On gathering in Art therapy: a way to understand and build the discipline with the other

In the present article I try to share some reflections on a case study of an attachment disorder child I worked with for two years through art therapy in a day hospital. Those reflections let me go deeply in some specific elements concerning the discipline which let us delimit its theoretical and methodological possible scope. In this way, from the specific of the case study on propose to reflect on those elements that conform a methodology related to the art therapist way of doing, in order to concrete and evaluate other possible interventions to develop in similar cases and contexts.

The puppet as a tool for working in Art Therapy

This article aims to investigate the possibilities of building puppets in art therapy workshop, for this it realizes a tour of the primitive use of the puppet as a magical twin and potential towards the study of authors who have used the puppets as a therapeutic tool from the first half of the twentieth century. It’s raised an own theoretical organization, which includes the consideration of the significance of the body in the construction and management of the puppet and the puppet transitional perspective, halfway of external reality and psychic reality as an object that makes fantasy and reality arises built.

Moral Emotions in Palliative Care: Empirical Insights from Austria and Canada

Research aims: Moral emotions as one specific group of emotions play a vital role in delivering palliative care as e.g. ethical issues and moral distress belong to daily routine.
Moral emotions are oriented to the welfare of other persons or the society as a whole. To better understand moral emotions in Palliative Care the aims of the presented study are to ana- lyze care situations from Austria and Canada in different care settings and identify families of moral emotions on one hand and describe influencing contextual factors on the other hand. Methods: Within a qualitative study design a reanalysis of Austrian narratives on ethical issues and Canadian narra- tives on moral distress were conducted. Data in Austria encompass 36 narratives that were generated through qual- itative questionnaires in nursing homes. Canadian data are based on qualitative interviews with home care palliative specialists and encompass 47 critical incidents. The reanal- ysis of data was conducted with narrative analysis. Results: Preliminary results show that moral emotions in palliative care can be found in families around “empathy and relatedness”, “sadness, isolation and bereavement”, “anger, frustration and powerlessness”, “guilt and shame” and “being touched and feel close”. Contextual factors influencing moral emotions can be summarized as “suffer- ing and decline of client”, “expectations and dynamics of family”, “structural conflicts and power issues” and “lack of resources and information”.
Conclusion: The diversity of moral emotions reflects the everyday experiences in palliative care. It became obvious that most of the moral emotions that have been expressed appear to be interconnected within a bundle of other emo- tions. Contextual factors influencing moral emotions in pal- liative care are relatively independent of care settings. In Palliative Care moral emotions and their contextual factors constitute an important source of insight for reflection in organizational ethics.

The role of emotions in value creation for families in pediatric health care

The purpose of this study was to analyze emotions related to a child’s critical illness from the perspective of the family and discuss the link those emotions might form with value creation. High quality service is of paramount importance in hospital care, especially when a child is diagnosed with critical illness. Through the analysis of patient family emotions and their triggers, the study was aiming to deepen the understanding of value creation for customer. Therefore, the research sought to find answers to the following three sub-questions: 1. What are the emotions experienced? 2. What triggers them? 3. How are the emotions linked to amelioration or aggravation of value for patient and family? The theoretical background of this research is built on two core concepts: emotions and value creation. As both concepts are wide and multifaceted, the research concentrates on viewing emotions from the applicable cognitive angle, identifying and categorizing emotions in a general level. Value creation is studied from the service perspective, discussing the possible relations between emotions and value creation. Moreover, the suitability of views regarding customer value co-creation to health care encounters is analyzed. Qualitative approach was selected as the most appropriate methodology for conducting the empirical research. The empirical data was collected from public blogs, for which a total of 18 blogs were reviewed. Five blogs were selected for the analysis, which had the intent of identifying the emotions experienced by patient families and deepening the knowledge of their role in value creation during health care service encounters. The empirical study of this research discovered a wide range of positive and negative emotions, which denotes that a severe life situation does not prevent the feeling of positive emotions. Furthermore, by combining the empirical findings to the theoretical background, this study concludes that recognizing and treating the patient family as a partner and value creator is essential. The high quality technical aspect of care is vital, but it is not the sole attribute for service quality, as the interpersonal communication plays a large role in the customer’s overall assessment of the health care performance. The patients and their families largely evaluate the service encounter based on their perceptions, thus emotions play a significant role. Depending on the service experience, value maybe created or destructed. Hence, this study posits emotion at the core of the service encounter, indicating towards the importance of active assessment of customer perceptions and the recognition of the emotional states

Seeing emotions in others: Improving cognitive and neuronal mechanisms of facial expression processing

In the conceptual framework of affective neuroscience, this thesis intends to advance the understanding of the plasticity mechanisms of other’s emotional facial expression representations. Chapter 1 outlines a description of the neurophysiological bases of Hebbian plasticity, reviews influential studies that adopted paired associative stimulation procedures, and introduces new lines of research where the impact of cortico-cortical paired associative stimulation protocols on higher order cognitive functions is investigated. The experiments in Chapter 2 aimed to test the modulatory influence of a perceptual-motor training, based on the execution of emotional expressions, on the subsequent emotion intensity judgements of others’ high (i.e., full visible) and low-intensity (i.e., masked) emotional expressions. As a result of the training-induced learning, participants showed a significant congruence effect, as indicated by relatively higher expression intensity ratings for the same emotion as the one that was previously trained. Interestingly, although judged as overall less emotionally intense, surgical facemasks did not prevent the emotion-specific effects of the training to occur, suggesting that covering the lower part of other’s face do not interact with the training-induced congruence effect. In Chapter 3 it was implemented a transcranial magnetic stimulation study targeting neural pathways involving re-entrant input from higher order brain regions into lower levels of the visual processing hierarchy. We focused on cortical visual networks within the temporo-occipital stream underpinning the processing of emotional faces and susceptible to plastic adaptations. Importantly, we tested the plasticity-induced effects in a state dependent manner, by administering ccPAS while presenting different facial expressions yet afferent to a specific emotion. Results indicated that the discrimination accuracy of emotion-specific expressions is enhanced following the ccPAS treatment, suggesting that a multi-coil TMS intervention might represent a suitable tool to drive brain remodeling at a neural network level, and consequently influence a specific behavior.

Digital 3D reconstruction as a research environment in art and architecture history: uncertainty classification and visualisation

The dissertation addresses the still not solved challenges concerned with the source-based digital 3D reconstruction, visualisation and documentation in the domain of archaeology, art and architecture history. The emerging BIM methodology and the exchange data format IFC are changing the way of collaboration, visualisation and documentation in the planning, construction and facility management process. The introduction and development of the Semantic Web (Web 3.0), spreading the idea of structured, formalised and linked data, offers semantically enriched human- and machine-readable data. In contrast to civil engineering and cultural heritage, academic object-oriented disciplines, like archaeology, art and architecture history, are acting as outside spectators. Since the 1990s, it has been argued that a 3D model is not likely to be considered a scientific reconstruction unless it is grounded on accurate documentation and visualisation. However, these standards are still missing and the validation of the outcomes is not fulfilled. Meanwhile, the digital research data remain ephemeral and continue to fill the growing digital cemeteries. This study focuses, therefore, on the evaluation of the source-based digital 3D reconstructions and, especially, on uncertainty assessment in the case of hypothetical reconstructions of destroyed or never built artefacts according to scientific principles, making the models shareable and reusable by a potentially wide audience. The work initially focuses on terminology and on the definition of a workflow especially related to the classification and visualisation of uncertainty. The workflow is then applied to specific cases of 3D models uploaded to the DFG repository of the AI Mainz. In this way, the available methods of documenting, visualising and communicating uncertainty are analysed. In the end, this process will lead to a validation or a correction of the workflow and the initial assumptions, but also (dealing with different hypotheses) to a better definition of the levels of uncertainty.

Emotions in legal decisions: the construction of objective narratives in Italian criminal trials

Drawing on ethnographic data collected in Italian courts and prosecution offices, this dissertation offers new perspectives on legal decision-making by highlighting the importance of emotions for constructing and evaluating legal narratives. Focusing on criminal cases, it describes and dissects how judges and prosecutors use emotions in reflection and action tied to lay narratives and legal constraints. The analysis shows that legal professionals engage in different types of emotional dynamics when dealing with stories; first, they develop gut feelings, which are either endorsed or kept at distance by means of emotional reflexivity, to comply with legal ideals of objectivity and impartiality. Second, empathy emerges as a crucial tool to direct the interaction with lay people and to interpret legal prerequisites, such as credibility, and intent. Finally, the dissertation shows that lay stories lead legal professionals to become passionate and committed towards the correct application of the law, the restoration of the moral order, and the achievement of justice. In light of the empirical findings, this thesis strives to develop a theoretical understanding of legal decision-making as narrative work that includes emotional dynamics consistent with rational, objective action.

Études des passions appliquées aux beaux-arts : introduction de la physiognomie /

Mode of access: Internet.

In search of a language textile and text in contemporary women's art

This research uses the textile/text axis concept as a conceptual tool to investigate the role of textile and text in contemporary women’s art practice and theorizing, investigating textile as a largely hitherto unacknowledged element in women’s art practice of the late 20th and early 21st centuries. Textile and text share a common etymological root, from the Latin textere to weave, textus a fabric. The thesis illuminates the pathways whereby textile and text played an important role in women reclaiming a speaking voice as creators of culture and signification during a revolutionary period of renewal in women’s cultural contribution and positioning. The methodological approach used in the research consisted of a comprehensive literature review, the compilation of an inventory of relevant women artists, developing a classificatory system differentiating types of approaches, concerns and concepts underpinning women’s art practice vis a vis the textile/text axis and a series of three in-depth case studies of artists Tracey Emin, Louise Bourgeois and Faith Ringgold. The thesis points to the fact that contemporary women artists and theorists have rounded their art practice and aesthetic discourse in textile as prime visual metaphor and signifier, turning towards the ancient language of textile not merely to reclaim a speaking voice but to occupy a ground breaking locus of signification and representation in contemporary culture. The textile/text axis facilitated women artists in powerfully countering a culturally inscribed status of Lacanian ‘no-woman’ (a position of abjection, absence and lack in the phallocentric symbolic). Turning towards a language of aeons, textile as fertile wellspring, the thesis identifies the methodologies and strategies whereby women artists have inserted their webs of subjectivities and deepest concerns into the records and discourses of contemporary culture. Presenting an anatomy of the textile/text axis, the thesis identifies nine component elements manifesting in contemporary women’s aesthetic practice and discourse. In this cultural renaissance, the textile/text axis, the thesis suggests, served as a complex lexicon, a system of labyrinthine references and signification, a site of layered meanings and ambiguities, a body proxy and a corporeal cartography, facilitating a revolution in women’s aesthetic praxis.

The giraffe in history and art / by Berthold Laufer, Curator of Anthropology. 9 plates in photogravure, 23 text-figures, and 1 vignette.

no.27(1928)

Effect of emotions on consumer decision-making in a high involvement product adoption context

This thesis was written in order participate in the emergent discussion on the role of emotions in consumer decision-making. The goal of the thesis was to find out which emotions affect consumer decision-making, how these emotions relate to traditional process models of consumer decision-making, and how emotions and other factors affect consumer decision-making. The thesis is placed into a context of high involvement product adoption. The empirical research was conducted according to a qualitative methodology, which combined video diaries and face-to-face or Skype interviews as data collection methods. The case product category was dancing poles, and four women participated in the study. The central results indicate that emotion and cognition walk hand in hand in consumer decision-making, that consumers experience a variety of emotions during a decision-making process, and that emotions have an important effect on consumer decision-making and consumer behavior.

Porous Bodies, Porous Minds. Emotions and the Supernatural in the Íslendingasögur (ca. 1200–1400)

In my PhD Thesis, I study the conceptions and representation of emotions in medieval 13th and 14th-century Iceland. I have used Icelandic saga literature as my source material and Icelandic Family sagas (Íslendingasögur) as my main sources. Firstly, I wished to explore in my study the medieval Icelandic folk theory of emotions: what emotions were thought to be, from what they originated and how they operated? Secondly, in earlier research it has been shown that emotions were seldom described in Íslendingasögur. They were mostly represented in dialogue, poetry or in somatic changes (e.g. turning pale). Consequently, I examined whether medieval Icelanders had alternative emotion discourses in literature, in addition to the usual manner of representation. My study consists of qualitative case studies, and I have analysed the sources intertextually. I suggest that medieval Icelanders regarded emotions as movements of the mind. The mind existed in the heart. As a consequence, emotions were considered physical in nature. The human body and therefore also the human mind was considered porous: if the mind of the person was not strong enough, supernatural agents and forces could penetrate theboundaries of his/her body as winds or sharp projectiles. Correspondingly, minds of strong-willed people could penetrate the minds of others. As a result, illness and emotions could upspring. People did not always distinguish between emotions and physical illnesses. Excessive emotions could cause illness, even death. Especially fear, grief and emotions of moral responsibility (e.g. guilt) made people vulnerable to the supernatural influence. Guilt was considered part of the emotional experience of misfortune (ógæfa), and in literature guilt could also be represented as eye pain that was inflicted upon the sufferer by a supernatural agent in a dream. Consequently, supernatural forces and beings were part of the upspring of emotions, but also part of the representation of emotions in literature: They caused the emotion but their presence also represented the emotional turmoil in the lives of the people that the supernatural agents harassed; emotions that had followed from norm transgressions, betrayal and other forms of social disequilibrium. Medieval readers and listeners of the Íslendingasögur were used to interpreting such different layers of meaning in texts.

[Ressenya del llibre The Desert is no lady: southwestern landscapes in women's writing and art, de Vera Norwood i Janice Monk (ed.)]

Ressenya del llibre The Desert is no lady: southwestern landscapes in women's writing and art, obra on s’interrelacionen tres temes que són paisatge, gènere (en aquest cas, la dona) i literatura (i, per extensió, un quart que és l’art)

Catalog of Paintings Exhibited in the Colby College Art Museum May 8 -22- 1974

This catalog describes paintings by the author, completed as his Senior Scholar Project in art and exhibited in the Colby College Art Museum. Images of the paintings are not available.