Lymphedema after breast or gynecological cancer : use and effectiveness of mainstream and complementary therapies

Objectives: The purpose of this study was to describe the use, as well as perceived effectiveness, of mainstream and complementary and alternative medicine (CAM) therapies in the treatment of lymphedema following breast or gynecological cancer. Further, the study assessed the relationship between the characteristics of lymphedema (including type, severity, stability, and duration), and the use of CAM and/or mainstream treatment. Methods: This was a cross-sectional study using a convenience sample of women with lymphedema following breast and gynecological cancers. A self-administered questionnaire was sent to 247 potentially eligible women. Of those returned (50%), 23 were ineligible and 6 were excluded due to level of missing data. Results: In the previous 12 months, the majority of women (90%) had used mainstream treatments to treat their lymphedema, with massage being the most commonly used (86%). One (1) in 2 women had used CAM to treat their lymphedema, and 98% of those using CAM were also using mainstream treatments. Over 27 types of CAM were reported, with use of a chi machine, vitamin E supplements, yoga, and meditation being the most commonly reported forms. The perceived effectiveness ratings (1–7 with 7 = completely effective) of mainstream(mean – standard deviation (SD): 5.3 – 1.5) and CAM therapies (mean – SD: 5.2 + 1.6) were considered high. Conclusions: These results demonstrate that mainstream and CAM treatment use is common, varied, and considered to be effective among women with lymphedema following breast or gynecological cancer. Furthermore, it highlights the immediate need for larger prospective studies assessing the inter-relationship between the use of mainstream and CAM therapies for treatment success.

Windows

In this video, words emerge out of an abstract, ‘digital’, animated horizon line. The words are accompanied by a female voice-over who narrates a seductive relaxation and visualization activity. This work examines the nature of consciousness and identity in a contemporary context. It mixes the languages of meditation, new age philosophy and pop-psychology. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

Grant Stevens : Are You Upset with Me?

Grant Stevens is ambivalent. The young Brisbane artist made his name with a series of computer-generated animated-text videos that explore clichés but seem undecided as to whether they are trivial and vacuous, profound and authentic or somehow both at once. Stevens plunders mass-media sources (the familiar image repertoire dished up by Hollywood, television, pop music and the Internet) as readymade content. He explores this everyday language, sometimes for its ambiguity, but more often for its almost uncanny lucidity. Resembling meditation and relaxation guides, his recent videos beg the question: what made us so anxious? This book examines Stevens' artistic output over the first ten years of his practice. It includes essays by Mark Pennings and Chris Kraus.

Swell

In this video, an abstract kaleidoscopic pattern slowly morphs and changes colour. It is accompanied by a male voice performing a word association or stream-of-consciousness activity. This work examines the nature of consciousness and identity in a contemporary context. It mixes the languages of meditation, new age philosophy and pop-psychology. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation in a contemporary context increasingly defined by temporary social bonds, consumer choices and private anxieties.

Elaborated intrusion theory : a cognitive-emotional theory of food craving

A clear understanding of the cognitive-emotional processes underpinning desires to overconsume foods and adopt sedentary lifestyles can inform the development of more effective interventions to promote healthy eating and physical activity. The Elaborated Intrusion Theory of Desires offers a framework that can help in this endeavor through its emphases on the roles of intrusive thoughts and elaboration of multisensory imagery. There is now substantial evidence that tasks that compete for limited working memory resources with food-related imagery can reduce desires to eat that food, and that positive imagery can promote functional behavior. Meditation mindfulness can also short-circuit elaboration of dysfunctional cognition. Functional Decision Making is an approach that applies laboratory-based research on desire, to provide a motivational intervention to establish and entrench behavior changes, so healthy eating and physical activity become everyday habits.

Effect of mobile phone-based psychotherapy in suicide prevention : a randomized controlled trial in Sri Lanka

We conducted a randomized controlled trial to test whether a Brief Mobile Treatment (BMT) intervention could improve outcomes relative to usual care among suicide attempters. The intervention included training in problem solving therapy, meditation, a brief intervention to increase social support as well as advice on alcohol and other drugs, and mobile phone follow-up. The effect of the intervention was measured in terms of a reduction in suicidal ideation, depression and self-harm at Baseline, six and 12 months. A wait-list control group received usual care. A total of 68 participants was recruited from a Sri Lankan hospital following a suicide attempt. Participants who received the intervention were found to achieve significant improvements in reducing suicidal ideation and depression than those receiving usual care. The BMT group also experienced a significant improvement of social support when compared to the control group. However, the BMT group did not demonstrate a significant effect in reducing actual self-harm and most substance use, and differential effects on alcohol use were restricted to men. Although the present study was limited in revealing which component of the intervention was more effective in preventing suicide, it showed its efficacy in reducing suicide as a whole.

Dark Cartographies

‘Dark Cartographies’ is a slowly evolving meditation upon seasonal change, life after light and the occluding shadows of human influence. Through creating experiences of the many ‘times of a night’ the work allows participants to experience deep engagement with rich spectras of hidden place and sound. By amplifying and shining light upon a myriad of lives lived in blackness, ‘Dark Cartographies’ tempts us to re-understand seasonal change as actively-embodied temporality, inflected by our climate-changing disturbances. ‘Dark Cartographies’ uses custom interactive systems, illusionary techniques and real time spatial audio that draw upon a rich array of media, including seasonal, nocturnal field recordings sourced in the Far North Queensland region and detailed observations of foliage & flowering phases. By drawing inspiration from the subtle transitions between what Europeans named ‘Summer’ and ‘Autumn’, and by including the body and its temporal disturbances within the work, ‘Dark Cartographies’ creates compellingly immersive environments that wrap us in atmospheres beyond sight and hearing. ‘Dark Cartographies’ is a dynamic new installation directed & choreographed by environmental cycles; alluding to a new framework for making works that we call ‘Seasonal’. This powerful, responsive & experiential work draws attention to that which will disappear when biodiverse worlds have descended into an era of permanent darkness – an ‘extinction of human experience’. By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical & political concerns, participating audiences are therefore challenged to see the night, their locality & ecologies in new ways through extending their personal limits of perception, imagery & comprehension.

Loss Control

A exhibition of sculptural assemblages that continue my exploration of self-portraiture and the sculptural object. The work specifically extends the formal vocabulary of my studio to incorporate smaller composite arrangements with an emphasis on the sculptural support. Small objects that are either modelled or cast from life are assembled into four tableaux that respond to the object-relations that arise through the production process. The resulting exhibiton thus acts a meditation on the ontology of art practice, conceived as a topology of objects.

Haven

In Haven, a female voice guides a meditation while an abstract animated form progressively morphs from geometric to irregular on screen. As the video develops, the tone shifts from relaxation to seduction and, eventually, to hints of mild contempt. Through its subtle shifts in tone and form, the work plays with the relationships between self-help, self-absorption and self-pity. Its verbal and visual references gently suggest a disjunction between internalised thoughts and external realities. In doing so, it also alludes to the ways that desire and doubt can inform quests for inner peace.

Regards, the Pit

A solo exhibition by Joseph Breikers included in the MetroArts 2011 galleries Program. The exhbition comprised a series of predominantly sculptural works that reflected the artists ongoing interest in medieval, gothic and death metal visual motifs. The exhibition thus acted as a ironic meditation on ritual, belonging and cultural identity.

I fucking love you

A solo show by Courtney Coombs held at MetroArts in Brisbane as part of the 2011 Allies Program. The exhibtion comprised a series of sculptural, photographic, text and video works that each employed motifs evocative of romantic love combined with the artist self-effacing and ambivalent relationship to the art world and its male canon. The resulting exhibition acted as a meditation of female authorship in the studio and the contradictory impulses of critique and adoration.

Shifting intimacies

Our world is literally and figuratively turning to ‘dust’. This work acknowledges decay and renewal and the transitional, cyclical natures of interrelated ecologies. It also suggests advanced levels of degradation potentially beyond reparation. Dust exists both on and beneath the border of our unaided vision. Dust particles are predominantly forms of disintegrating solids that often become the substance or catalyst of future forms. Like many tiny forms, dust is an often unnoticed residue with ‘planet-size consequences’. (Hanna Holmes 2001) The image depicts an ethereal, backlit body, continually circling and morphing, apparently floating, suggesting endless cycles of birth, life and death and inviting differing states of meditation, exploration, stillness and play. This never ending video work is taken from a large-scale interactive/media artwork created during a six-month research residency in England at the Institute of Contemporary Art London and at Vincent Dance Theatre Sheffield in 2006. It was originally presented on a raised floor screen made of pure white sand at the ICA in London (see). The project involved developing new interaction, engagement and image making strategies for media arts practice, drawing on the application of both kinetic and proprioceptive dance/performance knowledges. The work was further informed by ecological network theory that assesses the systemic implications of private and public actions within bounded systems. The creative methodology was primarily practice-led which fomented the particular qualities of imagery, generated through cross-fertilising embodied knowledge of Dance and Media Arts. This was achieved through extensive workshopping undertaken in theatres, working ‘on the floor’ live, with dancers, props, sound and projection. And eventually of course, all this dust must settle. (Holmes 2001, from Dust Jacket) Holmes, H. 2001, The Secret Life of Dust: From the Cosmos to the Kitchen Counter, the Big Consequences of Little Things, p.3

Temporal

An evolving meditation upon the complex, periodic processes that mark Australia’s seasonality, and our increasing ability to disturb them. By amplifying and shining light upon a myriad of mysterious lives lived in blackness, the work presents a sensuous, deep engagement with the rich, irregular spectras of seasonal forms: whilst hinting at a far less comforting background increasingly framed by anthropogenic climate change. ’Temporal’ uses custom interactive systems, illusionary techniques and real time spatial audio processes that draw upon a rich array of media, including seasonal, nocturnal field recordings sourced in the Bundaberg region and detailed observations of foliage & flowering phases from that region. By drawing inspiration from the subtle transitions between what Europeans once named ‘Summer’ and ‘Autumn’ and the multiple seasons recognised by other cultures, whilst also including bodily disturbances within the work, ’Temporal’ creates a compellingly immersive environment that wraps audiences in luscious yet ominous atmospheres beyond sight and hearing. This work completes a two year long project of dynamic mediated installations that have been presented in Sydney, Beijing, Cairns and Bundanon, that have each been somehow choreographed by environmental cycles; alluding to a new framework for making works that we named ‘Seasonal’. These powerful, responsive & experiential works each draw attention to that which will disappear when biodiverse worlds have descended into an era of permanent darkness – an ‘extinction of human experience’. By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical & political concerns, participating audiences are therefore challenged to see the night, their locality & ecologies in new ways through extending their personal limits of perception, imagery & comprehension.

Not so not-for-profit

To address the sub-theme of the journal: Artistic Practices in a Time of Crisis, the author discusses the context of economic cuts and recent international crises on his PhD interactive and visual design research project undertaken in Australia. Identifying an apparent root-cause of current global crises, the author in reply, has structured a research plan and created a suite of new media, interactive, technology artworks, and installation art. Notions of Zen Buddhism, and stillness through meditation, are applied in the research and context of the artworks to support awareness of wellbeing, in response to the root-cause condition. The discussion will focus on the overarching question: how can one obtain value through the arts during current times of economic reduction conditioning?