inkblot tests

BBC: A strange encounter with St. Vincent

By Mark Savage
BBC Music Reporter

3 October 2017

“Are you ready for this?”

St Vincent’s press officer is making small talk ahead of our interview, on a scorching hot summer’s day in London.

“Sure,” I reply. I’ve listened to her new album. I’ve made copious notes. I’ve jotted down about two dozen questions.

“No, but are you ready for this?” he asks.

“I’m not sure what you mean.”

“Oh, you’ll see.”

Sounds ominous…

A few minutes later, a cloaked woman appears and, without speaking, leads me by the hand into the street, through a fire escape and into a bare concrete room.

She gestures to a billboard-sized poster of St Vincent, which has a non-disclosure agreement at the bottom. I sign it in pink felt tip, and am led to a prefabricated wooden cube. The monk woman unbolts a door, barely big enough for a medium-sized Labrador, and I stoop through.

Inside, the walls are bright pink. There are two pink standard lamps, with pink light bulbs, placed in opposite corners. And there, sitting at a cheap wooden table, is St Vincent, playing ambient guitar music through her iPhone.

Her hair is, I think, painted blue and cut in a close bob. She makes unwavering eye contact as we shake hands and the door is shut (locked?) behind me.

“Wait til the paint fumes get to you,” she deadpans. “It’ll be really awesome.”

As she describes the room - “it’s like a psychedelic womb” - the 34-year-old sips a drink through a bendy straw that’s been moulded into the word “No”.

“That’s in case there’s a yes or no question. We can just save time.”

This, I suspect, will not be your average interview.

St Vincent is here, ostensibly, to promote her new album MASSEDUCTION (that’s “mass seduction”, not “mass education”). It’s the follow-up to 2014’s St Vincent, an expectation-defying art-pop record that cemented Texas-born Annie Clark as one of her generation’s greatest guitarists.

If anything, the new record is even better - pitching wildly between jittery electronics and despondent ballads as Clark exposes her feelings on sex, drugs and sadness.

“It’s an incredibly sad album,” she says.

“Quite manic and painful.

“I listen to it, and some points of the album are so sad it makes me laugh. It’s just so tragic. But that’s human life.”

The first single, New York, is a disarmingly simple ode to lost love.

“New York isn’t New York without you, love,” she sings over lonely piano chords, with the pulsing heartbeat of the city submerged deep within the mix.

“It’s a kind of dance song that you listen to in your bed and cry,” she says.

New York is one of several break-up songs on the album. It’s safe to assume they’re about Cara Delevingne, the elaborately-eyebrowed supermodel she dated for 18 months until last September - but Clark isn’t going into specifics.

“Songs are Rorschach tests,” she deflects, referring to the inkblot psychological tests.

“The interpretation of the song, or the feeling of the song, has more to do with the listener than it does with my intention and I’m fine with that.

"But that song’s a love letter to New York, certainly, and to me it’s a composite of so many people and so many experiences in New York.”

The album also continues the saga of Johnny, who first appeared on St Vincent’s debut album, Marry Me. Back then, she pleaded to be his partner, singing, “Let’s do what Mary and Joseph did / Without the kid”.

By her fourth record, though, they were distant and estranged, as he embraced New York’s party scene. In the latest instalment, Johnny is dependent on drugs and living on the street. When Clark crosses his path, he accuses her of abandoning him.

“What happened to blood. Our family?” he hisses. “Annie, how could you do this to me?”

It’s heartbreaking, and savagely self-critical - but Clark won’t say whether it’s based on a real person.

“Everybody’s real and everybody’s a composite,” she replies.

It seems evasive. It is evasive. But the singer is a thoughtful, considerate interviewee. She seems to taste the questions, chewing them over before answering. Her responses are precise, but never abrupt.

So why, then, are we talking inside a bright pink Tardis?

The point, Clark explains, is to put both of us “in uncomfortable positions”.

“You’ve done a million interviews. I’ve done a million interviews. There’s only so many times you can repeat your Wikipedia page to someone.

"So what happens if we shake that up? Maybe you and I react differently, and that’s interesting.”

What actually happens is that we spend 15 minutes talking about the process of being interviewed.

She winces as she recalls a journalist quizzing her on the time she played New York while dressed as a toilet.

“I had just made a horror movie,” she says, referencing her short film Birthday Party, “and this was a costume from it”.

“Then I had an interviewer say to me, ‘Was that some Freudian display, as if you feel you’ve been pissed upon?’

"I was like, ‘Wow, that says a whole lot more about you than it does about me.’”

Principally, though, she’s bored of being asked the same old questions.

“I’ll give you an example!” she says, grabbing her phone and scrolling through a series of about 30 voice memos.

“I get asked to justify my existence as a woman in music all the time, so here is an example of something I might say.”

She clicks play and sits back in her chair, arms crossed. Her voice, in a bored monotone, emits from the speaker.

“Being a woman in music means being asked about being a woman in music. And when you ask me a question about being a woman in music, what you’re really doing is presenting me with two very tired narratives, and asking me to choose one of them.

"The first one goes like this: I am a victim, and now is the time to list, in great detail, my many grievances in order to assert my place in the hierarchy of victimhood.

"Or you’re asking me to defend now, in words, as if my work wasn’t enough, why I deserve a spot at the table.

"I refuse to participate in either narrative.”

Her protest duly noted, we proceed to safer ground.

Clark notes that her new album was finished exactly 10 years after her debut was released, and marvels that she’s made it this far.

“I’ve been happy every place that I’ve been - and every place that I’ve been, I felt like I had made it. Even when I was playing pizza parlours, or clubs in London for six people - three of whom were listening - I was like, 'I’m playing in London!’

"So for me, it’s been a constant, irrepressible desire to make things.”

Making this album with Jack Antonoff (Taylor Swift, Lorde), she employed the absurdist tactics of her idols David Bowie and David Byrne, placing “motivational phrases” on the music stand as she sang.

One, shared on Instagram last year, simply read “dead meat.”

“Sometimes, when you’re doing vocal takes you have a pad and pencil there so you can make notes, and I’d subconsciously written 'Dead Meat’. It just made me laugh that that was whatever was coming out of my brain at that time.”

Her Freudian scribbling had no impact on the song, though. “Self laceration is just another form of ego. It doesn’t really help,” she insists.

“I’ve learned that the hard way. Trust me, it’s not that usable. You really have to get out of your own way, especially when singing.”

And that, it transpires, is what really motivates her - the “meditative state” she achieves while making music.

“I need it. And I realise I need it when I haven’t done it for a while and I feel very agitated.

"You know, it’s like some people get really frustrated and angry and they’re like, 'Oh, I need to have an orgasm!’. And then you do that and you feel so much better. It’s just that easy.”

At that moment, the cloaked woman knocks at the door and our time is up.

“Thank you very much, it was a pleasure to meet you,” says Clark.

“You too,” I reply, expressing relief that I didn’t trigger any of her “stock answers”.

“You’ve done well!” she laughs.

“You passed! Bye!”

St Vincent’s album, MASSEDUCTION is released on 13 October.

[ Source ]
bbc.com
A strange encounter with St Vincent
The art-pop star invites the BBC into her "psychedelic womb" for a rather unusual interview.

“Are you ready for this?”

St Vincent’s press officer is making small talk ahead of our interview, on a scorching hot summer’s day in London.

“Sure,” I reply. I’ve listened to her new album. I’ve made copious notes. I’ve jotted down about two dozen questions.

“No, but are you ready for this?” he asks.

“I’m not sure what you mean.”

“Oh, you’ll see.”

Sounds ominous…

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[Percy is trying to help Tyson work through some issues via psychology. Annabeth is in the background studying and reminding Percy every few minutes that what he’s doing is not even CLOSE to psychology.]

Percy(Waving several pieces of paper): Test three! Inkblot test! Tell me what you see on this paper.

Tyson(Happily): An inkblot! I win!

Percy(Backtracking): Ah, no, no, no. What does this REMIND you of?

Tyson(Thoughtfully): A fat porcupine.

Percy: Yes, that’s good!

Annabeth(Without looking up): No.

Percy(Ignoring her and switching papers): How about this one?

Tyson: A little alien guy in a gnome cap. Percy, am I secretly a little alien guy in a gnome cap?

Percy(Sighing): Ah, no. Now what about-

[He takes out the next one, and discovers a single black dot in the middle of the page]

Percy: Ugh. Wait, hold on, this is a mistake-

Annabeth(Suddenly freezing, staring at the dot and dropping her book with a thud): THAT reminds me of my overbearing mother suffocating me with all the duties of being a worthy daughter of Athena for the rest of my life.

[There is a pause as Percy and Tyson look at her and she stares unblinking into the void]

Percy(Slowly): Well. I think we may have found the route of Annabeth’s problems- she has mother issues.

Tyson(Delighted): Yay! Annabeth has mother issues!

Percy: No, that’s bad.

Tyson(Frowning): Aw. Annabeth has mother issues.

anonymous asked:

What's a diagnostic interview? I don't think my appt included one. (Also the diagnostician said that autistic people are too clueless to know that they're autistic...)

The diagnostician is wildly ableist and this is one of the many reasons it’s so difficult to get a diagnosis.

A diagnostic interview is basically a structured interview to get information the diagnostician needs in order to determine if you fit the criteria of the disorder, syndrome, etc. that you’re being evaluated for. Did they ever sit down with you and ask about social interactions, eye contact, special interests, hyper/hyposensitivites? Did they ask about traits or presentations of traits from your childhood?

If not, then you probably never got a diagnostic interview. I didn’t. It’d be near impossible to diagnose someone without a diagnostic interview as that’s where a lot of their information comes from. I did an inkblot test, short story responses, a questionnaire, a fill in the blank, explained what a picture made me feel, drew pictures, and did descriptions of what was happening in a picture and I know for a fact they didn’t get any of the info they needed to diagnose me.

In fact, when I came back for my results, they said I was “too intelligent to socialize properly,” which I took to mean, “Sure there are issues with your socialization but you’re smart so you can’t be autistic.”

That is nonsense. It’s ableist. It’s also a perfect example of the dual bane that is the intelligence model when it comes to autism: portrayed by the media to be savants but expected to be “simple minded” (to use their own ableist language). Autistic people cannot win with this contradictory stereotype.

- palp

just my own theory

(not based off of the book, just simply what came to my mind.)


okay lets start with BEGIN. Jungkook was dreaming right (i’ll get to the photos later) he dreamt of the piano burning and his car crash but what if its just him waking up from another life he had. what if the i need u vid and this video are different worlds. someone might be manipulating jungkook and making him pick which one is the real world. is him in the room alone real or is the inu real. 

if he picks the wrong world he’ll meet his or his hyung’s death. whenever he wakes up from one world to the other, it feels real and that leaves him confused. both worlds are real at least thats how he feels

youre probably wondering, well what about that painting it was crying like him and he called out hyung. i think the painting is the one manipulating him. it sees through him it gives him visions of the bad memories making him pick the inu world as the real world.he says hyung coz he sees yoongi burning himself which probably was because jungkook got hit by a car (thats when jungkook woke up here alone) 

do you get where im going with this? 

then theres LIE this doesnt connect with yoonkook much but i have another theory for this

It shows this painting. and eventually zooms out into this

its as if the hand is giving him an interview right? some are saying its his reality as an idol vs just him without the presence of the cam and some say hes taking the inkblot test where it can figure out your personality or emotions based on your response etc

he gives this look like hes hiding his emotion

then they show yoonkooks blob 

that slight smirk drops a little but he still hides his emotion. its like he doesnt ever want to say a word about it

then the camera turned to him, like its indicating that he should be more serious with the situation. he looks uncomfortable and disturbed like he doesnt want to remember what happened 

it cuts to this,its probably showing what is in his head as hes being recorded

then they show his and hoseoks blob

you see him smirk then it goes back to his “mind”

then he returns behind the closed doors where the camera wouldnt be able to suspect him, like a dungeon almost

this is where he releases his depression 

it shows the blot that said eva its possibly vmons. eva means life so does it mean that either rm or v or both are still alive and figuring out how to fix evrything? then it showed the pills indicating hoseok so maybe it means that he wants hoseok to come back to him thats why hes imagining another bed and plays pillow fights with himself

what if everytime he tries to sleep and just try and forget he relives the day he drowns himself because of the fact the Hoseok overdosed. he drowns in different ways thats why theres so many scenes of him drowning but he wakes up in the same bed 

but when this part came it struck me. what if all of them were in that painting in another world. what if in that forest it had different kinds of worlds and that it wasnt a forest full of trees but lives. they all lived different kinds of life inu/fire/dope/run and one by one they all died in different world sending them in different places? 

the first blot is yoonkooks and the second is jihopes

im confusing myself.. idk where im going with this fml

Jimin is doing a psychology test in the video, it’s called the ink blot test. 

An inkblot test is a personality test which involves the evaluation of a subjects response to ambiguous ink blots. This test was published in 1921 by Hermann Rorschach who was a psychiatrist from Switzerland. The interpretation of people’s responses to the Rorschach Inkblot Test was originally based on psychoanalytical theory but investigators have used it in an empirical fashion. When this test is used empirically, the quality of the responses is related to the measurements of personality. Some psychologists use this test to examine a person’s personality characteristics and emotional functioning. It has been employed to detect underlying thought disorder, especially in cases where patients are reluctant to describe their thinking processes openly.[4] The test is named after its creator, Swiss psychologistHermann Rorschach.

vine

Inkblot tests never work for me, I always see the same thing…

Notes on The Wings Tour Trailer

1. Jungkook is shown swinging to and fro on a swing and disappears leaving flames behind. (Cue: Fire)

2. Yoongi appears lying down, surrounded by a broken down piano. (Cue: First Love) The background are trees (Cue: Arboretum: Lie, MAMA; RUN mv)

3. Jimin is also lying down on a grass field, his eyes blindfolded and his hands with untied black ribbons. His hand holds an apple. (Cue: BST, Lie)

4. Hoseok is lying down before the sculpture, Pietà by Michelangelo, among a pile of arrows that have missed their shot. (Cue: BST, he shot and arrow at Taehyung and it splattered paint over the layer that was protecting Taehyung) (Note: the sculpture depicts the body of Jesus on the lap of his mother Mary after the Crucifixion) - (Cue: MAMA)

5. Jin looks at his own reflection on a pool of water. (Cue: Awake, Jin touches a mirror and created ripples)

6. Jimin lifts off the ground and the blindfold comes off. The background is a colourfully painted background. (Cue: Begin - Jungkook paints, MAMA)

7. Taehyung appears in the same clothes as in BST.

8. Namjoon lies among broken, shattered mirrors.

9. Jungkook is close to putting his black-paint-coated fingers into his mouth. (Cue: BST, Jungkook put green wax into his mouth)

Do you remember during Ep 6 of Rookie King (Commercial break), Jungkook painted “BTS” with black paint?

10. Apple floated up from the water. Jimin dances in front of the colourful background. As his hand lowers from covering his eyes, black paint flows down the colourful background. 

11. Jin is found kissing his own reflection.

(Note: Could this be signifying that the statue he kissed in BST was actually himself?) 

12. Wings start growing from Taehyung’s back. As the Wings develop more and more, Jin’s face and hand starts cracking more and more like a porcelain. When Taehyung’s wings were fully developed, he gave a really creepy smile. As if he was happy to see Jin (in particularly) and the other BTS members fall apart. Jin’s hand broke off eventually. 

Also note that there are scenes where Taehyung seems to be trapped.

13. Yoongi stands in front of the Arboretum background and butterflies flutter nearby. Jungkook reveals a piece of art that resembles a butterfly. A butterfly immediately appears on Yoongi’s lips. (The art style actually reminds me of the Rorschach inkblot test, cue: Lie; Butterfly)

14, Namjoon appears slowly being covered by shadows. (This reminds me of Awake, at the beginning of the video where Jin also got covered by shadows when he was at the dining table.

15. Blue tears flow from Jimin’s eye. Colourful tears flow from Jungkook’s eye.(Cue: Begin, Jungkook’s painting also cried colourful tears)

16. Yoongi, Jimin, Hoseok and Namjoon all flew up from their lying positions. Just like how Jungkook did in BST.

17. Taehyung stands alone on a stage (there are curtains), his wings fully developed.

Notes on Wings #2: Lie

1. Namjoon read “My parents’ house made up one realm,… This realm was familiar to me in almost every way - mother and father, love and strictness, model behavior, and school.”

The quote is an excerpt from Demian: The Story of Emil Sinclair’s Youth by Hermann Hesse. This is a continuation from the quote Namjoon read in Wings #1.

2. Familiar setting of a hospital/asylum

We’ve seen a similar setting in BTS’ Run mv (and Namjoon’s Joke mv). 

I’m pretty sure this is an asylum. Why?

3. The Rorschach test 

Extract from Wiki: AKA the Rorschach inkblot test, it is a psychological test in which subjects’ perceptions of inkblots are recorded and then analyzed using psychological interpretation, complex algorithms, or both. Some psychologists use this test to examine a person’s personality characteristics and emotional functioning. It has been employed to detect underlying thought disorder, especially in cases where patients are reluctant to describe their thinking processes openly.

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