3 PP step by step - 3

The visual design shows the Contact and Sch (Ego) vector to belong to "Being" and   the Sexual and Affect vector to belong to "Having

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The arrow PP1 towards PP4 indicates the line of development from the dominance of the bodily (physical) toward the primacy of the spirit. 

Let us see now see how PP´s are deduced. For that, it is necessary to separate the circuits.   The eight factors of the test are grouped two to two in four vectors: 

 The factors (m) and (d) form the vector C.  The factors (h) and (s) form the vector S.

The factors (e) and (hy) form the vector P (vector of the affects or paroxysmal vector or vector of Surprise). The factors (p) and (k) form the vector Sch (vector of Ego)

In each vector, the two factors follow a progression according to a circuit in four steps. There are four steps in each circuit. Like there is a circuit in each vector. We have in all four circuits:

Vector C:  m+ → d- → d+ → m-.

Vector S:  h+ → s- → s+ → h -.

Vector P: e- → hy+ → hy- → e+.

Sch vector: p- → k+ → k- → p+ drawn here:  

Jean Mélon had the intuition that each stage of the circuits corresponds to the same logical level, the same mental horizon, and an "instinctual position". By getting-together the factors which occupy the same instinctual position, we form four sets at the same level. It is what we in practice call the "instinctual positions", or "PP" in summary (PP1 for the first level, PP2 for the second, etc).

Herewith we show how the diagram of the instinctual positions looks like: 

 PP1: the factors at the beginning of the circuit      

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PP2: the factors in the second position of the circuit    

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  PP3: the factors in the third position of the circuit    

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 PP4: the factors in fourth position of the circuit   

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Each vector contributes to give form to the instinctual positions. Certain vectors have more particular affinities with certain instinctual positions. For example, the Contact vector is located in a sphere of influence, which is integrated well with that of the PP1. We can even establish a relation between: - the vector C and the PP1 - the vector S and the PP2 - the vector P and the PP3 - the Sch (Ego) vector and the PP4. This affinity between vectors and the PP are underlined by the fact that one factor, among the four of each PP; more specifically expresses an attraction for a certain type of vector. This is shown by the following diagram, the factors (written in red) are those which coincide as much as possible the nature of the PP with that of the vector in question:         

PP step by step - 4

We will push a little further the representation of the PP´s by using a computer-processing tool, i.e. models of spreadsheet (sometimes indicated like "Sorter") We will not describe their way of working that belongs to another stage. Here it just is a question of illustrating the PP´s within the framework of a computerized use of the szondi test results. We already went through the procedure for the encoding (to note the choices) on a paper sheet.

It is indicated on the left diagram of left (where the PP1 factors are pointed in green); we will now consider the encoding using the computer,  (the green circle indicates a factor pertaining to the PP1):                

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We will use the first two profiles of an szondi test, which belongs to that of Alphonse. The following example will show you how the complete encoding (foreground, VGP, and background, EKP) of two profiles in a computer looks like. I surrounded the PP1 and the PP4:

 In Excel, one launches then calculation with the F9 key, the computer selects the suitable rules and then shows the proportions between the sympatric and antipathetic choices. That gives the following results:

 For the calculation of the PP, the computer shows all kinds of tables and graphs, but before that, we will show it ourselves for the two profiles of Alphonse: 

 Profile 1:

 Foreground (VGP)

 PP1 = 1 + 1 + 1 + 4 = 7, PP2 = 1 + 2 + 1 + 3 = 7, PP3 = 2 + 2 + 3 + 0 = 7, PP4 = 1 + 1 + 1 + 0 = 3 Total: 24

Succession in the order: 

 h+ → e → p- → m+/ s- → hy+ → k+ → d-/  s+ → hy- → k- → d+/ h- → e+ → p+ → m-.

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 Background (EKP) PP1 = 2 + 2 + 2 + 1 = 7, PP2 = 2 + 2 + 1 + 2 = 7, PP3 = 1 + 0 + 1 + 1 = 3, PP4 = 2 + 2 + 2 + 1 = 7. Total: 24.

Observe: the total must always be equal to 24 because there are 48 photographs in all, i.e. 24 with the first turn and 24 others to the second turn.  

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 Profile 2

Foreground (VGP) PP1 = 6, PP2 = 4, PP3 = 9, PP4 = 5. Total: 24.

Background (EKP) PP1 = 6 PP2 = 10 PP3 = 1 PP4 = 7 Total: 24

For all two profiles, the total sum for each PP is of:

Foreground (VGP)

 PP1 = 7 + 6 = 13, PP2 = 7 + 4 = 11, PP3 = 7 + 9 = 16, PP4 = 3 + 5 = 8.

Total: 48

Background (EKP)

 PP1 = 7 + 6 = 13, PP2 = 7 + 10 = 17, PP3 = 3 + 1 = 4, PP4 = 7 + 7 = 14.

 Total: 48

It is tiresome to calculate all the instinctual positions of all the 10 profiles for the foreground (VGP), the background (EKP) and the total of both, it takes in average 40 minutes of concentration for these small calculations and it is tiring for the eyes. It is an enormous saving of time and concentration if one can use data processing for this kind of calculations.

That also explains why the szondians necessarily did not use the entire theoretical arsenal at their disposal before the arrival of the data-processing tool. The test of szondi requires a tiresome computing time indeed to obtain all the indices, the PP, and other test data. 

Here follows the presentation of the results of the two profiles calculated in the spreadsheet almost instantaneously:  The graph takes again the two profiles, the first on the left, the second on the right. The three levels of addition (foreground (VGP), background (EKP) and total for the two plans) are represented with different heights along the four axes, which are used to symbolize the four instinctual positions.

a). On top is held the Total Sum for the Foreground (VGP) and the Background (EKP) then comes

 b) A little lower the Sum for the foreground (VGP), finally

c) At the bottom, one sees the curve that represents the Sum for the background (EKP).

 In fact, the points are connected by a fine line for better seeing the drawing of the peaks, although they are really not important, they are the four points for each height. The fact that the sum for the background (EKP) is presented negative does not have any importance, it is an artifact for this kind of chart.

However, it should be known that if the peaks point upwards for the foreground (VGP) and the total sum; for the background (EKP), the peaks point towards their top while being directed downwards. 

On the graph of the second profile, on the right, the points belonging to the same PP were put in color. It is seen clearly that Alphonse expresses, in his second profile in the background (EKP) a tendency to act in a PP2 way, whereas he in the foreground (VGP) he expresses himself rather in a PP3 way. 

Here is thus a man who that day presents himself using a verbal communication of the adaptive type (PP3), like a man who has not many fantasies and who adapts himself to reality as it is (a position which considerable cools down the inner imaginary world) However, one will not become astonished to observe that during the conversation he expresses often very often personal narcissistic concerns (PP2), in short just the opposite.

 Indeed, Alphonse started that day with a moralistic speech of the kind "One should ….", only, this time he did not come for that, but to speak about himself and his interior stagnation and of the past. Instead of adapting himself, Alphonse does only the opposite, i.e. he keeps to fixed and retarded positions. The general picture is in favor of PP2, it is signal how this person is in the situation of a narcissistic reinstatement (to restore an image of oneself which seems failing), but still it is necessary now to evaluate if this tendency to narcissistic reinstatement is dynamic or defensive.

If one looks at the first profile it looks like he prefers to remain in his own world (predominance of PP 2) without dealing too much with morality (predominance of the PP1). However, as the PP4 goes up a little in the second profile, he seems able to cast a glance at his interior condition and even perhaps to renew it. Indeed, he presents a p+ (factor p: 2/0 in the second profile, foreground (VGP). That is a good sign, although if one looks at the background (EKP), one sees the reverse, i.e. a p- (factor p: 1/3 in the second profile, background (EKP)).

The (p+) of Alphonse will make him to speak in an independent way, but his "hidden" (p-) wants in fact that one, so to speak, "takes care of him". Just like a draftsman starts by making a sketch of his drawing before deepening the features with meticulousness, the PP´s allow to quickly tracing the general outline of a test. The test of Alphonse gives us a general idea of it.  Lastly, we also have a presentation of the PP´s in a table by using the percentages:  

There are still other graphs which are used to deal with the PP:

For example, with the following calculation: (PP4 + PP3) minus (PP2 + PP1) if we obtain a positive total, it is that the tested subject is able to invest the symbolic system to the disadvantage of the force of his fantasy life. In such a case he consequently has then better assets to become aware of his difficulties, contrary to a subject who gives a negative result with this calculation.

Obviously, these are only approximations, and it is the complete result of a whole string of small signs, which in general let us decide. Data processing is an assistant and not an intellectual guide. 

The end of Part 3