Sample of Process Recording #21 of 3.docx
- 1. Sample of Process Recording #2 1 of 3 PROCESS RECORDING OUTLINE Student’s Name: Minerva Garcia Client’s Name: JS Interview Date: 03/14/07 Session #: 7 I. PURPOSE OF THE SESSION: To address my concern about Pt’s health and emotional state, refer Pt. to a mental health center, help him cope with the seriousness of his mental health, and assist Pt. will setting up an appointment with a local mental health center. II.
- 2. OBSERVATION: Pt. was affected when I voiced my concern; however he also recognized that he is also worried that he is going to harm himself. Pt. was disappointed and discouraged to seek these professionals help because he has previously been turned away by a couple of the mental health centers on the list that I gave him. He did not want to accept help from his family and repeated affirmed that they would not be able to help him financially to pay to seek this help. III. CONTENT: The content is from the middle of the session. SUPERVISORY COMMENTS INTERVIEW CONTENT (I said, she said) STUDENT’S GUT LEVEL FEELINGS CLIENT’S FEELINGS/AFFECT IDENTIFY INTERVENTIONS & MAJOR THEMES I said: “I want to make sure that you understand why I am referring to you a mental health center. As I told you in the beginning of this session I am concerned about your mental health, you need to seek further professional help which I can not provide. ” He said: “(puts his head down for a moment) I know that I need help. My mother said that if you can recommend me to a see a psychologist? She said that I need help. ” I said: “Yes. That is what I am going to do, but I want to make sure that you understand the reason why I am doing this. ” He said: “(Nods his head) I understand because like I told you before I don’t plan on harming myself, I just do it. Like when I made these scratches here (points at his lower forearm) I was frustrated that I kept doing these to my arm and I didn’t feel it.”
- 3. I said: “ Yes. This is why your mother and everyone at this clinic is concerned about your mental health state. Because if you made scratches with a knife and you didn’t feel it, you can do other serious things to yourself which can puts your life in endanger.” He said: “Where are you calling? Where am I going to ? I have already been to this one place by Van Nuys and it is called something like El Nido and they didn’t help me. From the outside it looks like it’s a building for kids but they also help adults. ” I said: “Well, here I have a list of different mental health centers and I am going to refer you to once that is more closer to your house. (I show him the list) I was planning of referring you to this clinic (I am pointing to the clinic located in Van Nuys) its called the center of family living have you been there before?” He said: “I think so. Is it the one that is located between I think Roscoe and Van Nuys? Do you know what the nearby streets are?” I said: “No. I don’t but according to the address it is in Van Nuys.” He said: “Ok. Yes, I have been there because that is the only place that is in Van Nuys. I have already been there and they aren’t going to help me. They told me that they couldn’t help me because I don’t have med-care.” I said: “How long ago where you there for?” He said: “(lifts his arms to dismiss his mother) Aww…that is what you say.” I said: “Does Jose like to interact with the family.” Pt.’s mother said: “No. Ms. it’s the truth he doesn’t like to
- 4. interact with us. He doesn’t like to talk about his errors. He likes to blame others, but also the reason that he has problems with people it’s because he…how can I say it…he doesn’t use the right words. The other day he insulted my husband’s father and my husband got bothered because it’s his father. But I tried to talk to Jose and let him see….but.” He said: “How I was not supposed to insult that man after he insulted me. He wanted to hit me, what was I suppose to do? I had to defend myself since they (referring to parents) weren’t doing anything.” Pt.’s mother said: “Son, why I want have the mother discuss what she thinks are Jose’s problems. That is terrible that she feels that Jose doesn’t love them. I wonder what the motivate is to him not liking his sister who is a single mother. Could it be that be feels jealously towards his sister because she takes away the attention his mother gives him, I wonder? This is terrible. Seems like he is the one who isolates himself from the family. Not sure what to make of this. Seems the pt. holds a lot of things against his parents and the family. So, he doesn’t like to admit his errors. It could be that these situations that he encounters are true, however he is the one to provoke indifference from the other person. Defensive. Doesn’t seem like he has no respect for his elders. So, everyone insults him. So, he doesn’t sleep on the sofa?
- 5. Seems like he is attempting to hide something. Smiling. Sad and tearful. Gets emotional. Sad and disappointed. Really sad. She is attempting to make Jose understand the situation, Clarifying the situation and getting another perspective on Jose’s stories. Pt’s stories contradict mother’s stories a bit. In the intervention, I attempted to help both the pt. and his mother see and understand each other. Major themes covered were: Jose doesn’t sleep on the sofa, instead he sleeps in a trailer; according to the mother Jose bumped into his brother-in-law on purpose and provoked the brawl; Jose’s sisters have helped him; his parents do love him, but he rejects them; once when he was taken to the hospital for anemia, a doctor recommend for Jose to be taken to psychiatric facility because Jose had traumatic problems; Jose claims that his parents aren’t his real parents; Maria the hairdresser who is a friend is heavy involved in the family and was paid by Jose to tell his mother that she was going to marry him; mother wants to help Jose, but he rejects her; his dislikes his nephews. 32 of 3 3 of 3 IV. IMPRESSIONS/ASSESSMENT: 1) What did you observe throughout the session -- behavior and affect; 2) was the
- 6. behavior/affect appropriate, explain; 3) how does this behavior/affect fit with what you know about the client=s past behavior/affect; and 4) identify the major themes/issues that emerged. 1) Based on my observations the pt. was not being sensitive towards his mother’s feelings. During the session the pt. either looked away or smiled why the mother was pouring out her heart. It seemed like the pt. was indifferent to his mother’s feelings and just wanted to focus on his own feelings. Whenever his mother brought up a situation in which Jose had told me a different version, he attempted to change the way his mother worded the story to make it correlate to his version of the story. 2) The affect/behavior was appropriate by the pt’s mother; she cried and poured her heart out during the session when needed. She talked about her strengths as well as her weaknesses. Jose never talked about his weaknesses; he always blamed someone for his behavior. His behavior was not appropriate to his mother’s stories and feelings because he dismissed her feelings instead he focused on his feelings. 3) The pt’s behavior does fit to his past behavior in pervious sessions. He is not very expressive towards his feelings. 4) Major themes that emerged were: Jose initiated fight with brother-in-law; pt’s family does love him and attempt to get involved; pt. isolates himself from family activities; doctor once recommended for pt to be taken to a psychiatric hospital; mother found out about pt’s asthma the same day of session; pt is resentful towards mother and family; pt paid a friend of his to convince his mother that she was going to marry the pt. V. USE OF PROFESSIONAL SELF: Choose two significant interventions you made: 1) identify/describe; 2) what was your impression of your effectiveness; and 3) what would you change. 1).To allow the pt and his mother recognize their strengths and allow for each other to better communication between both. For
- 7. each one I intervened and pointed out each other’s feelings and see if they were able to acknowledge each other. 2) There was hardly any effectiveness. There seems to be wall in between both. Both like to discuss their feelings, but do not acknowledge each other’s feelings. 3) Maybe intervened more and pointed out more strengths. VI. PLANS: (Brief statement of your plans for the next session, long range goals, short range goals that are relevant for this client.) Plans for next session are to focus on what was discussed in this session with pt. Obtain clarifications on the pt’s behalf on the stories and further explore the story of the spirit. For the last session pt. wants to bring in both parents. Continue with strengthen pt, however not sure if this is sufficient to help pt. seems like maybe he might need some other type of help. Long range is for the pt to have a higher self esteem by continuing to highlight his strengths. VII. ISSUES, QUESTIONS OR PROBLEMS: (To explore in supervisory sessions.) Areas to explore in your supervisory conference: include issues of diversity, value dilemmas, counter-transference etc. Dilemmas: I had difficulty with this session because each one was interrupting one another, but I did my best to intervene. Amoment of professional crisis and self-loathing inspired Gideon Mendel’s photographs of abandoned objects in the now-demolished Calais refugee camp. He had travelled to the site to participate in a thoughtful-sounding project, where refugees were loaned cameras to allow them to document their own experiences. But it wasn’t going tremendously well; the refugees had more pressing concerns on their hands than documenting their own lives, such as finding food and somewhere to sleep.
- 8. Mendel was disturbed by the level of hostility that cameras provoked. “There were so many cameras coming in; there were no gatekeepers, because it wasn’t an official camp, so any photography student, tourist or sympathiser could wander in. The general feeling was that the camera was an enemy of some sort.” He was also bewildered by the array of misguided benevolent ventures converging on the camp: “Calais felt at times like a music festival gone wrong.” During one visit in early May, he watched as a Spanish circus came waltzing through the tents and huts with jugglers and musicians, followed by a Christian procession with a healing donkey and, later, a delegation of sympathisers from Essex – all taking pictures. “They were making a donation, and they had to be photographed handing over the cash,” he says. “There were all kinds of weird and wonderful and terrible things that came into the camp. I thought, ‘What people really need is immigration lawyers.’” He followed the procession into a church built by Eritrean refugees from sticks and tarpaulin, and had just begun to take some pictures when he was confronted by a refugee who started shouting at him: “You fucking photographers. You come here and you take our photographs and you tell us that it’s going to help us, but nothing changes. The only person that it helps is you.” It was an acutely worded attack, and Mendel became “quite revolted with the idea of photographing in the camp. I didn’t want to lift a camera any more.” Assorted toys and clothing collected between May and October this year. With no electricity in the camp, many possessions were accidentally burned. Photograph: Gideon Mendel He was already uneasy with the photographic tropes that have emerged from the crisis: the lines of waiting, needy people; the emotional faces of people trying to cross borders; the queues of people stepping off boats; the images of people sitting around campfires; the shacks. “The most infamous image of queueing migrants is the one Ukip used so brilliantly, playing on the
- 9. sense that they are queueing to come and take stuff that is ours. Even if the intention of the photographer is compassionate and sympathetic, the usage can be problematic and add to the stigma and the fear.” But Mendel was reluctant to retreat from the subject. His work has always focused on challenging subjects; his last major project was Drowning World, a series of portraits of people in homes submerged by flood waters, highlighting the effects of climate change. The migrant story had a personal resonance. His parents were refugees from Nazi Germany; his father’s mother died in the Holocaust. He felt moved by the difficulties faced by the thousands of people stuck in Calais. So Mendel turned his gaze to the detritus left behind. His photographs of abandoned toothbrushes and soft toys encrusted with mud and sand give a powerful alternative portrait of the human misery of the camp. Eighteen months of the refugee crisis have made many in Britain hardened and desensitised to the issue. The Guardian’s own online news consumption analysis shows that articles about refugees are often clicked on in small numbers. Readers have been cauterised to the pain of the unfolding human disasters and are often jaundiced in their approach to individual stories. The shock factor of distressing images has waned through repeated exposure – all of which makes Mendel’s sideways view more arresting, harder to skip over. His pictures of flattened footballs, singed clothes, ripped sleeping bags and recycled teargas canisters force you to think about the experiences of the people who lived in the camp. A picture of muddy children’s gloves reminds you of the utter squalor that infected the whole site. He has lined up worn-down shoes with the forensic precision of a medical photographer. “The shoes speak of distress. Some shoes are burnt; fire was a recurring thing in the camp, first because there was no electricity, just candles, so a lot of things were burned accidentally, and later people were torching things
- 10. before the demolition.” Anxious to avoid the pictures becoming “ruin porn”, another photographic cliche (used particularly in relation to the beautiful images of post-industrial Detroit), Mendel was careful to display the objects in as dignified a way as possible. “There was such chaos in the place, I had this instinct to make things as organised and neat as I could.” He made several trips to dig around in the sandy wasteland, sifting through layers of rubbish, asking himself, “How would someone in 1,000 years understand what had happened here?” This activity was viewed with bemusement by the camp’s inhabitants, but without the antagonism that photography provoked. ‘There was such chaos, I had an instinct to make things as organised and neat as I could’: a shot of 83 toothbrushes found in the Calais mud. Photograph: Gideon Mendel His last trip was made as the camp was demolished by French police, and the inhabitants were bussed to nearby hostels, where many remain, applying for formal asylum in France. Others have returned to sleep rough in smaller settlements along the coast, still trying to make their way to join relatives in the UK. Just before the site was sealed by police, Mendel carted away black bin bags full of rubbish: burnt children’s books (including The Tiger Who Came To Tea by Judith Kerr, herself a refugee), scraps of bedding, used tampons (a reminder, he says, of the particular difficulty of being a woman in a camp of 10,000 people with just a handful of Portaloos). To the “non-delight” of his family, he still has a collection of bits in the basement. His project has provoked scepticism from his teenage son, who said, “Dad, most people bring things to refugee camps. You go in and take things away.” While scouring the site, Gideon Mendel found spent shotgun
- 11. shells, predating its use as a refugee camp. Photograph: Gideon Mendel Mendel hopes that the pictures will “touch people on a deep emotional level. I want to do work that makes an impact, that touches people’s consciousness. I wish I could offer a clear response and say, You can do this to help the situation; but I’m afraid that isn’t there for me. The work is my response to this world, where you have places of relative safety and places of danger; places of wealth and places of poverty.”