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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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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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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Background The Self-Expression Emotion Regulation in Art Therapy Scale (SERATS) was developed as art therapy lacked outcome measures that could be used to monitor the specific effects of art therapy. Although the SERATS showed good psychometric properties in earlier studies, it lacked convergent validity and thus construct validity. Method To test the convergent validity of the SERATS correlation was examined with the EES (Emotional Expressivity Scale), Emotion Regulation Strategies for Artistic Creative Activities Scale (ERS-ACA) and Healthy-Unhealthy Music Scale (HUMS). Patients diagnosed with a Personality Disorder, and thus having self-regulation and emotion regulation problems (n = 179) and a healthy student population (n = 53) completed the questionnaires (N = 232). Results The SERATS showed a high reliability and convergent validity in relation to the ERS-ACA approach strategies and self-development strategies in both patients and students and the HUMS healthy scale, in patients. Hence, what the SERATS measures is highly associated with emotion regulation strategies like acceptance, reappraisal, discharge and problem solving and with improving a sense of self including self-identity, increased self-esteem and improved agency as well as the healthy side of art making. Respondents rated the SERATS as relatively easy to complete compared to the other questionnaires. Conclusion The SERATS is a valid, useful and user-friendly tool for monitoring the effect of art therapy that is indicative of making art in a healthy way that serves positive emotion regulation and self-development.
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Art sociologist Pascal Gielen defends the hypothesis that global art scene is an ideal production entity for economic exploitation. These days the workethic of the art world with its ever-present young dynamic, flexible working hours, thematic approach, short-term contracts or lack of contracts and its unlimited energetic freedom is capitalized within the cultural industry and has been converted into a standard production model. In the glow of the creative cities and the creative industry governmetns embrace this post-Henry Ford work model and seamlessly link it to the globally-dominant neo-liberal market economy.
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Agricultural by-products, that is primary residue, industrial by-products and animal manure, are an important source of nutrients and carbon for maintaining soil quality and crop production but can also be valorised through treatment pathways such as fermentation, incineration or a combination of these called bio-refinery. Here, we provide an overview of opportunity to reduce environmental impact of valorising agricultural by-products. We estimate the available by-products in Northwestern Europe as a case study and the maximum and realistic greenhouse gas reduction potentials. Availability, collectability, the original use and environmental impact including land use changes, soil carbon sequestration and pollution swapping are discussed as critical factors when valorising agricultural by-products.
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Elke periode kent zijn eigen revolutie en elke revolutie brengt zijn eigen organisatorische model met zich mee. We bevinden ons nu in de 4e industri¨ele revolutie, waar het internet van dingen ons verbindt met autonome embedded systemen. Deze systemen zijn actief in de virtuele ’cyber’ wereld, alsook in de echte ’fysieke’ wereld om ons heen. Deze zogenoemde ’Cyber-Fysieke’ Systemen volgen daarmee een modern organisatorisch model, namelijk zelfmanagement, en zijn dan ook in staat zelf proactieve acties te ondernemen. Dit proefschrift belicht productiesystemen vanuit het Cyber-Fysieke perspectief. De productiesystemen zijn hier herconfigureerbaar, autonoom en zeer flexibel. Dit kan enkel worden bereikt door het ontwikkelen van nieuwe methodes en het toepassen van nieuwe technologie¨en die flexibiliteit verder bevorderen. Echter, effici¨entie is ook van belang, bijvoorbeeld door productassemblage zo flexibel te maken dat het daardoor kosteneffici¨ent is om de productie van diverse producten met een lage oplage, zogenaamde high-mix, low volume producten, te automatiseren. De mogelijkheid om zo flexibel te kunnen produceren moet bereikt worden door de creatie van nieuwe methoden en middelen, waarbij nieuwe technologie¨en worden gecombineerd; een belangrijk aspect hierbij is dat dit toepasbaar getest moet worden door gebruik van simulatoren en speciaal hiervoor ontwikkelde productiesystemen. Dit onderzoek zal beginnen met het introduceren van het concept achter de bijbehorende productiemethodologie, welke Grid Manufacturing is genoemd. Grid Manufacturing wordt uitgevoerd door autonome entiteiten (agenten) die zowel de productiesystemen zelf, als de producten representeren. Producten leven dan al in de virtuele cyber wereld voordat zij daadwerkelijk zijn gebouwd, en zijn zich bewust uit welke onderdelen zij gemaakt moeten worden. De producten communiceren en overleggen met de autonome herconfigureerbare productiesystemen, de zogenaamde equiplets. Deze equiplets leveren generieke diensten aan een grote diversiteit aan producten, die hierdoor op elk moment geproduceerd kunnen worden. Het onderzoek focust hierbij specifiek op de equiplets en de technische uitdagingen om dynamisch geautomatiseerde productie mogelijk te maken. Om Grid Manufacturing mogelijk te maken is er een set van technologische uitdagingen onderzocht. De achtergrond, onderzoeksaanpak en concepten zijn dan ook de eerste drie inleidende hoofdstukken. Daarna begint het onderzoek met Hoofdstuk 4 Object Awareness. Dit hoofdstuk beschrijft een dynamische manier waarop informatie uit verschillende autonome systemen gecombineerd wordt om objecten te herkennen, lokaliseren en daarmee te kunnen manipuleren. Hoofdstuk 5 Herconfiguratie beschrijft hoe producten communiceren met de equiplets en welke achterliggende systemen ervoor zorgen dat, ondanks | Dutch Summary 232 dat het product niet bekend is met de hardware van de equiplet, deze toch in staat is acties uit te voeren. Tevens beschrijft het hoofdstuk hoe de equiplets omgaan met verschillende hardwareconfiguraties en ondanks de aanpassingen zichzelf toch kunnen besturen. De equiplet kan dan ook aangepast worden zonder dat deze opnieuw geprogrammeerd hoeft te worden. In Hoofdstuk 6 Architectuur wordt vervolgens dieper ingegaan op de bovenliggende architectuur van de equiplets. Hier worden prestaties gecombineerd met flexibiliteit, waarvoor een hybride architectuur is ontwikkeld die het grid van equiplets controleert door het gebruik van twee platformen: Multi-Agent System (MAS) en Robot Operating System (ROS). Nadat de architectuur is vastgesteld, wordt er in Hoofdstuk 7 onderzocht hoe deze veilig ingezet kan worden. Hierbij wordt een controlesysteem ingevoerd dat het systeemgedrag bepaalt, waarmee het gedrag van de equiplets transparant wordt gemaakt. Tevens zal een simulatie met input van de sensoren uit de fysieke wereld ’live’ controleren of alle bewegingen veilig uitgevoerd kunnen worden. Nadat de basisfunctionaliteit van het Grid nu compleet is, wordt in Hoofdstuk 8 Validatie en Utilisatie gekeken naar hoe Grid Manufacturing gebruikt kan worden en welke nieuwe mogelijkheden deze kan opleveren. Zo wordt er besproken hoe zowel een hi¨erarchische als een heterarchische aanpak, waar alle systemen gelijk zijn, gebruikt kan worden. Daarnaast laat het hoofdstuk o.a. aan de hand van enkele voorbeelden en simulaties zien welke effecten herconfiguratie kan hebben, en welke voordelen deze aanpak zoal kan bieden.. Het proefschrift laat zien hoe met technische middelen geautomatiseerde flexibiliteit mogelijk wordt gemaakt. Hoewel het gehele concept nog volwassen zal moeten worden, worden er enkele aspecten getoond die op de korte termijn toepasbaar zijn in de industrie. Enkele voorbeelden hiervan zijn: (1) het combineren van gegevens uit diverse (autonome) bronnen voor 6D-lokalisatie; (2) een data-gedreven systeem, de zogeheten hardware-abstractielaag, die herconfigureerbare systemen controleert en de mogelijkheid biedt om deze productiesystemen aan te passen zonder deze te hoeven herprogrammeren; en (3) het gebruik van Cyber-Fysieke systemen om de veiligheid te verhogen.
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These are hard days for companies: they have to survive in a market that has been hit by a financial crisis. Many countries in Europe have severe problems trying to overcome this financial crisis. The main remedy applied by governments is to cut back on expenditure, but on the other hand it is said that it is important for a country, and especially for companies, to invest in innovation. These innovations should lead to innovative products that will lead to profitability turnovers for these companies and, as a consequence, improve the economic conditions in a country. Universities provide students with engineering competences, like develop innovation, with which they can show a higher degree of ability to answer complex questions such as how to become players in the market again. Teaching students to become more innovative engineers, Fontys University of Applied Sciences, Department of Engineering, has designed a curriculum in which students are educated in the competence innovation. An important element in the process of teaching innovation to students is the approach of inquiring into possibilities of patents. In the second semester of the first year, students can decide to join an innovative project called: ‘The invention project’. The basis of this project is that students are given the opportunity to create their own invention and with their previously acquired knowledge and skills they design, calculate, prototype and present their invention. In a research project, the experiences of students in this Invention Project have been analysed. The goal of this study was to understand what the success factors are for such a project. The basis of this inquiry is a questionnaire to identify the opinions of students. The research was carried out in the spring semester of 2012. In total 31 students were involved in this research. The results show that there was a high degree of student satisfaction about the Invention Project focused on innovation development. Success factors for this project in the first year of the curriculum were seen: 1 to work on own inventions, 2 development of student’s perception of the total product creation process and 3 to make students see the relevance of contacts with real professionals from industry and from the patent office in their own project. Improvements can be made by: 1 helping students more during the creativity stage in the project and 2 to coach them more on the aspect of engineering a successful invention of which they can be proud. This Invention project is a interesting with which collaborations with other universities can be set up.
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What is, exactly, an art of the working class today? Art owned by the working class? Made by the working class? Produced in the service of the working class? An art production chain owned by its workers? Art that operates within a working-class aesthetic register? This article gleans perspectives from various thinkers and discourses to build a contemporary understanding of class composition and artistic labor.
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