In this third episode with the Athlete Apperception Technique's author Dr. Petah M. Gibbs, we unpack the art of crafting projective images for the AAT, exploring how ambiguity opens a door to the athlete’s internal world. From latent stimulus meaning to the powerful pull of interpersonal relationships, we unpack what makes a picture more than just a picture. Why focus on relationships before performance themes? What does it mean when an athlete doesn’t mention anyone else at all? Tune in as we discuss the psychology between the lines—on the track, the course, or the court.
Also, If you are interested in Dr. Gibbs original research study, you can find it here: Gibbs, P. M., Marchant, D. B., & Andersen, M. B. (2016). Development of a clinical sport projective assessment method: The Athlete Apperception Technique (AAT). Qualitative Research in Sport, Exercise and Health, 9(1), 33–48. https://doi.org/10.1080/2159676x.2016.1180637
Abstract
Within the field of applied sport psychology, there is an increasing appreciation for diversity of training models, research methodologies, and therapeutic approaches. For example, psychodynamic formulations and interpretations have begun to appear more frequently in the sport psychology literature. In keeping with emerging psychodynamic viewpoints, we believe the time is right to introduce a qualitative sport-specific projective instrument: the Athlete Apperception Technique (AAT). The AAT represents a new technique based on psychodynamic theory and established projective test construction principles. It was designed primarily as a clinical tool for practitioners and not as an instrument for quantitative research into personality. It does, however, have potential research applications, especially in clinical sport case study research and narrative analysis investigations. The AAT produces an idiographic understanding of athletes’ characteristics, anxieties, and motivations (both conscious and unconscious). We briefly review the literature on the development of projective techniques, explain the rationale underlying the development of the AAT, and present three sequential studies to explain the AAT image selection procedures that led to the final product.
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Discover all Dr. Petah M. Gibbs research here:
(Eds.) Applied Sport, Exercise, and Performance Psychology: Current Approaches to Helping
Clients (pp. 101-110). London, England: Routledge.
Sport, Exercise, and Performance Psychology: Current Approaches to Helping Clients (pp. 101-
110). London, England: Routledge.
Materials for Sport and Clinical Psychologists. London, Routledge.
assessment method: the Athlete Apperception Technique (AAT). Qualitative Research in Sport,
Exercise and Health, 1-16. doi: 10.1080/2159676X.2016.1180637
homonegativity, sense of belonging, and depressive symptoms among Australian gay men. Journal
of Homosexuality. doi: 10.1080/00918369.2016.1190215
depressive symptoms among Australian gay men and lesbians. Journal of Homosexuality. 60(1), 1-
15. doi: 10.1080/00918369.2013.735933
symptoms among older adults: a test of sense of belonging as a mediating and moderating variable.
Age and Mental Health, 17(8), 1023-1029. doi: 10.1080/13607863.2013.805402
(Eds.), Routledge handbook of applied sport psychology: A comprehensive guide for students and
professionals (pp. 101-110). London, England: Routledge.
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Mathias Alberton (00:03)
everyone. This is Mathias Alberton. I'm the creator of Martial Attitude. This is Martial Attitude Voice. I welcome back to the podcast.
As you know, I am working on a training program for visually impaired and blind people to enhance their confidence when touching and being touched by others in social context, to move a bit better, to get some interesting navigational skills on top of what they already have, and of course to experience some physical activity in a bit different way.
Also because if I might, let's say, is a bit self-serving, but if I can promote a bit the thing, one of the thing of martial attitude training is that we are creating an activity where visually impaired and fully sighted people are working together on the same thing. So it's not something that is specifically doable only in certain setting because only visually impaired and blind people can do it, but when they come to work with the fully sighted people, they do the same thing, which is a bit different. And it is something that is not so often met and available for visually impaired and blind people. The workshops run in central London every Sunday. So you keep in touch to know more and you can send an email. You can keep in touch on social media as you like.
In the podcast today, we meet again with daughter Petah Gibbs. She has created the Athlete Apperception Technique, a projective test in brackets. It's not really a test. And we have explored it already for a few episodes, and we are trying to get into the depth of it, and how it is being structured, and what was the research behind it. in this episode, we want to know a bit more about the creation of the images that are used during the deliverance of the technique. We have a guest again, Dr. Peter Gibbs. Ciao, Peter, how do you do?
Petah M. Gibbs (02:34)
Good to see you again.
Mathias Alberton (02:36)
Yes, we see each other, but we record audio only. Actually, this is a different question. You have been on the show for a couple of times now. How do you feel about recording just the audio, even if, I mean, we are looking at each other through the chat room we are using, but we know that the end product is just the audio. And in my... mind for my persona, let's say, it's kind of comfortable feeling to know that it will end up in being a radio program because I come from a time where the radio was still something super nice. Now it's all about video. But I thought that recording podcast is really about the voice.
So we can concentrate a bit more about what we're saying rather than taking note of how we look in camera. How do you feel about this?
Petah M. Gibbs (03:45)
Yes, always, I think I'm always more comfortable just with voice. It's probably, you know, probably through the pandemic, it was more of a forced use of video with, you know, Zoom meetings and all of that that went on. So I think, you know, for a lot of people that was confronting and challenging, but certainly I got I've got used to it now, but yes, I'm definitely I like to be just focused on the voice.
Unless I'm, you know, in some of my other work, I do a lot of interviews for employment, know, recruiting people in management jobs or recruiting people, young people into, you know, professional sporting careers to be drafted into professional leagues. So the use of Zoom specifically during the COVID years where we couldn't have contact, Zoom was really important tool because well, you can speak to somebody on the phone when you're really trying to get a sense of a person. It definitely is an advantage to be able to see them and see how their body language and their facial expressions and facial reactions to things that are asked and things like that.
Mathias Alberton (05:13)
And it is quite an interesting thing to reflect upon because what we are trying to discuss about here is the technique or in brackets again a test about something that is primarily visual funnily enough. So now we do have a bit of a task ahead of ourselves, which is to explain to break down, to unpack a system of images on the radio. Let's say. So we have discovered a lot about the origin, the philosophy, the approach behind the Athlete Apperception Technique in previous episodes. And we were thinking about, again, diving into the sets of images. Just for the audience, we're talking about three sets of images. One is called standard set, 10 images. Another one is a supplementary set of extra five images. And then is a set on its own, which is for children. Now, this to say that when you are client or practitioner using the AAT, you have the pictures with you and you show them or they are shown to you in a certain order because they come in a certain order. But as we have discussed last time, they also can be cherry picked by the practitioner because this and that.
And without this, again, because of, let's say the limitation, but it's a nice limitation in this case of the radio media that we're choosing to talk about this. We don't want to describe the pictures, not because there is a secret about them, because really it's not purpose. Rather, it is interesting to know of 10 pictures of the standard sets. were the... concept that you wanted to explore or what was the stimulus properties that were challenging in crafting, selecting the images?
Petah M. Gibbs (07:39)
Yes. Well, like I mentioned on the previous podcast, we started off with a huge number of images that just looked visually appealing and were all sport themed images and just kind of whittled those down into a more manageable grouping. I think there was 48 in the end of various sports covering all different types of situations you know, with children and men and women. And so the next study basically went to an expert rating of that. So psychologists and people who work as sports psychologists as well. And we got a group of experts who were given the 48 images and then asked to really rate those images on a different number of criteria. So what we were looking for is for them to give a rating, a low rating, if they didn't think that there was much being measured and a high rating if the image seems to be, or the pictures seem to be eliciting that particular what we were looking for.
So the first thing was really the ambiguity because that's probably part of what projective tests are. You know, the raw shot being probably the gold standard in projective tests, thematic ad perception tests as well, but they're quite different tests. And so they're the gold standard. The raw shot, when we talk about ambiguity, the raw shot is pure ambiguity. It's an inkblot. People could look at it and think,
Well, what is that? I was like, well, that's what we're asking you. What do you see in that? And so we wanted the same with the AAT along the lines of developing the TAT, you still want to have a fair bit of ambiguity. So while it might be clearly to anybody that looks at the picture and if you're explaining to somebody that couldn't see the picture, like our first card you know, that is a person. most people see a male runner, but not everyone, but it's a person looking like an athlete, you know, a runner laying on a running track because there are lines on the track. So that's basically the entire picture is a, it's clearly a running track and then there's a person lying on the running track. That's it.
That is ambiguous because then they're asked to tell a story about that. is the main person in the image? Now, some people will, know, majority of people will say, well, the person laying there, man or the woman laying there. Some people will say, I think the most important character for this image is the coach who's standing on the sidelines, who's not seen in the image, but the coach who's standing there looking or the parent of the person laying.
So some people really start their story with identifying with somebody else. So you really want that freedom to be able to really create your own story to what the image is being presented. And so these experts would rate each image on how much ambiguity they had. So it allows enough room to really create stories that reflect the client's internal and external worlds. And so the next part really was looking at how it would evoke identification. So you want to have it ambiguous, but you want it to be able to evoke some type of identification so that the storyteller, the client storyteller is able to identify with what's going on in that picture, in what they see. And so the experts rated all the images on that. It's got to have some type of maybe latent stimulus meaning, which really is, know, words for just where there might be some hidden form or something dormant that could really be evoked.
You know, so that person laying on a running track, it's ambiguous. It's ambiguous in its nature of what's happening. Has that person fallen over if they finished the race and have fallen on the track celebrating because they've just won the Olympic race? Are they just in training? Are they having a rest? Whatever. It's ambiguous in that way. People can identify as like, yeah, I've fallen over or I've celebrated when I've won something.
I'm in elation or despair. I've come second and in despair I've fallen, laid down on the track. But what's coming out of that is what's that latent stimulus meaning, you know, that dormant part of people that's being evoked, you know, like this person's feeling real shame because they're laying on the track. So any client you show the picture to, some will say that's a person who's won a race.
Just run a of their local race at high school or that's, you know, that's me. And I just won at elementary school. I just won the race. so I was really happy and I laid on the ground. That's an Olympian who just won the gold medal at the World Olympics and they've sacrificed their entire world to get a ticket to that. That's somebody that finished second. That's somebody that finished last or somebody that fell over. So people are all going to see have some type of different latent stimulus that's being evoked. So again, it comes from psychodynamic psychoanalytic theory of the ego processes. then there's got to be some type of, the other thing that we're asking the experts to judge on was some type of basic interpersonal relations. Because in sport, even in what you call, you know, maybe individual sports, golf, tennis, where, you know, it's like the sports person that is out there alone, you know, we know that's not the case. You know, people are playing, they might be playing a sport where it's just them versus a bunch of others with no team mates, but they still have a team. They still have family. know, so we want some, we want the every image to elicit some type of understanding of basic interpersonal relationships. You know, might be different family dyads, know, brother, sister, mother, father, mother, son, father, son, whatever. You know, people of the same age and gender, people in different social roles, know, coach and a student. So that was important. And finally, it was really about the images being able to encourage imaginations and real creative facilities. you know, looking at it and develop, you know, where we can where we can start seeing themes being elicited from the images so that, you know, here is somebody, you know, so it might be like a golfer missing a putt. So, you know, it might be a very basic image of a person standing, the ball's gone past the hole, you know, so they're putting and the ball has gone past the hole from the side they were putting. what we could look at it and say, well, that's clearly a person that's missed a putt. Most people might answer that way. So we want to understand like where does that image open up enough ability for people to really be creative about that?
You know, so when they ask what's going on, what are the feeling, what's that person thinking and what's going to happen afterwards? You know, we're asking all those type of questions during the administration of the image. And so, you know, like just this morning, was, you know, the Masters was on. so, you know, what happens when you miss a part, when you miss a part, there's, you know, frustration, disgust you know, the embarrassment, all of those type of things. that you want an image to be able to allow people to use their own imagination, creative faculties, I guess. So that's really and then from that, from those ratings, you know, we use really basic descriptive statistics and we're able to really bring the set down, especially seeing, well, these two images are getting exactly the same rating. They're really measuring the same thing choose one over the other. And so we got it down to the 10 images which make up the final image set.
Mathias Alberton (17:37)
And actually you were talking about this idea of investigating the interpersonal relationships from which some themes might emerge, let's say, might come out, might be unearthed, if you like.
Versus another approach, which is okay, in sport psychology, given that the technique, the AAT is specifically designed for sport people, sport psychology, know that I don't know, goal setting, motivation, performance anxiety, these kinds of topics are major in sport psychology. So we want to tap into those specifically. So let's create something that is really evocative for these concepts here. So it is another way to go for. So you decided or appears to me that you have decided to prioritize or to rank as more important. OK, let's investigate relations. So from there, we can see if any of these other more specific things comes out instead of, okay, we know that focus is important. So let's create an image that actually taps into this concept. Did you do it and you discard the idea? It didn't work. You didn't want to. What was going on?
Petah M. Gibbs (19:18)
No, we did. We did that in the next step, really, looking at the images and then making sure that we could try to cover, for the lack of a better word, as many sports psychology themes, like the examples you gave, that would be elicited from the set of 10. And that's why, you know, as the developers of the technique, you know, and like Murray and Morgan who developed the TAT, you the recommendation is you use the set that they give you. And there's a reason why, because it's there to try and measure the entire gamut of being human, as to try and measure as many sports psychology themes as possible. So in that set of 10, we measure an enormous amount of sports psychology themes.
And I can give some examples of those if we went through, if we go through maybe a couple of a couple of the images. So and that was that was absolutely important. But when I'm talking about the experts, it was really about just getting the images, forgetting sports psychology themes for that moment, just making sure the images were ambiguous enough and that they were there and they could evoke enough identification with what was going on.
And interpersonal relationships are very important. So even all the things you talked about, I mean, they're all influenced by interpersonal relationships, motivations and our confidence and things like that. They don't exist in separate worlds. mean, motivation, primarily, the intrinsic versus the extrinsic, the very basics of motivation theory.
And, you know, how many, how many people that play sport that I've worked with that, you know, are motivated to make their parents proud or their partner proud and, or show the world versus just doing it for the, so the pure enjoyment of doing it. So interpersonal relations feel important. and, no, there's not, not a single athlete in the world that lives in a cylinder where they don't have hugely important relationships going on, whether it's with coach or family or friends or teammates.
Mathias Alberton (21:58)
And if they don't have such important relationships, that's also one of the aspects that could be understood, the missing of the relationships, isn't it?
Petah M. Gibbs (22:10)
Yeah. if it's not talked about at all, that's, you know, again, for lack of better term, red flag. I like to use the word red flag. Not in a negative sense. It's like if you were just sitting having a talk with a client, red flags come up every now and then. When somebody says something or answers a question a certain way or uses a certain type of word, where you might just make a little, it's an indicator that, I need to make a note of that. That's just a little red flag of something I might swing back to later, or gives me a clue. Again, you know, like that, what we talked about a couple of sessions ago about, you know, filling in all the bits of the jigsaw puzzle. All of these can be little pieces of the jigsaw puzzle.
Mathias Alberton (23:06)
I am also, you know, I've seen the images I've taken, the part of the test in certain settings myself. And of course, some of the images might be more scary or upsetting or trigger some sort of fear on, you know, in the subject, undertaking the test again in Brackest, when I'm saying test, I'm saying the session which is used in the AAT. And this idea of triggering this kind of primal emotion, so was there all along or it came about later in the process?
Petah M. Gibbs (23:51)
Well, for every person that would be different. you know, using the set of 10, you might get, you know, a really rich, emotive story to one or two particular images and the rest are very ho-hum kind of responses. But that's tapping into that person's particular situation and experiences. the very basic pencil drawing that's being presented to them and them being asked to tell a story about what's going on here and what's going to happen and what are the thoughts and feelings of the person they're identifying with. If that's going to evoke an emotional response, then there's something they're brewing. So that's exactly the purpose of the test is to try and get some understanding of the person at a deeper level.
We building the this once we had the once we had the images brought down to a more manageable group, it wasn't too sorry, I probably didn't explain that well at the beginning. So we had 48 images, we got the experts and then we brought that down, eliminated a lot of images from that. And then we really went out and got a lot of people fill this out. lot of professional athletes and volunteers and amateur athletes and recreational athletes. We've got tons and tons, hundreds and hundreds of thousands of words of transcription. And so what we were seeing, the images that seem to elicit them, particular sports psychology themes. it'd be like one image was really very clear. This was talking about motivation, motivation, motivation.
It's measuring that exactly. that as an example that if I can talk about that first set, I mean, we want to have an artist description, you so we want to have a basic idea. So that first image, you know, basically is just a brief discussion of the image. you're not putting, it's not like a raw shot where you say, here's an ink blot. It kind of looks like a butterfly. So tell me what you see.
That's too leading. you know, some people, well, almost all people will say, it looks like a butterfly. You don't want to give them that. Whereas with the TAT, with the AAT, it's, there's still, there's a, it's not as ambiguous as a raw shot. It's not an inkblot. It's clearly something happening, a situation. And so a basic description of the image is there.
So, you know, for example, that first image that I talked about, exactly what I sport about, you know, it's basically, you know, a person laying on a track. You know, in the second image, there's two females competing in the hurdles would be the basic description of the image.
And that's enough for the person to know. They can see that anyway. And then what you're asking is saying, so we know that people are going to see two females competing in the hurdles. If a client doesn't see that, then that's something to be discussed. I would say that's a red flag. But then people will then start talking about what they see beyond that. So it's important to get that artist's description. And then we want to get the stimulus demand, you know, so what people are generally saying. that's, and we know what people are generally saying because we did it with hundreds of people and said, tell us a story about what you see in this image of this person laying on a track. And, you know, vast majority said, this is what's going on. So we know, okay, that's what that image is eliciting. That's what I saw. And that's what hundreds of other people saw. They'll understand that there will always be people that will see something different. So, and then we want to get some type of, we want form demand, you know, so what's happening, what's going on and what are some of the underlying emotional issues like we were talking about before, this latent emotional demand. And we get an idea of what the frequent plots are to the image. know, generally the most frequent plot is, and it's the same with the raw shot, you know, the raw shots, you know, I won't even go into trying to describe that. I went to a five-day conference on it and did a couple of workshops on the raw shot just last year. And, you know, it's like, gets more complicated every time I learn more about it. every time you think you're starting to understand it, you realize, wow, I don't know anything about this. gets, it can get quite complicated and with the various scoring techniques. It's, you want to get some, you want to understand what the frequent plots are. So the raw shot, even though it's an inkblot, majority of people see this when you show them this inkblot and then there'll be these variations and then there'll be these significant variations in that. So we want to be able to measure that as well. You know, so if we're looking at that first image of the person lying on the track, usual account of that image, you know, is a reference to the athlete lying on the track and some description of how the athlete got to that position. Did they fall? Did they lay down? And other things that people generally say, you know, there's some kind of collapsing, whether they've collapsed in exhaustion or they've collapsed in elation, and they're coping and their response to injury. So those, those are real frequent, type of plots, you know, there's.
Mathias Alberton (30:35)
This is actually a good moment to rephrase, to reiterate a bit. What kind of questions you do perhaps?
Petah M. Gibbs (30:46)
So what the practitioner will ask the client. So you'll say, I'm going to show you some images, take your time, give me as long a story as you want. And when you look at the image, tell me what you see. Who's the most important character in this image? What is going on here? What has happened before this? This particular, this snapshot, what has happened leading up to this? What is going to happen after this? What's the outcome of all of this? Even thoughts and feelings that are going on inside this character's head. So pretty basic kind of questions. And so, you know, some, some people will give you really rich, really follow, answer your questions and give you complete answers as to what's led up to it, what's going to happen afterwards. Some people not so much. But, know, so for example, that person lying on the track, you know, frequent plots running, falling to the ground before the race is finished, or they're distraught, or they're running and they're elated, know, they fall into the ground after winning. They fell, they got an injury, tore a hamstring. They fell to the ground, but they got up and they courageously finished the race. Or they fell on the ground and they just laid there in despair, crying. And then they're going to be a failure and their coach is going to be disappointed and their parents are going to be disappointed. And that was their last chance to make the Olympic team or as you can see, you can go anywhere with it. But what it's doing is it's giving an insight into that person. And so what you're looking for the themes throughout. if you have a really, you know, really strong example of that would be and it doesn't happen this way very often, you'd get image one person tripped over, tore their hamstring, laying on the ground, distraught.
They're not going anywhere. Their families are furious because they've spent so much money trying to get them to the Olympics and now this was their last chance to qualify and they're getting too old and they'll never run the Olympics and spend a waste of their entire athletic career and they don't know what they're going to do next. The next image, it might be where there's two females jumping the hurdles. It might be, who's the most important person in this image? Some people identify with person who has clearly crossed the hurdle and the second person is seems to be pulling up short to the hurdle. So they haven't hit the hurdle yet, but they've got their hand stretched out towards the hurdle. So it looks like they've mistimed or something like that, but they're going to come in second. And so you might have that theme from the first one, the same person says, the main character, and this is the girl that's going to hit the hurdle, she's messed the race up, she's missed her timing, she's going to be distraught, know, it's a waste, know, such a waste of her time and effort and she's really stuffed this up when it really mattered the most. So if you start getting a person that's telling that common theme to every story out of the 10, then clearly you've got something to start working on. You know, why are you identifying with failure?
When the image isn't showing you failure, that you're seeing failure, you know, that's just a person laying on a track, but you'll see, you're seeing, well, clearly that's a person who's fallen over and their world's fallen apart. Clearly that's a person who can't jump a hurdle and their world's falling apart. And, and if you get that theme through three, four, five, six, or even, you know, all of the images, then, then there's something to work with with that client about this sense of whatever it is, despair, know, confidence, you know, might even be fear of failure. Some of those really big things that professional athletes and amateur athletes, you know, live with. So, so that's an example of, you know, and then we look for significant variations as well. So, you know, we get a number of we, we know what the normal, normal plots are.
You know what most people will say, I probably shouldn't use the word normal, but the majority of people see and talk about. and then you do get some significance. we know. Look, you will, you could get these significant variations and they're still in, they're still in line, you know? So again, an introduction of another figure. So somebody might say, you might say, so what's going on here? Well, the coach is standing watching this runner. This is their runner, they've put all their time and effort into the runner has just won the world medal and broken the world record and they just can't believe how much they love this person and how proud they are. So they're introducing a person that's external to the situation and that's usually you know a coach or the crowd or you know a parent and then and the relationship between that parent and the runner.
And then, you know, there can be gender variations, like some of the cards measure gender variations as well. So what men will see and what women will see can be a little bit different in some of the images. Most of the images, there's no real gender variation. But, you know, sometimes, you know, like, for example, the person laying on the track, females are more likely based on all the feedback that we've had, females are more likely to describe a mechanical method to recovery and, handling the elation or the despair, you know, catching the breath, enjoying the moment, things like that. And the outcome, you know, getting up, resting before trying again, whereas males tend to be more likely to describe an outcome that's more grandiose, you know, winning a gold medal you know, laying there with the adoring crowd screaming at them how great they are. So, so then we get a sense of like that's typical. That's what most people are saying. If you've got a story that went along those lines, that's what most people are saying. If you get a story that goes outside of that, then that's just something to note.
Mathias Alberton (37:48)
Were there any pictures which were particularly controversial or hard to finalize?
Petah M. Gibbs (37:57)
It was probably, there was so many great images. was hard to just get, really needed it to be manageable, you know, cause, you know, we thought, you know, 10, 10 would be, have to be the maximum. you know, if you were doing one session with a psychologist, you know, to get through 10 images would take you 50 minutes, you know, pretty much so therefore, you know, we need to get it down to 10. So, you know, there was some that were hard and that was part of also we wanted to try and cover as many sports psychology themes as well. know, so for each of the images, you know, in the book, it explains, you know, what what the sports psychology themes are that are tapped.
You know, so the two girls at the hurdles, one going over it and one stopping short, they tend to tap competitive anxiety, confidence and fear of failure and success. And then we've got, you know, the person laying on the track, it tends to tap into responses to injury, intrinsic extrinsic motivation and confidence.
And my favourite is probably Image 6. I think most people tend to say that's their favourite. It's six children, three boys and three girls, organising themselves in a team to play a game. So it's a basic, you know, children's situation, you know, whether it's on the family street or in the local park where you've got six kids and you're like, OK, I'm the leader, I'll choose you and the other leader chooses that person. And then the kids, it seems to be clear who the two leaders are. But it's not, you everyone has a different view of who the two leaders are. And then there's, looks like there's two people left to choose from, a boy and a girl. And so this one's an interesting one to say when you, particularly when you ask who, what's the, who's the most important person here? Who's the character you identify most with here? You know, so some people say, well, I identify with the strong boy who's got his foot on the football and look with his arms crossed and he looks like he's in charge and picking the teams. And that is different than the person who says, well, I'm identifying with the girl who looks really shy and awkward and uncomfortable, who hasn't been chosen yet, who looks really worried that she's not going to get chosen because nobody wants her on her team. So somebody telling you that story, you're getting two very different pictures of what somebody's saying from their own conscious. You know, that's who they're identifying with. And then the story that follows that, you know, what happens after it, what's led up to this. So, you know, that particular image, you know, that's it taps into sports psychology themes such as group cohesion and team dynamics, leadership, inclusion, exclusion, rejection, things like that.
So that's why we came up with a supplemental set as well, because we had another five images that we really wanted to incorporate into that set. So we thought, we'll have the supplementary set so people can use those if they want, but they tap into very specific sports psychology themes that aren't necessarily touched on in the original set. So that's basically the sets.
Mathias Alberton (41:41)
Petah thank you very much for this. I think that this idea of tapping into the supplement set and the children's set is really material for the next episode and we can expand a bit more next time. I'm really grateful for the time you dedicated to this podcast, for this podcast series actually on the AAT and I'm really looking forward for it to be successful to reach as many people, practitioners and athletes might be interested in to taking it or delivering it. I really looking forward to this day. So thank you very much for this.
Petah M. Gibbs (42:24)
Yep, thank you for your time.
Mathias Alberton (42:26)
And thank you everyone who has been listening so far. If you have questions, please write them and send them over. via email or social media, you keep in touch.