Tambi=E9n es absolutamente posible que nuestro trabajo pueda = ser=20 evaluado por un investigador independiente o por otro = individuo=20 dentro de la instituci=F3n. Como consecuencia, necesitamos = estar=20 familiarizados con la naturaleza de las investigaciones = m=E1s=20 apropiadas en nuestro campo. As=ED pues, aunque nosotros = mismos no=20 estemos involucrados directamente en un proyecto de = investigaci=F3n,=20 necesitamos ser capaces de evaluar investigaciones = realizadas por=20 otras personas o equipos.

Hoy en d=EDa no existen muchos trabajos = de=20 investigaci=F3n sobre arteterapia publicados en Gran = Breta=F1a y, como=20 Gilroy (1996) se=F1ala, los que existen no satisfacen las = =93reglas de=20 la evidencia=94 y los principios fundamentales de lo que es = llamado en=20 Gran Breta=F1a como el =93paradigma basado en la = evidencia=94=20 (Evidence-Based Paradigm), que actualmente es muy influyente = en los=20 servicios de la salud.

Este paradigma ha surgido en = oposici=F3n a lo que=20 Goldner y Bilsker (1995) han descrito como el =93paradigma=20 tradicional=94 en la pr=E1ctica de la psiquiatr=EDa.

En pocas palabras, Gilroy (1996) = describe este=20 paradigma de la siguiente manera:

=93En el =93paradigma tradicional=94, = cuando los=20 cl=EDnicos se enfrentan a una duda o cuesti=F3n, consultan = un texto o=20 preguntan a un experto. En este paradigma se valora = altamente la=20 opini=F3n y el trabajo de las autoridades en la materia=94. = En el=20 arteterapia lo anterior constituir=EDa el entrenamiento, el = post=20 entrenamiento, la supervisi=F3n y la consulta.

En el =93paradigma basado en la = evidencia=94 este=20 enfoque hacia la pr=E1ctica se considera inaceptable. En = este=20 paradigma, que esta en oposici=F3n al tradicional, = encontramos un=20 =E9nfasis sobre la pr=E1ctica guiada por la investigaci=F3n. = Podr=EDamos=20 considerar de que se trata de una posici=F3n igualitaria, es = decir,=20 opuesta al conocimiento o sabidur=EDa recibido por una = autoridad.

Visto as=ED parece muy atractivo y = democr=E1tico, sin=20 embargo, el concepto de la evidencia en este =93nuevo=94 = paradigma esta=20 definido de una manera muy concisa.

Las =93reglas de la evidencia=94, a las = que el EBP=20 aboga, se adhieren al m=E9todo cient=EDfico y a las = investigaciones=20 cient=EDficas. Adem=E1s, definen el conocimiento de manera = objetiva. En=20 otras palabras, la visi=F3n que respalda el EBP afirma que = la ciencia=20 aporta al ser humano el ideal m=E1s claro del conocimiento. = Esta=20 visi=F3n del conocimiento se denomina positivismo.

Aunque el positivismo ha sido un tema = recurrente=20 en la historia del pensamiento del mundo occidental, = remont=E1ndose a=20 los antiguos griegos hasta hoy, est=E1 hist=F3ricamente = asociado con el=20 fil=F3sofo franc=E9s del siglo diecinueve Auguste Comte = (1798-1857).=20

B=E1sicamente Comte =93invent=F3 = conscientemente=94 la=20 nueva ciencia de la sociedad (las ciencias sociales), = defendiendo=20 que podr=EDa establecerse sobre una base =93positivista=94, = al igual que=20 las otras ciencias. Seg=FAn Comte, el fen=F3meno social = puede ser=20 explicado por las leyes y teor=EDas fisiol=F3gicas y = biol=F3gicas,=20 investig=E1ndose pues como fen=F3meno f=EDsico. La = posici=F3n de Comte llev=F3=20 hacia una doctrina positivista general que afirmaba que todo = el=20 conocimiento leg=EDtimo y serio esta basado en la = experiencia de los=20 sentidos y solamente puede avanzar a trav=E9s de la = observaci=F3n y los=20 experimentos. Siguiendo la tradici=F3n emp=EDrica (Locke, = Berkeley,=20 Hume), las creencias se limitan hasta lo que se puede = establecer=20 firmemente mediante la investigaci=F3n.

Desde los tiempos de Comte, el = t=E9rmino=20 positivismo ha sido utilizado de maneras diferentes por los=20 fil=F3sofos y cient=EDficos sociales, por ello es dif=EDcil = asignarle un=20 significado preciso y consistente. Sin embargo, como Cohen y = Manion=20 (1992) resaltan, en todas las acepciones que se usan con = este=20 t=E9rmino hay un significado basal que est=E1 siempre = presente y que=20 deriva de una aceptaci=F3n de la ciencia natural como = paradigma del=20 conocimiento humano.

En las ciencias sociales la = aceptaci=F3n de las=20 ciencias naturales como paradigma del conocimiento humano = implica=20 las siguientes consideraciones interrelacionadas. En primer = lugar,=20 supone que los procedimientos metodol=F3gicos de las = ciencias=20 naturales pueden ser directamente aplicados a las ciencias = sociales.=20 En este caso el positivismo implica una postura concreta = para el=20 cient=EDfico social como observador de la realidad social. = En segundo=20 lugar, supone que el resultado de las investigaciones del = cient=EDfico=20 social puede ser formulado en t=E9rminos paralelos de los de = las=20 ciencias naturales. Todo esto implica que el resultado de su = an=E1lisis deber=E1 ser formulado en forma de =93leyes=94 o=20 =93generalizaciones=94, de la misma manera que ha sido = establecido en=20 las ciencias naturales. En esta postura el positivismo = establece una=20 visi=F3n definida del cient=EDfico social como analista o = traductor de=20 su material/sujeto de investigaci=F3n (Giddons, A., 1975). =

Sin embargo, mientras el positivismo ha = sido=20 exitoso en relaci=F3n a las ciencias naturales, lo ha sido = mucho menos=20 en relaci=F3n al estudio de la conducta humana y, mucho = menos todav=EDa,=20 en relaci=F3n al arte. En estos =FAltimos, la complejidad = inmensa y la=20 cualidad elusiva e intangible del fen=F3meno social y el = est=E9tico=20 contrasta fuertemente con el supuesto orden y regularidad = del mundo=20 natural. As=ED pues, no sorprende que dentro de las ciencias = sociales=20 esta visi=F3n del mundo haya sido cuestionada. Entonces, = teniendo en=20 cuenta la distorsi=F3n que puede surgir de la = simplificaci=F3n, podemos=20 decir que hay dos visiones contrapuestas de las ciencias = sociales.=20

Estas dos visiones se han denominado de = muy=20 diversas maneras: la visi=F3n establecida y tradicional = contra la=20 visi=F3n emergente, radical y alternativa (Cohen y Manion, = 1985), la=20 positivista contra la interpretativa (Giddons, 1976), la = positivista=20 contra la humanista (Hughes, 1976) y la positivista contra = la=20 post-positivista (Lincoln y Guba, 1985).

De manera resumida podemos decir que la = visi=F3n=20 tradicional o positivista sostiene que las ciencias sociales = son=20 esencialmente las mismas que las ciencias naturales y que, = por=20 tanto, se ocupan del descubrimiento de leyes naturales y = universales=20 que regulan y determinan la conducta individual y social. = Por otro=20 lado, la visi=F3n alternativa, que comparte el rigor de las = ciencias=20 naturales, tiene el mismo inter=E9s que la ciencia = tradicional por=20 describir y explicar la conducta humana, y pone el =E9nfasis = en c=F3mo=20 las personas son distintas del fen=F3meno natural inanimado = y entre=20 ellas.

Estas visiones diferentes pero = v=E1lidas, junto a=20 su reflejo correspondiente en la metodolog=EDa de la = investigaci=F3n,=20 surgen desde concepciones diferentes de la realidad social y = de la=20 conducta individual y social.

Ambas visiones constituyen concepciones = de la=20 realidad social que est=E1n basadas en interpretaciones = diferentes.=20 Estas visiones est=E1n respaldadas por una serie de = suposiciones=20 impl=EDcitas y expl=EDcitas; suposiciones ontol=F3gicas = sobre la=20 naturaleza o esencia del fen=F3meno social que esta siendo=20 investigada, suposiciones epistemol=F3gicas que se ocupan de = las bases=20 del conocimiento, su naturaleza y su forma y de c=F3mo = pueden ser=20 adquiridas y comunicadas por otros seres humanos y = finalmente,=20 suposiciones sobre el car=E1cter humano y espec=EDficamente = de la=20 relaci=F3n entre los seres humanos y su ambiente donde = podemos=20 identificar un gran debate de la filosof=EDa: el = determinismo contra=20 la voluntad.

Este debate entre las visiones = tradicionales y=20 alternativas, existe tambi=E9n en el mundo de la teoria = visual y en el=20 mundo de la psicoterapia. En el arte y en la terapia nos = ocupamos de=20 asuntos ontol=F3gicos. Vamos a considerar lo siguiente en = referencia=20 al arteterapia:

=BFLa realidad es externa al = individuo=20 (imponi=E9ndose al individuo desde fuera) o es producto de = la=20 conciencia individual?
=BFTiene la realidad una naturaleza = objetiva, o=20 es el resultado de la cognici=F3n individual?
=BFHay una realidad =93fuera=94 en = el mundo o la=20 realidad es algo creado por nuestra propia = mente?

Estas preguntas surgen directamente de = lo que es=20 conocido en filosof=EDa como la dicotom=EDa entre los = nominalistas y los=20 realistas. La visi=F3n nominalista dice que los objetos del=20 pensamiento son solamente palabras y que no existe una cosa=20 independiente y accesible que constituya el significado de = una=20 palabra. La visi=F3n realista, sin embargo, sostiene que los = objetos=20 tienen una existencia independiente y que su existencia no = depende=20 del que la conoce.

En la est=E9tica, el realismo enfatiza = lo que=20 existe por s=ED mismo, =93las cosas como son por s=ED = mismas=94 y no como=20 nosotros lo percibimos.

El arte realista trata de presentar las = cosas=20 como son y no mediadas por cualquier actitud, por ejemplo, = la del=20 artista. En contraste, la posici=F3n alternativa insiste en = que la=20 confrontaci=F3n entre el objeto de arte y el espectador = necesita un=20 acto de interpretaci=F3n y que no existe una realidad fija o = una=20 verdad definitiva.

Bryson (1983), por ejemplo, dice que = =93el acto de=20 reconocer lo que la pintura nos da es una producci=F3n y no = una=20 percepci=F3n del pensamiento=94. Mirar es una actividad que = transforma=20 la materia del cuadro en unos pensamientos, este acto puede = llegar a=20 ser interminable. En opini=F3n de Bryson (1983), en la = pintura=20 circulan c=F3digos de reconocimientos interminables. La = interpretaci=F3n=20 cambia como el mundo cambia, y la historia del arte no puede = darnos=20 una teor=EDa definitiva o absoluta.

Por un lado Bryson (1983) admite que = hay una=20 limitaci=F3n en este punto de vista pero, por otro lado, = supone una=20 condici=F3n que promueve el desarrollo.

En nuestro trabajo terap=E9utico = estamos tambi=E9n=20 considerados por consideraciones epistemol=F3gicas, es = decir, las=20 suposiciones que se ocupan de las bases del conocimiento, su = naturaleza y su forma y de c=F3mo pueden ser adquiridas y = comunicadas=20 a otros seres humanos.

Consideremos lo siguiente:

=BFEs posible identificar y = comunicar la=20 naturaleza del conocimiento como algo tangible, real y = capaz de=20 ser transmisible en una forma material, o es el = conocimiento algo=20 m=E1s et=E9reo, m=E1s subjetivo o trascendental, basado en = la=20 experiencia y la percepci=F3n (insight) de una forma = =FAnica y=20 esencialmente personal?

La opci=F3n con la que cada uno se = identifique en=20 este debate le afectar=E1 profundamente en la manera de = descubrir el=20 conocimiento social. La visi=F3n de que el conocimiento es = tangible,=20 objetivo y concreto exigir=E1 al investigador un rol de = observador y=20 una alianza con las metodolog=EDas de la ciencia natural. El = ver el=20 conocimiento como personal, subjetivo y =FAnico, impone al=20 investigador que se involucre con sus sujetos y rechace los = caminos=20 del cient=EDfico natural. Tomar la primera posici=F3n es ser = positivista, y la segunda es ser anti-positivista o=20 post-positivista. En la teor=EDa visual contempor=E1nea, = estas visiones=20 del conocimiento corresponden a visiones tradicionales y=20 alternativas de la representaci=F3n visual. La visi=F3n = tradicional=20 trata de definir una esencia del arte y se refiere a = suposiciones=20 perceptuales y/o fenomenol=F3gicas que compartieron todos = los seres=20 humanos. La posici=F3n alternativa deniega basarse en la=20 representaci=F3n visual, en la percepci=F3n, o en la = experiencia=20 fenomenol=F3gica del mundo, y discute que la obra del arte = puede ser=20 definida totalmente por sus condiciones hist=F3ricas, = sociales y=20 culturales de origen y recepci=F3n.

La tercera serie de consideraciones que = necesitamos tener en cuenta es la que concierne a la = visi=F3n del=20 car=E1cter humano y en concreto a la relaci=F3n entre los = seres humanos=20 y su ambiente.

Burrell y Morgan (1992), proponen dos = maneras de=20 ver al ser humano:

La del ser humano que responde de = manera=20 mec=E1nica a su ambiente.
La del ser humano que inicia sus = propias=20 acciones.

Estas dos visiones extremas de la = relaci=F3n entre=20 los seres humanos y su ambiente reflejan un gran debate de = la=20 filosof=EDa; el determinismo contra la voluntad. El = determinismo es=20 una visi=F3n que incluye la creencia de que los seres = humanos=20 responden de una manera mec=E1nica y determinada hacia las = situaciones=20 que se encuentran en su mundo externo. Los seres humanos y = sus=20 experiencias est=E1n guardados como productos de su = ambiente, donde=20 est=E1n condicionados por sus circunstancias externas. Esta=20 perspectiva puede ser contrastada con otra perspectiva que = atribuye=20 a los seres humanos un rol mucho m=E1s creativo; la = voluntad. En esta=20 perspectiva =93la voluntad libre=94 es central y el hombre = se considera=20 el creador de su ambiente, el controlador y no el = controlado, el=20 maestro y no el t=EDtere. Mientras hay teor=EDas sociales = que adoptan=20 posiciones extremas, muchos cient=EDficos sociales sostienen = otras m=E1s=20 moderadas. Para la terapeuta estas consideraciones sobre el = car=E1cter=20 humano van a informar del enfoque terap=E9utico que se = adopta porque=20 subyacente a cada enfoque terap=E9utico hay una posici=F3n = identificable=20

Entonces, como practicamos el arte = terapia ser=E1=20 informado por la posici=F3n que tomamos al respeto las tres = series de=20 suposiciones; ontol=F3gicas, epistemol=F3gicas y sobre el = car=E1cter=20 humano. Adem=E1s, por donde posicionamos tendr=E1 = implicaciones acerca=20 de las preocupaciones metodol=F3gicas del investigador del = arte=20 terapia.

Los investigadores que aceptan = un enfoque=20 objetivo o positivista, es decir, los que ven el = mundo=20 social como el mundo natural, como si tuviera una realidad = tangible=20 y externa, van a seguir:

Metodolog=EDa de la investigaci=F3n = cient=EDfica que=20 pueden estar dirigidas a analizar las relaciones y = regularidades=20 entre factores seleccionados.

Su atenci=F3n estar=E1 dirigida a:

Identificar y definir los elementos = del=20 estudio y el descubrimiento de los modos en que esas = relaciones=20 pueden ser expresadas.

Siguiendo esto, los temas m=E1s = importantes de la=20 metodolog=EDa son:

Los conceptos (la idea de lo que se = est=E1=20 estudiando)
Su medici=F3n.
La identificaci=F3n de relaciones=20 subyacentes.

Los investigadores que adoptan el = enfoque=20 positivista escoger=E1n dentro de un espectro de m=E9todos=20 tradicionales, como por ejemplo:

Experimentos
Sondeos
Quasi-experimentos

Sus investigaciones ser=E1n = cuantitativas.

Los investigadores cuantitativos buscan = leyes=20 universales que expliquen y gobiernen la realidad que est=E1 = siendo=20 observada. Tal enfoque caracterizado por sus procedimientos = y=20 m=E9todos dise=F1ados para descubrir leyes generales se = denomina=20 nomot=E9tico.

Por otra parte, existen investigadores = que=20 aceptan un enfoque subjetivo o post-positivista, el cual = enfatiza la=20 importancia de la experiencia subjetiva de los individuos en = la=20 creaci=F3n del mundo social. Su labor ser=E1:

Seleccionar entre un espectro de = t=E9cnicas y=20 metodolog=EDas emergentes y recientes.

Su inter=E9s principal ser=E1:

Un entendimiento de la manera en que = el=20 individuo crea, modifica e interpreta el mundo en el que = se=20 encuentra.

En t=E9rminos metodol=F3gicos es un = enfoque que:

Enfatiza la naturaleza relativa del = mundo=20 social.
Toma un aspecto cualitativo adem=E1s = de un=20 aspecto cuantitativo.

Los investigadores que adoptan un = enfoque=20 post-positivista escoger=E1n entre una variedad de = m=E9todos:

La entrevista abierta
M=E9todos propios de la = etnograf=EDa
La observaci=F3n participativa
El estudio de caso
Grupos de enfoque

Sus investigaciones ser=E1n = predominantemente=20 cualitativas.

El =E9nfasis tiende a focalizarse en la = explicaci=F3n=20 y entendimiento de lo que es =FAnico y particular para el = individuo,=20 en lugar de lo general y universal. Dicho =E9nfasis sobre lo = particular y lo individual en este enfoque se denomina=20 idiogr=E1fico.

As=ED pues, el estudio de la = metodolog=EDa de la=20 investigaci=F3n no solamente nos prepara para poder hacer=20 investigaciones sino que tambi=E9n nos ayuda a entender lo = que subyace=20 en nuestro propio trabajo con pacientes. La reflexi=F3n = sobre la base=20 filos=F3fica de nuestro trabajo enriquecer=E1 nuestra = pr=E1ctica de una=20 manera profunda y potencialmente m=E1s creativa. Adem=E1s, = esta=20 reflexi=F3n y estudio nos ayudar=E1n a entender las = complejas y diversas=20 teor=EDas que constituyen el arteterapia; la teor=EDa = visual, la teor=EDa=20 psicoanal=EDtica, la psicolog=EDa, la antropolog=EDa, la = sociolog=EDa y la=20 pol=EDtica. De esta manera podremos llegar hacia un enfoque = del=20 arteterapia que tenga rigor y que podamos defender.

Adem=E1s, cuando tenemos esta base = clara tenemos=20 tambi=E9n la base de los m=E9todos y t=E9cnicas que vamos a = emplear. Sin=20 realizar esta reflexi=F3n no tenemos m=E1s que una = colecci=F3n de recetas.=20

REFERENCIAS

Burrell, = G., &=20 Morgan, G. (1979) Sociological Paradigms and = Organizational=20 Analysis, Heinemann.
Bryson, N., = Holly, M.N.=20 and Moxley, K. (eds.) (1991) Visual Theory: Painting and=20 Interpretation, Cambridge, Polity Press.
Cohen, L. = and Manion, L.=20 Research Methods in Education (4th Edition) London, = Routledge,=20 1996.
Gilroy, A. = (1996) Our own=20 kind of evidence, Inscape, The Journal of the British = Association=20 of Art Therapists, Vol.1, No.2.
Giddens, A. = (1975)=20 Positivism and Sociology, London: Heinemann Educational=20 Books.
Goldner, = E.M. and=20 Bilsker, D. (1995) Evidence Based Practice in Psychiatry, = Canadian=20 Journal of Psychiatry, Mar, Vol.40 (2): 97-101.
Hughes, = J.A. (1976)=20 Sociological Analysis: Methods of Discovery, = Sunbury-on-Thames:=20 Nelson and Sons.
Kuhn, T.S. = (1962) The=20 Structure of Scientific Revolutions. Chicago: University = of=20 Chicago Press.
Lincoln, Y. = S., &=20 Guba, E. G. (1985). Naturalistic inquiry. Beverly Hills, = CA: Sage=20 Publications,=20 Inc.

Publicaci=F3n de ISMET = sobre=20 investigaci=F3n en Terapias Naturales

23 de Abril 2010 =

	PUBLICIDAD =20

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