This paper aims to extend dark tourism scholarship concerned with existential aspects of the human nature and the power of ‘dark places’ to provoke our thinking about the meaning and purpose of human existence. Our main focus is on the artistic expressions in the form of murals that have emerged in the years following the nuclear disaster in Chernobyl, questioning the significance and meanings they have for the Chernobyl Exclusion Zone, in the context of tourists' perceptions and, more generally, in the context of our being in the world. To that end, we deconstruct the tourist experience of dark sites through knitting together dark tourism, existentialism and street art.
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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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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.
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Background and purposeWithin Northwest European Welfare states, there is a growing need for all social work professions to substantiate their work with research. The earliest notions of social street work origins from the end of the18th century by the British Salavation Army (Mikkonen et al., 2007). In the Netherlands it’s introduced from the United States (1960s), as a response to individuals and groups hanging around. Social street work is a low threshold and professional form of being there, performed in surroundings and situations where the target group is. It focusses on contact-making and staying in contact with individuals and marginalised groups, who otherwise are hard to reach, have lost their connection with society and have multiple problems. It’s a high appreciated practice, but it lacks a method that is substantiated with research (Morse et all, 1996; Kirkpatrick, 2000). In this paper we will present conceptual model of the method of social street work, that’s substantiated with experiences from professionals and the target group.MethodThis paper is based on a combination of literature review, document analysis, Delphi Method and an online questionnaire among the target group. The research is conducted at Streetcornerwork in Amsterdam. Streetcornerwork is the only organization in the Netherlands that provides social street work, since WWII. They employ 175 professional social street workers and has 43 years of experience in social street work.First, a theoretical model of social street work is developed bases on literature review, analyses of documents of the establishment (1970-1990)of social street work (Netherlands) and different attempts to describe the method (1991-2017). Second, the explanation model is strengthened with data from the online questionnaire among 1600 clients of Streetcornerwork. Third, the Delphi Method is used to validate the model with the tacit knowledge of 24 professionals.ResultsThe result is a conceptual model of the method of social street work that is substantiated with experiences from professionals and the target group. Characteristic is that it’s an open approach in contact with the target group which is highly dependent on context and has unpredictable character (Metz, 2016 , Andersson, 2011).The method social street work consists of 14 methodic principles,. Social street work contributesto the development of self-insight and general life skills, the restoration of the social network and the improvement of living conditions and the well-being of the target group. We also gain insight in the experienced contribution of social street work from persons in the environment of the target group (client system, neighborhood and institutional environment). This experienced contribution of social street work at theenvironment is divided into the direct contribution and the implicated contribution through the target group.Conclusions and implicationsThis conceptual model of the method of social street work contributes to a body of knowledge. We made tacit knowledge explicit and we can legitimize the profession of social street work. Because research is done in close collaboration with street workers, it also contributes to the development of their work.
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Universities have become more engaged or entrepreneurial, forging deeper relations with society beyond the economic sphere. To foster, structure, and institutionalize a broader spectrum of engagement, new types of intermediary organizations are created, going beyond the “standard” technology transfer oces, incubators, and science parks. This paper conceptualizes the role of such new-style intermediaries as facilitator, enabler, and co-shaper of university–society interaction, making a distinction between the roles of facilitation, configuration, and brokering. As a case study, the paper presents the Knowledge Mile in Amsterdam as a novel form of hyper local engagement of a university with its urban surroundings that connects the challenges of companies and organisations in the street to a broad range of educational and research activities of the university, as well as to rebrand the street.
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A good working relationship between clients and professionals increases the chances of better intervention outcomes for clients. A longitudinal cohort study was carried out amongst clients who were in touch with professionals from a Dutch social street work (SSW) organisation. We used a questionnaire to examine client perspectives (n = 332) on the relational and goal-oriented part of the working relationship after a minimum of 8 months of contact with SSW. We furthermore examined to what extent both parts of the working relationship were influenced by client characteristics and SSW metrics. Clients were asked to reflect on the relational part and the goal-oriented part of the working relationship. Clients who only met SSW professionals in public areas perceived a weaker working relationship in both aspects. A stronger relational and goal-oriented working relationship was perceived when receiving more practical support. Clients who had been in contact with an SSW professional for a long period of time perceived a weaker goal-oriented working relationship. This study shows that a working relationship, with both relational and goal-oriented aspects, can be established between workers and marginalised people in their daily environment. Frequent contact and providing practical support can improve both parts of the working relationship. Please refer to the Supplementary Material section to find this article's Community and Social Impact Statement.
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In this essay I will discuss the specific nature of art practices in which the artist and his audience are moving away from the more traditional relationship in which the artist merely displays his art in museums or public spaces. They consist of intimate and personal processes made possible by the grace of the artistic space that is separating itself from the coded space around it. In these practices the public takes on a different role than that of the passive spectator. The involvement of the public in what art is and can be becomes part of the experience. This turns art into something to be a part of rather than something that is simply handed over to you. More specifically, these art practices allow for a time and site-specific situated form of co-ownership, through which the artistic environment created by the artist becomes the condition for experiencing new ideas and insights. In relation to theatre, the French philosopher Jacques Rancière (1940-) writes in The Emancipated Spectator (2015) about “a theater without an audience” that “no longer tempts with its images but teaches the audience something that turns them into active participants rather than passive voyeurs”. (Rancière 2015: 9-10) These practices are not new. New is perhaps the shift of focus from public participation in processes of interaction towards developing a theatrical space that not only makes other types of expression possible, but also taking on other roles and with that, other perspectives. This notion will therefore be the main focus of this text.
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This books describes the content, goals and methods used in the course Research & Development/New Media Art Practices. ‘It opened up research terrains, and confronted me with art practices I had never even thought of’ said a university student when asked what she had gained from the course Research & Development/New Media Art Practices. In this master course, art students and university students collaborate on the formulation of research proposals containing artistic and scholarly components. Working together in the field of Art and New Media, on subjects such as wearables, mixed reality or mobile media, students become acquainted with each other’s practices, concepts and research methods. In this introduction, we will describe the content, goals and methods used in the course.
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