Biomimicry is an emerging discipline that seeks nature’s advice and brings diverse stakeholders together to create designs that emulate the way nature functions, not just the way it looks. The field itself is a multidisciplinary endeavor, yet biomimicry educators frequently work alone. Pedagogical methods based on trial and error may waste precious time. In this study, a set of four biomimicry experts from diverse disciplines and different areas around the globe collaborated to compare pedagogy and analyze student work to illuminate best principles for teaching students to translate biology into design solutions, a key step in the biomimicry design process. A total of 313 assignments created by 179 different students were evaluated. The results showed that the inclusion of art in the learning of science, namely the hand drawing of the biological mechanism can lead to higher quality of abstracted design principles. Stevens, L., Bidwell, D., Fehler, M., Singhal, A. (2022). The Art and Science of Biomimicry—Abstracting Design Principles from Nature. In: Rezaei, N. (eds) Transdisciplinarity. Integrated Science, vol 5. Springer, Cham. https://doi-org.ezproxy.hhs.nl/10.1007/978-3-030-94651-7_29
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While the notion of autarky is often contested in terms of feasibility and desirability, art and design projects that deal with autarky seem to highlight the positive socio-cultural and ecological effects of autarkic living. This paper will discuss three notable media artworks that highlight these positive effects of autarkic living, and will unify them with opposing views by introducing a social network model of autarky.
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Imagery Rehearsal Therapy (IRT) is effective for trauma-related nightmares and is also a challenge to patients in finding access to their traumatic memories, because these are saved in non-verbal, visual, or audiovisual language. Art therapy (AT) is an experiential treatment that addresses images rather than words. This study investigates the possibility of an IRT-AT combination. Systematic literature review and field research was conducted, and the integration of theoretical and practice-based knowledge resulted in a framework for Imagery Rehearsal-based Art Therapy (IR-AT). The added value of AT in IRT appears to be more readily gaining access to traumatic experiences, living through feelings, and breaking through avoidance. Exposure and re-scripting take place more indirectly, experientially and sometimes in a playlike manner using art assignments and materials. In the artwork, imagination, play and fantasy offer creative space to stop the vicious circle of nightmares by changing theme, story line, ending, or any part of the dream into a more positive and acceptable one. IR-AT emerges as a promising method for treatment, and could be especially useful for patients who benefit least from verbal exposure techniques. This description of IR-AT offers a base for further research.
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In clinical practice, formal elements of art products are regularly used in art therapy observation to obtain insight into clients’ mental health and provide directions for further treatment. Due to the diversity of formal elements used in existing studies and the inconsistency in the interpretation, it is unclear which formal elements contribute to insight into clients’ mental health. In this qualitative study using Constructivist Grounded Theory, eight art therapists were interviewed in-depth to identify which formal elements they observe, how they describe mental health and how they associate formal elements with mental health. Findings of this study show that art therapists in this study observe the combination of movement, dynamic, contour and repetition (i.e., primary formal elements) with mixture of color, figuration and color saturation (i.e., secondary formal elements). Primary and secondary elements interacting together construct the structure and variation of the art product. Art therapists rarely interpret these formal elements in terms of symptoms or diagnosis. Instead, they use concepts such as balance and adaptability (i.e., self-management, openness, flexibility, and creativity). They associate balance, specifically being out of balance, with the severity of the clients’ problem and adaptability with clients’ strengths and resources. In the conclusion of the article we discuss the findings’ implications for practice and further research.
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Background: Art therapy (AT) is frequently offered to children and adolescents with psychosocial problems. AT is an experiential form of treatment in which the use of art materials, the process of creation in the presence and guidance of an art therapist, and the resulting artwork are assumed to contribute to the reduction of psychosocial problems. Although previous research reports positive effects, there is a lack of knowledge on which (combination of) art therapeutic components contribute to the reduction of psychosocial problems in children and adolescents. Method: A systematic narrative review was conducted to give an overview of AT interventions for children and adolescents with psychosocial problems. Fourteen databases and four electronic journals up to January 2020 were systematically searched. The applied means and forms of expression, therapist behavior, supposed mechanisms of change, and effects were extracted and coded. Results: Thirty-seven studies out of 1,299 studies met the inclusion criteria. This concerned 16 randomized controlled trials, eight controlled trials, and 13 single-group pre–post design studies. AT interventions for children and adolescents are characterized by a variety of materials/techniques, forms of structure such as giving topics or assignments, and the use of language. Three forms of therapist behavior were seen: non-directive, directive, and eclectic. All three forms of therapist behavior, in combination with a variety of means and forms of expression, showed significant effects on psychosocial problems. Conclusions: The results showed that the use of means and forms of expression and therapist behavior is applied flexibly. This suggests the responsiveness of AT, in which means and forms of expression and therapist behavior are applied to respond to the client's needs and circumstances, thereby giving positive results for psychosocial outcomes. For future studies, presenting detailed information on the potential beneficial effects of used therapeutic perspectives, means, art techniques, and therapist behavior is recommended to get a better insight into (un)successful art therapeutic elements.
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Abstract Despite the numerous business benefits of data science, the number of data science models in production is limited. Data science model deployment presents many challenges and many organisations have little model deployment knowledge. This research studied five model deployments in a Dutch government organisation. The study revealed that as a result of model deployment a data science subprocess is added into the target business process, the model itself can be adapted, model maintenance is incorporated in the model development process and a feedback loop is established between the target business process and the model development process. These model deployment effects and the related deployment challenges are different in strategic and operational target business processes. Based on these findings, guidelines are formulated which can form a basis for future principles how to successfully deploy data science models. Organisations can use these guidelines as suggestions to solve their own model deployment challenges.
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Formal elements are often used in art therapy assessment. The assumption is that formal elements are observable aspects of the art product that allow reliable and valid assessment of clients’ mental health. Most of the existing art therapy assessment instruments are based on clinical expertise. Therefore, it is not clear to what degree these instruments are restricted to formal elements. Other aspects might also be included, such as clinical expertise of the therapist. This raises the question of whether and how formal elements as observable aspects of the art product are related to clients’ mental health. To answer this question, four studies are presented that look at: (1) a meta-theoretical description of formal elements; (2) operationalization of these formal elements so they can be analyzed reliably in clients’ art products; (3) establishment of reliable and clinically relevant formal elements; (4) the relationship between formal elements and adult clients’ mental health. Results show that the combination of the formal elements “movement,” “dynamic,” and “contour” are significantly interrelated and related to clients’ mental health, i.e., psychopathology, psychological flexibility, experiential avoidance, and adaptability. These findings give insight in the diagnostic value of art products and how they may add to clients’ verbal expression and indicate their potential to benefit from therapy.
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Many affective experiences and learning processes including attachment patterns from early developmental phases manifest during psychotherapy. The first 15 min in art therapy can potentially reveal clients’ preferred ways of processing information or Expressive Therapies Continuum components, attachment patterns in the material handling process, and emotion regulation strategies during art making. This article discusses how, through clients’ choice of materials and manner of interaction with those materials, information about attachment patterns and preferred emotion regulation is available in art therapy. Paying close attention to the first image and material interaction provides crucial information that will guide the goals and course of art therapy. Two case vignettes demonstrate that within the first 15 min of art therapy information is readily gathered about attachment styles, Expressive Therapies Continuum components, emotion regulation, and the course of art therapy.
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Art therapy is widely used and effective in the treatment of patients diagnosed with Personality Disorders (PDs). Current psychotherapeutic approaches may benefit from this additional therapy to improve their efficacy. But what is the patient perspective upon this therapy? This study explored perceived benefits of art therapy for patients with PDs to let the valuable perspective of patients be taken into account. Using a quantitative survey study over 3 months (N = 528), GLM repeated measures and overall hierarchical regression analyses showed that the majority of the patients reported quite a lot of benefit from art therapy (mean 3.70 on a 5-point Likert scale), primarily in emotional and social functioning. The improvements are concentrated in specific target goals of which the five highest scoring goals affected were: expression of emotions, improved (more stable/positive) self-image, making own choices/autonomy, recognition of, insight in, and changing of personal patterns of feelings, behaviors and thoughts and dealing with own limitations and/or vulnerability. Patients made it clear that they perceived these target areas as having been affected by art therapy and said so at both moments in time, with a higher score after 3 months. The extent of the perceived benefits is highly dependent for patients on factors such as a non-judgmental attitude on the part of the therapist, feeling that they are taken seriously, being given sufficient freedom of expression but at the same time being offered sufficient structure and an adequate basis. Age, gender, and diagnosis cluster did not predict the magnitude of perceived benefits. Art therapy provides equal advantages to a broad target group, and so this form of therapy can be broadly indicated. The experienced benefits and the increase over time was primarily associated with the degree to which patients perceive that they can give meaningful expression to feelings in their artwork. This provides an indication for the extent of the benefits a person can experience and can also serve as a clear guiding principle for interventions by the art therapist.
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The SUSTainable Artistic INnovation (SUSTAIN) project is a collaborative project between The Hague University of Applied Sciences and Avans University of Applied Sciences. The research was conducted by Jacco van Uden (professor Change Management) and Kim Caarls of The Hague University of Applied Sciences; and Godelieve Spaas (professor Common Economics), Olga Mink and Marga Rotteveel of Avans University of Applied Sciences. We also worked closely with six Spacemakers: Art Partner, Circus Andersom, Future of Work, In4Art, V2_ and Waag. SUSTAIN explores the role of Spacemakers: parties that want to contribute to systemic change by creating space for art in unusual places, such as within the economy, science or technology. The aim: to use art to work towards a sustainable and just society - ecologically, economically and socially. Expectations of what art can do in spheres other than the art world itself are sometimes high. For example, when we claim that art can be the engine of innovation and reflection. But experience shows: art is no panacea. Not everyone sees or recognises the added value of art in transition issues. And when art does come to the table, we do not always manage to make the disruption work. Artists explore the unknown, question what seems logical and connect seemingly disparate elements. It is precisely these qualities that are key to achieving systemic transitions. However, it is not always easy to access the spaces where artists want to make an impact. With this practical research, SUSTAIN offers more insight into the exact role, method and added value of Spacemakers in the transition to be made. The research and results contribute to the further professionalisation of this emerging sector. Just how Spacemaking practices are shaped by different organisations was examined: - Why do Spacemakers do what they do? - What do they see as the promise of art outside the arts? - How do they specifically go about making space for art? - How do Spacemakers deal with the tensions that arise when art gets involved in non-art matters and vice versa? - How do Spacemakers deal with the complicated question of the added value or impact of art and of themselves as space makers? SUSTAIN has produced two key outcomes: 1) The Spacemaker Toolbox, a practical tool for Spacemakers to explore and professionalise their work internally. It involves four models with instructions for use. 2) The Spacemaker Stories, a series of cahiers in which we look at Spacemaker practice from a distance and help Spacemakers articulate more clearly what they do, why they do it, how they do it and what value they create. The five cahiers are: The Calling (38 p.), The Promise of Art (39 p.), The Tension (49 p.), The Help (44 p.) and The Gift (30 p.).
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