This interview-based article about Hubert Hermans, founder of The Dialogical Self Theory (DST), was intended to determine the founder’s personal relationship to the construction and development of his theory and to provide a portrait of the engaged scientist and vulnerable researcher at work. DST lends itself to interdisciplinary research and practice, and is used in diverse fields and contexts (e.g. psychotherapy; bereavement scholarship; higher education). However, little has been written about the founder of the theory. I embarked on this project to illuminate the researcher and theorist as an individual who taps into personal material for practical and conceptual learning, and to honour Hermans’s contribution to the field of psychology, in the spirit of a Festschrift. Reinekke Lengelle (02 Apr 2021): Portrait of a scientist: in conversation with Hubert Hermans, founder of Dialogical Self Theory1, British Journal of Guidance & Counselling, DOI: 10.1080/03069885.2021.1900779
As smart solutions for healthcare (eHealth) are becoming increasingly widespread, apps and other digital devices may effectively complement various forms of psychotherapy. We point at children and adolescents in psychological therapy as a yet-underserved public for similar solutions. Moreover, a shared design sensibility between interaction designers, game designers, and therapists is still lacking. The Games 4 Therapy initiative was launched to address this problem space through practical design explorations. We illustrate its design research agenda, we call for more attention to children and adolescents as important recipients of digitally-mediated psychological therapies, and we offer actionable concepts and game design tactics for interaction designers and psychotherapists. Finally, we discuss our findings by "thinking through" a selection of conceptual design explorations, pointing at the characteristics and tactics we identified in our sketches.
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Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
