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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This is the second episode of Art in Permacrisis, a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions? We invite speakers with combined backgrounds in art, theory, and organizing to share their insights.For this episode, we talk to Emanuele Braga. Emanuele is an artist, researcher and activist. Over the past decades, he has been involved in many important grassroots initiatives, including MACAO, a center for art and Culture in Milan, and the Institute of Radical Imagination. This conversation focuses mostly on Art for Universal Basic Income (manifesto), which was produced by the Institute of Radical Imagination in 2022, and which was co-edited by Emanuele, together with Marco Baravalle and Gabriella Riccio.
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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.
Lectoraat, onderdeel van HAS green academy
