This article examines how the human perception of knowledge is structured in the empirical world. It is often argued by scientists that facts in this empirical world can be perceived, which makes us believe that this world is an objective world. However, the human way of making sense of the world is individual and embodied, which causes the creation of an individual world for every human: a body-world. The empirical world is in this case a shared space for multiple bodies that agree on the causality of certain events and objects in that space. Every body-world therefore has its own partial perspective on the knowledge in this shared space, which is formed by the physiology of the body, the cultural background, and the identity of the person. The theater has the power, through the techniques of re-enactment and disruption, to give its audience insight in other situated knowledges from different partial perspectives. It can therefore connect different situated knowledges and create ecological knowledge: the awareness of the connected network of knowledges that is produced in various body-worlds on what is happening in the shared space. Only then can we emancipate knowledge and embrace the various partial perspectives that this shared space of body-worlds has to offer.
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Met betrekking tot dat moment dat ik niet de waarheid sprak (hoewel ik het kon.) Het werk van beeldend kunstenaar en PhDArts onderzoeker Eleni Kamma bestaat uit twee delen: een portretserie die bekentenissen van onoprechtheid toont en onderzoeksmateriaal waarbij ze parrèsia of het vrijmoedig spreken onderzoekt.Op het Griekse eiland Tinos, waar Kamma een tijdelijke communale plek creëerde, nodigde zij mensen uit om momenten op te biechten waarop zij onoprecht waren. Een lokale fotograaf heeft hen geportretteerd op paspoortformaat, terwijl ze een moment van onoprechtheid herbeleefden en naspeelden. In haar rol als beeldend kunstenaar was het portretteren een manier om persoonlijke drijfveren te visualiseren en te testen of een theatrale activiteit, zoals een re-enactment of performance, een verzoenende functie kan vervullen en aan kan zetten tot delen en co-creatie.Afgelopen september in Groningen vroeg Kamma, ten behoeve van haar onderzoek, bijna het tegenovergestelde; ze nodigde mensen uit tot het beoefenen van parrèsia. Een Grieks begrip waarbij de spreker zo volledig en nauwkeurig mogelijk verslag doet van zijn of haar gedachten, zodat toehoorders precies in staat zijn te begrijpen wat de spreker denkt. Middels audio-opname van deze getuigenissen onderzoekt Kamma niet alleen de vrijheid van meningsuiting, maar ook de morele verplichting om de waarheid te spreken voor het algemeen welzijn, zelfs als dat ten koste gaat van eigenbelang.
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A considerable amount of literature on peer coaching suggests that the professional development of teachers can be improved through experimentation, observation, reflection, the exchange of professional ideas, and shared problem-solving. Reciprocal peer coaching provides teachers with an opportunity to engage in such activities in an integrated form. Even though empirical evidence shows effects of peer coaching and teacher satisfaction about coaching, the actual individual professional development processes have not been studied extensively. This article offers a way to analyze and categorize the learning processes of teachers who take part in a reciprocal peer coaching trajectory by using the Interconnected Model of Teacher Professional Growth as an analytical tool. Learning is understood as a change in the teacher's cognition and/or behavior. The assumption underlying the Interconnected Model of Teacher Professional Growth is that change occurs in four distinct domains that encompass the teacher's professional world: the personal domain, the domain of practice, the domain of consequence and the external domain. Change in one domain does not always lead to change in another, but when changes over domains do occur, different change patterns can be described. Repeated multiple data collection methods were used to obtain a rich description of patterns of change of four experienced secondary school teachers. The data sources were: audiotapes of coaching conferences, audiotapes of semi-structured learning interviews by telephone, and digital diaries with teacher reports of learning experiences. Qualitative analysis of the three data sources resulted in two different types of patterns: including the external domain and not including the external domain. Patterns of change within a context of reciprocal peer coaching do not necessarily have to include reciprocal peer coaching activities. When, however, patterns do include the external reciprocal peer coaching domain, this is often part of a change process in which reactive activities in the domains of practice and consequence are involved as well. These patterns often demonstrate more complex processes of change.
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Insider ethnographic analysis is used to analyze change processes in an engineering department. Distributed leadership theory is used as conceptual framework.
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The purpose of the design-based research reported here is to show – as a proof of principle – how the idea of scaffolding can be used to support primary teachers in a professional development programme (PDP) to design and enact language-oriented science lessons. The PDP consisted of six sessions of 2.5 h each in which twelve primary school teachers took part over a period of six months. It centralised the language support that pupils need to reason during science lessons. In line with the idea of scaffolding, the structure of the PDP targeted teachers' gradual independence in designing lessons. The first research question is how scaffolding was enacted during the PDP. The analysis of video recordings, field notes, researcher and teacher logs, and teacher design assignments focused on the enactment of three scaffolding characteristics: diagnosis, responsiveness and handover to independence. The second research question concerns what teachers learned from the participation in the PDP that followed a scaffolding approach. The data analysis illustrates that these teachers had learned much in terms of designing and enacting language-oriented science lessons. In terms of diagnosis and responsiveness, our PDP approach was successful, but we problematise the ideal of scaffolding approaches focused on handover to independence.
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Since the arrival of cinema, film theorists have studied how spectators perceive the representations that the medium offers to our senses. Early film theorists have bent their heads over what cinema is, how cinema can be seen as art, but also over what cinema is capable of. One of the earliest film theorists, Hugo Münsterberg argued in 1916 that the uniqueness of cinema, or as he calls it photoplay, lies in the way it offers the possibility to represent our mental perception and organisation of the reality, or the world we live in: “the photoplay tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion” (Münsterberg [1916] 2004, 402)
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Een Duits verzorgingstehuis nodigde recent aangekomen vluchtelingen uit die geïnteresseerd waren in werken in de ouderenzorg. Het doel van deze studie was om inzicht te krijgen in hoe gevestigde zorgverleners en eerstegeneratie immigranten nieuwkomers sleutelden aan waarden om de zorg voor mensen met dementie vorm te geven. Deze etnografische studie omvatte 200 uur observatie, 24 diepte-interviews en twee focusgroepinterviews met zes immigranten van de eerste generatie en zes gevestigde personeelsleden. De gevestigde zorgverleners en immigranten van de eerste generatie toonden zich bereid en in staat om te sleutelen aan situaties waarin verschillende waarden een rol speelden. Wanneer de werklast echter te zwaar wordt, kunnen medewerkers uit beide groepen gevoelens van machteloosheid, onverschilligheid en demotivatie ervaren. Institutionele beperkingen hebben een negatieve invloed op de interactie tussen gevestigde zorgverleners en immigranten van de eerste generatie die nieuwkomers zijn en beïnvloeden hun uitvoering van de zorg voor geriatrische bewoners met dementie. In dergelijke situaties wordt het cruciaal voor het personeel om een ondersteunende supervisor te hebben die hen kan helpen om te gaan met de dagelijkse stressfactoren van hun praktijk.
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This study explores how journalists in highspeed newsrooms gather information, how gathering activities are temporally structured and how reliability manifests itself in information-gathering activities.
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Empirical studies in the creative arts therapies (CATs; i.e., art therapy, dance/movement therapy, drama therapy, music therapy, psychodrama, and poetry/bibliotherapy) have grown rapidly in the last 10 years, documenting their positive impact on a wide range of psychological and physiological outcomes (e.g., stress, trauma, depression, anxiety, and pain). However, it remains unclear how and why the CATs have positive effects, and which therapeutic factors account for these changes. Research that specifically focuses on the therapeutic factors and/or mechanisms of change in CATs is only beginning to emerge. To gain more insight into how and why the CATs influence outcomes, we conducted a scoping review (Nstudies = 67) to pinpoint therapeutic factors specific to each CATs discipline, joint factors of CATs, and more generic common factors across all psychotherapy approaches. This review therefore provides an overview of empirical CATs studies dealing with therapeutic factors and/or mechanisms of change, and a detailed analysis of these therapeutic factors which are grouped into domains. A framework of 19 domains of CATs therapeutic factors is proposed, of which the three domains are composed solely of factors unique to the CATs: “embodiment,” “concretization,” and “symbolism and metaphors.” The terminology used in change process research is clarified, and the implications for future research, clinical practice, and CATs education are discussed.
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Although empathy is an essential aspect of co-design, the design community lacks a systematic overview of the key dimensions and elements that foster empathy in design. This paper introduces an empathic formation compass, based on a comparison of existing relevant frameworks. Empathic formation is defined here as the formative process of becoming an empathic design professional who knows which attitude, skills and knowledge are applicable in a co-design process. The empathic formation compass provides designers with a vocabulary that helps them understand what kind of key dimensions and elements influence empathic formation in co-design and how that informs designers’ role and design decisions. In addition, the empathic formation compass aims to support reflection and to evaluate co-design projects beyond the mere reliance on methods. In this way, empathic design can be made into a conscious activity in which designers regulate and include their own feelings and experiences (first-person perspective), and decrease empathic bias. We identify four important intersecting dimensions that empathy is comprised of in design and describe their dynamic relations. The first two opposing dimensions are denoted by empathy and differentiate between cognitive design processes and affective design experiences, and between self-and other orientation. The other two dimensions are defined by design research and differentiate between an expert and a participatory mindset, and research-and design-led techniques. The empathic formation compass strengthens and enriches our earlier work on mixed perspectives with these specific dimensions and describes the factors that foster empathy in design from a more contextual position. We expect the empathic formation compass—combined with the mixed perspectives framework—to enhance future research by bringing about a deeper understanding of designers’ empathic and collaborative design practice.
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