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.
Arts-based environmental education (AEE) denotes an emerging field of pedagogy wherein facilitated art practice intersects with and informs learning about our natural and cultural environments. In it, artmaking is appreciated as a form of coming to knowledge, of making meaning, in its own right, on par with other approaches such as inquiry-based learning in the science classroom. In this article, the author, himself a practitioner, foregrounds two different orientations in learning about nature through art that he considers both as being expressive of AEE. The first one, here called “artful empiricism”, is more established and has its footings in “the Goethean approach”. Participants investigate natural phenomena through direct observation and experience of the world. This is then complemented by intuitive perception. Yet, for the most part, they are absorbed in what Dewey would call a receptive sense of “undergoing”. Aesthetic sensibility is foregrounded, encouraging participants to fine-tune their senses in order to perceive the phenomenon in nature with “fresh eyes”. The second orientation is hardly articulated as an epistemology yet. Here it is called “improvising with emerging properties” and it features an element of working with unforeseen properties that emerge in and through an artmaking process that thematises natural phenomena. It is intrinsically open-ended and an active “acting upon” the world takes centre stage. Through artmaking, participants explore the relationships between themselves and their environs. In his discussion, the author analyses these approaches as two modalities both expressive of a Deweyan cycle of alternating between a receptive undergoing of and active acting upon the world, in different phases of a reflective experience.
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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.
In this proposal, a consortium of knowledge institutes (wo, hbo) and industry aims to carry out the chemical re/upcycling of polyamides and polyurethanes by means of an ammonolysis, a depolymerisation reaction using ammonia (NH3). The products obtained are then purified from impurities and by-products, and in the case of polyurethanes, the amines obtained are reused for resynthesis of the polymer. In the depolymerisation of polyamides, the purified amides are converted to the corresponding amines by (in situ) hydrogenation or a Hofmann rearrangement, thereby forming new sources of amine. Alternatively, the amides are hydrolysed toward the corresponding carboxylic acids and reused in the repolymerisation towards polyamides. The above cycles are particularly suitable for end-of-life plastic streams from sorting installations that are not suitable for mechanical/chemical recycling. Any loss of material is compensated for by synthesis of amines from (mixtures of) end-of-life plastics and biomass (organic waste streams) and from end-of-life polyesters (ammonolysis). The ammonia required for depolymerisation can be synthesised from green hydrogen (Haber-Bosch process).By closing carbon cycles (high carbon efficiency) and supplementing the amines needed for the chain from biomass and end-of-life plastics, a significant CO2 saving is achieved as well as reduction in material input and waste. The research will focus on a number of specific industrially relevant cases/chains and will result in economically, ecologically (including safety) and socially acceptable routes for recycling polyamides and polyurethanes. Commercialisation of the results obtained are foreseen by the companies involved (a.o. Teijin and Covestro). Furthermore, as our project will result in a wide variety of new and drop-in (di)amines from sustainable sources, it will increase the attractiveness to use these sustainable monomers for currently prepared and new polyamides and polyurethanes. Also other market applications (pharma, fine chemicals, coatings, electronics, etc.) are foreseen for the sustainable amines synthesized within our proposition.
Recycling of plastics plays an important role to reach a climate neutral industry. To come to a sustainable circular use of materials, it is important that recycled plastics can be used for comparable (or ugraded) applications as their original use. QuinLyte innovated a material that can reach this goal. SmartAgain® is a material that is obtained by recycling of high-barrier multilayer films and which maintains its properties after mechanical recycling. It opens the door for many applications, of which the production of a scoliosis brace is a typical example from the medical field. Scoliosis is a sideways curvature of the spine and wearing an orthopedic brace is the common non-invasive treatment to reduce the likelihood of spinal fusion surgery later. The traditional way to make such brace is inaccurate, messy, time- and money-consuming. Because of its nearly unlimited design freedom, 3D FDM-printing is regarded as the ultimate sustainable technique for producing such brace. From a materials point of view, SmartAgain® has the good fit with the mechanical property requirements of scoliosis braces. However, its fast crystallization rate often plays against the FDM-printing process, for example can cause poor layer-layer adhesion. Only when this problem is solved, a reliable brace which is strong, tough, and light weight could be printed via FDM-printing. Zuyd University of Applied Science has, in close collaboration with Maastricht University, built thorough knowledge on tuning crystallization kinetics with the temperature development during printing, resulting in printed products with improved layer-layer adhesion. Because of this knowledge and experience on developing materials for 3D printing, QuinLyte contacted Zuyd to develop a strategy for printing a wearable scoliosis brace of SmartAgain®. In the future a range of other tailor-made products can be envisioned. Thus, the project is in line with the GoChem-themes: raw materials from recycling, 3D printing and upcycling.
De 55plus Toolbox (www.55plustoolbox.nl) ondersteunt ondernemers, ontwerpers en marketeers, bij het innoveren voor 55plussers: wie zijn 55plussers, hoe ontwerp je daar producten voor, hoe richt je de marketing hiervoor in en hoe vermarkt je producten voor deze doelgroep? De gratis toegankelijke toolbox bevat informatie over de doelgroep, handige tools voor bij het innoveren en inzichtelijke cases. De 55plus Toolbox is het resultaat van het RAAK-project Vitale Oudere dat begin 2011 is afgerond. Het was een samenwerking tussen Saxion lectoraat Industrial Design, lectoraat Gezondheid Welzijn en Technologie en andere partners in de regio, waaronder Jaarsma + Lebbink en Panton. Jaarsma + Lebbink biedt tegenwoordig met een aantal partners commerciële diensten aan op het gebied van markt- en productstrategie en –ontwikkeling ter ondersteuning van bedrijven die actief willen zijn op de ouderen-markt. Sinds begin 2017 heeft Jaarsma + Lebbink het beheer over de 55 plus Toolbox. Jaarsma + Lebbink wil met partners bedrijven en instellingen helpen om hun producten en diensten beter af te stemmen op de doelgroep, de 50-plusser, zodat deze organisaties hun concurrentiepositie kunnen versterken. De Toolbox is daarbij een heel nuttig instrument, een bron van informatie en inspiratie, maar dan dient deze wel geüpdatet te worden. Voor Panton, een ontwerpstudio voor de gezondheidzorg in Deventer, zijn ouderen een belangrijke doelgroep voor de producten die ontwikkeld worden. Panton en Jaarsma + Lebbink hebben Saxion Lectoraat Industrial Design gevraagd mee te werken aan de vernieuwing van de 55 Plus Toolbox. Doel van het project is te komen met een vernieuwde Toolbox die een stap verder gaat dan de huidige Toolbox. De vernieuwde Toolbox sluit aan op de huidige vragen en behoeften van potentiële gebruikers: bedrijven en organisaties die met producten en diensten willen innoveren voor de doelgroep ouderen, deze doelgroep op een positieve manier willen bereiken en benaderen via marketing en producten en diensten in de markt willen zetten voor deze doelgroep. De vernieuwde Toolbox biedt organisaties enerzijds de mogelijkheid zelf aan de slag te gaan met innovatie voor de 50 plus doelgroep. Hiervoor worden in de Toolbox kennis, innovatietools en cases aangeboden waarmee organisaties zich kunnen oriënteren op de 50 plus doelgroep en eerste vragen beantwoord kunnen krijgen. Anderzijds wordt organisaties de inzet geboden van professionele bureaus zoals Jaarsma en Lebbink en Panton, voor de ondersteuning op het gebied van marketing en productontwikkeling, en hogeschool Saxion voor praktijkgericht onderzoek op dit vlak.
