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.
DOCUMENT
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.).
MULTIFILE
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.).
MULTIFILE
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.
DOCUMENT
The Art of Criticism: A European Network for Experiments in Art CriticismTogether with partners from the field of art criticism, the Institute of Network Cultures has set up the project The Art of Criticism: a platform for research, experiments and policy making in the field of art criticism. Solid ground for reflection on art and culture in both niche and mainstream media is necessary for sound democratic societies, but financial and political developments across Europe have led to an increasingly unstable culture of critique. The project is aimed at strengthening such a culture of critique through facilitating and stimulating experiments in art criticism with the use of digital technology, and bringing together partners from many different European countries.
DOCUMENT
Research showed that more than 30% of patients with Posttraumatic Stress Disorder (PTSD) do not benefit from evidence- based treatments: Trauma-Focused Cognitive Behavioral Therapy (TF-CBT) or Eye Movement Desensitization and Reprocessing (EMDR). These are patients with prolonged and multiple traumatization, with poor verbal memory, and patients with emotional over-modulation. Retelling traumatic experiences in detail is poorly tolerated by these patients and might be a reason for not starting or not completing the recommended treatments. Due to lack of evidence, no alternative treatments are recommended yet. Art therapy may offer an alternative and suitable treatment, because the nonverbal and experiential character of art therapy appears to be an appropriate approach to the often wordless and visual nature of traumatic memories. The objective of this pilot study was to test the acceptability, feasibility, and applicability of trauma-focused art therapy for adults with PTSD due to multiple and prolonged traumatization (patients with early childhood traumatization and refugees from different cultures). Another objective was to identify the preliminary effectiveness of art therapy. Results showed willingness to participate and adherence to treatment of patients. Therapists considered trauma-focused art therapy feasible and applicable and patients reported beneficial effects, such as more relaxation, externalization of memories and emotions into artwork, less intrusive thoughts of traumatic experiences and more confidence in the future. The preliminary findings on PTSD symptom severity showed a decrease of symptoms in some participants, and an increase of symptoms in other participants. Further research into the effectiveness of art therapy and PTSD is needed.
DOCUMENT
The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today’s culture and society.Influenced by a diverse range of figures, ranging from Vilém Flusser, Arthur Schopenhauer, Immanuel Kant, David Berry, Lev Manovich, Olga Goriunova, Ernst Mayr, Bruce Sterling and, of course, James Bridle, The New Aesthetic and Art: Constellations of the Postdigital doesn’t just propose a description of a new set of objects but radically asserts that New Aesthetic objects analogously function as organisms within a broader digital-physical ecosystems of things and agents.
DOCUMENT
Being an artist in Post-Fordist Times, sketches a provocative impression of the manner in which prominent artists, theorests and art intermediaries relate to economic, political, social and ecological issues. It presents an instructive narrative about power and impotence, cyniscism and utopia, nihilism and engagement aimed at all those who presently dare themselves to call themselves artists and everyone who wants to understand and defend the importance of the role of the arts in society
DOCUMENT
About the book: This volume has been brought together to generate new ideas and provoke discussion about what constitutes arts education in the twenty-first century, both within the institution and beyond. Art, Artists and Pedagogy is intended for educators who teach the arts from early childhood to tertiary level, artists working in the community, or those studying arts in education from undergraduate to Masters or PhD level. From the outset, this book is not only about arts in practice but also about what distinguishes the ‘arts’ in education. Exploring two different philosophies of education, the book asks what the purpose of the arts is in education in the twenty-first century. With specific reference to the work of Gert Biesta, questions are asked as to the relation of the arts to the world and what kind of society we may wish to envisage. The second philosophical set of ideas comes from Deleuze and Guattari, looking in more depth at how we configure art, the artist and the role played by the state and global capital in deciding on what art education has become. This book provides educators with new ways to engage with arts, focusing specifically on art, music, dance, drama and film studies. At a time when many teachers are looking for a means to re-assert the role of the arts in education this text provides many answers with reference to case studies and in-depth arguments from some of the world’s leading academics in the arts, philosophy and education.
DOCUMENT
Our current smart society, where problems and frictions are smoothed out with smart, often invisible technology like AI and smart sensors, calls for designers who unravel and open the smart fabric. Societies are not malleable, and moreover, a smooth society without rough edges is neither desirable nor livable. In this paper we argue for designing friction to enhance a more nuanced debate of smart cities in which conflicting values are better expressed. Based on our experiences with the Moral Design Game, an adversarial design activity, we came to understand the value of creating tangible vessels to highlight conflict and dipartite feelings surrounding smart cities.
LINK
