1,453 research outputs found

    Mapping Critical Practice In A Transdisciplinary Urban Studio

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    Architecture and Planning exist to make positive changes to our environment. Future practitioners in these disciplines will be responsible for how our cities develop and are managed - they will be required to exercise their professional judgement in complex and unpredictable contexts. There is increasing interest in transdisciplinary urbanism, but implementation in academic contexts has to date been relatively limited. This thesis aims to build on these examples, through a detailed account of one academic design studio which operates across architecture and urban planning; in doing so it aims to make the case for transdisciplinary, problem and place-based studio teaching. The study considers how a transdisciplinary studio environment supported students to develop a critical approach to practice through collaborative discourse. It looked at studio methods/practices; what it means to practice ā€˜criticallyā€™ in the context of design; and the role ā€˜going publicā€™ by sharing ideas in public fora might play in developing critical positions. The study was undertaken in collaboration with nine students, a single cohort undertaking the final year of a hybrid masterā€™s qualification in Architecture with Urban Planning. It adopts socio-material and spatial approaches to follow how the studio environment and the studentsā€™ emerging interdisciplinary identities shaped both their individual and their shared work. It mapped how their approach to their practice evolved through observations, interviews, and informal conversations, and through their drawings, models and journals. In carrying out these observations, and their analysis, I have returned to drawing methods common in architecture. This allowed me to explore and record aspects of studio practice which might otherwise be missed and revealed the importance of visual and spatial thinking to my own practice. Observations revealed how material spaces, tools and artefacts acted to structure social relations in the studio, and how these relations shaped individual approaches to critical practice

    Experience, evidence and what counts in UK music therapy ā€“ an arts-based autoethnographic study

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    The field of music therapy is not bland: therapists train because of deep belief in the dignity of people and the power of music; participants begin therapy because something significantly challenging is present in their lives; fundraisers share stories which are painful, life affirming, uncomfortable; receptionists juggle quiet spaces with loud spaces with stimulation without sensory triggers; carers listen, absorb, give and give some more, often beyond the limits of their energy. And pulse and meter and melody and dynamics and bodies and voices and wood and skin and metal are the raw materials.However, it might be argued that the search for evidence in music therapy has led to something akin to a parallel reality, - one in which measured, analytical reporting of certain aspects of the work is shared, often in official documents. The vital, sensory, embodied, relational experience which is music making, and which lies at the heart of the therapy is rendered in careful and dispassionate text. There are good reasons for this, and for the steady growth of ā€˜evidence-based practiceā€™, which lie in the history of the profession and its search for validation. Yet the evidence which is shared in these texts has tended to become increasingly disconnected from many features of the musical therapeutic encounter that music therapists value.In this study, conceived from a critical realist perspective, I ask ā€˜what is experience in music therapyā€™, ā€˜what is evidence in music therapyā€™, ā€˜are evidence and experience in fact the same thing, or could they beā€™? I look at my own experiences, and evidencing of these experiences, gained across 24 years of working as a music therapist. In so doing, I find I cannot maintain a single role or persona. Unexpectedly, in the course of this reflexive exploration, four Roles arrive noisily and will not go away (Music Therapist, Researcher, Musician and Carer). They debate, argue and probe at the heart of what counts, and at the cultures of music therapy which systematise and perpetuate what counts. They consider the turn to evidence-based practice in music therapy and ask ā€˜what is the evidence ofā€™, and ā€˜does this make sense to insiders, outsiders, either, bothā€™?This multivocal, dialogical approach allows me to adopt the different positions taken by each of the four Roles as they ask ā€˜does this make sense to meā€™, and to advocate for culture change in both music therapy and academia. It resonates with the focus of this research ā€“ experience, evidence and what counts in music therapy, and invites various different methodological approaches - autoethnography, arts-based research, phenomenology, and Aesthetic Critical Realism which is introduced to the field of music therapy for the first time. A complex web of different kinds of experience and evidence emerges through poems, stories, vignettes, images and mobile making and results in a concept of four phases of experience, leads to defined categories of different kinds of experience, and to the proposition that in music therapy, experience is evidence of personhood.The thesis is relational: those engaging with it are part of the network of experiences in the field of music therapy, because I conceptualise this field as including all musical, logistical, contractual, academic, public and informal encounters of all stakeholders, from participants to next-door neighbours. Because you are engaging with this thesis, I regard you as a Collaborator, but it is not necessary for you to be familiar with the field. Thank you for your involvement

    Gratitude in Healthcare an interdisciplinary inquiry

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    The expression and reception of gratitude is a significant dimension of interpersonal communication in care-giving relationships. Although there is a growing body of evidence that practising gratitude has health and wellbeing benefits for the giver and receiver, gratitude as a social emotion made in interaction has received comparatively little research attention. To address this gap, this thesis draws on a portfolio of qualitative methods to explore the ways in which gratitude is constituted in care provision in personal, professional, and public discourse. This research is informed by a discursive psychology approach in which gratitude is analysed, not as a morally virtuous character trait, but as a purposeful, performative social action that is mutually co-constructed in interaction.I investigate gratitude through studies that approach it on a meta, meso, macro, and micro level. Key intellectual traditions that underpin research literature on gratitude in healthcare are explored through a metanarrative review. Six underlying metanarratives were identified: social capital; gifts; care ethics; benefits of gratitude; staff wellbeing; and gratitude as an indicator of quality of care. At the meso (institutional) level, a narrative analysis of an archive of letters between patients treated for tuberculosis and hospital almoners positions gratitude as participating in a Maussian gift-exchange ritual in which communal ties are created and consolidated.At the macro (societal) level, a discursive analysis of tweets of gratitude to the National Health Service at the outset of the Covid-19 pandemic shows that attitudes to gratitude were dynamic in response to events, with growing unease about deflecting attention from risk reduction for those working in the health and social care sectors. A follow-up analysis of the clap-for-carers movement implicates gratitude in embodied, symbolic, and imagined performances in debates about care justice. At the micro (interpersonal) level, an analysis of gratitude encounters broadcast in the BBC documentary series, Hospital, uses pragmatics and conversation analysis to argue that gratitude is an emotion made in talk, with the uptake of gratitude opportunities influencing the course of conversational sequencing. The findings challenge the oftenmade distinction between task-oriented and relational conversation in healthcare.Moral economics are paradigmatic in the philosophical conceptualisation of gratitude. My research shows that, although balance-sheet reciprocity characterised the institutional culture of the voluntary hospital, it is hardly ever a feature ofinterpersonal gratitude encounters. Instead, gratitude is accomplished as shared moments of humanity through negotiated encounters infused with affect. Gratitude should never be instrumentalised as compensating for unsafe, inadequatelyrenumerated work. Neither should its potential to enhance healthcare encounters be underestimated. Attention to gratitude can participate in culture change by affirming modes of acting, emoting, relating, expressing, and connecting that intersect with care justice.This thesis speaks to gratitude as a culturally salient indicator of what people express as worthy of appreciation. It calls for these expressions to be more closely attended to, not only as useful feedback that can inform change, but also because gratitude is a resource on which we can draw to enhance and enrich healthcare as a communal, collaborative, cooperative endeavour

    Sensing Collectives: Aesthetic and Political Practices Intertwined

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    Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders

    Relevance of parental monitoring strategies in explanation of externalising behaviour problems in adolescence: Mediation of parental knowledge

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    A process model of parental monitoring (PM) proposes that PM occurs in two distinct stages: before the adolescent goes out and when they return home. Parental and adolescent responses to monitoring interactions impact on future monitoring episodes. Research suggests that passive PM strategies (e.g. child disclosure) correlate with higher parental knowledge and less behavior problems. Self-reported measures were used on a sample of 507 Belgrade secondary school students (42.1% male) to examine the mediating effect (mediation analysis using JASP) of parental knowledge (the Scale of Parental Monitoring) on the relationship of PM strategies (Child Disclosure, Parental Solicitation and Parental Control) (the Scale of Parental Monitoring) with externalising problems (Aggressive and Rule-Breaking Behaviour) (ASEBA, YSR). The research results show that Parental Knowledge mediate the relation of Child Disclosure and RuleBreaking Behaviour (z = -6.544, p < .001) and Parental Control and Rule-Breaking Behaviour (z =-3.770, p< .001). No direct link between Parental Control and RuleBreaking Behavior, as well as Parental Solicitation and Rule-Breaking Behavior were established. Full mediation of the link between Child Disclosure and Aggressive Behavior by Parental Knowledge is found (total indirect effect z = -4.050, p < .001). The research results were discussed in the context of the relevance of the PM strategies for greater parental knowledge and prevention of externalising problems in adolescence

    Relevance of parental monitoring strategies in explanation of externalising behaviour problems in adolescence: Mediation of parental knowledge

    Get PDF
    A process model of parental monitoring (PM) proposes that PM occurs in two distinct stages: before the adolescent goes out and when they return home. Parental and adolescent responses to monitoring interactions impact on future monitoring episodes. Research suggests that passive PM strategies (e.g. child disclosure) correlate with higher parental knowledge and less behavior problems. Self-reported measures were used on a sample of 507 Belgrade secondary school students (42.1% male) to examine the mediating effect (mediation analysis using JASP) of parental knowledge (the Scale of Parental Monitoring) on the relationship of PM strategies (Child Disclosure, Parental Solicitation and Parental Control) (the Scale of Parental Monitoring) with externalising problems (Aggressive and Rule-Breaking Behaviour) (ASEBA, YSR). The research results show that Parental Knowledge mediate the relation of Child Disclosure and RuleBreaking Behaviour (z = -6.544, p < .001) and Parental Control and Rule-Breaking Behaviour (z =-3.770, p< .001). No direct link between Parental Control and RuleBreaking Behavior, as well as Parental Solicitation and Rule-Breaking Behavior were established. Full mediation of the link between Child Disclosure and Aggressive Behavior by Parental Knowledge is found (total indirect effect z = -4.050, p < .001). The research results were discussed in the context of the relevance of the PM strategies for greater parental knowledge and prevention of externalising problems in adolescence

    Loss of a sense of aliveness, bodily unhomeliness and radical estrangement: A phenomenological inquiry into service usersā€™ experiences of psychiatric medication use in the treatment of early psychosis

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    Quantitative research drawing on the disease-centred model of psychiatric drug action dominates research on psychiatric medication, while little is known about service usersā€™ subjective, embodied experiences of taking psychiatric medication. This research explored service usersā€™ felt, embodied and relational experiences of psychiatric medication use in the treatment of early psychosis using a multimodal, longitudinal research design. A more in-depth understanding of what it is like and what it means to take psychiatric medication from service usersā€™ idiographic perspectives is needed to improve the clinical care and support service users receive and better understand the treatment choices they make. Ten participants between the age of 18 and 30 years were recruited from London-based NHS Early Intervention in Psychosis services and participated in in-depth idiographic interviews. Eight participants took part in a follow-up interview between six and nine months later. Visual methods were used to explore the verbal as well as the pre-reflective, embodied aspects of participantsā€™ medication experiences. The data was analysed using a combination of interpretative phenomenological analysis and framework analysis. While taking psychiatric medication, participants reported the loss of a sense of aliveness, feelings of radical estrangement from themselves, the world and other people and a sense of being suspended in a liminal, time-locked dimension in which they felt unable to transition from past experiences of psychosis to future recovery. The findings of this study highlight the highly distressing and adverse iatrogenic effects of psychiatric medication use, including medication-induced coporealisation, disembodiment, estrangement and a loss of belonging. More holistic, human rights-based, recovery-oriented and body-centred ways of treating psychosis are needed

    Imagining & Sensing: Understanding and Extending the Vocalist-Voice Relationship Through Biosignal Feedback

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    The voice is body and instrument. Third-person interpretation of the voice by listeners, vocal teachers, and digital agents is centred largely around audio feedback. For a vocalist, physical feedback from within the body provides an additional interaction. The vocalistā€™s understanding of their multi-sensory experiences is through tacit knowledge of the body. This knowledge is difficult to articulate, yet awareness and control of the body are innate. In the ever-increasing emergence of technology which quantifies or interprets physiological processes, we must remain conscious also of embodiment and human perception of these processes. Focusing on the vocalist-voice relationship, this thesis expands knowledge of human interaction and how technology influences our perception of our bodies. To unite these different perspectives in the vocal context, I draw on mixed methods from cog- nitive science, psychology, music information retrieval, and interactive system design. Objective methods such as vocal audio analysis provide a third-person observation. Subjective practices such as micro-phenomenology capture the experiential, first-person perspectives of the vocalists them- selves. Quantitative-qualitative blend provides details not only on novel interaction, but also an understanding of how technology influences existing understanding of the body. I worked with vocalists to understand how they use their voice through abstract representations, use mental imagery to adapt to altered auditory feedback, and teach fundamental practice to others. Vocalists use multi-modal imagery, for instance understanding physical sensations through auditory sensations. The understanding of the voice exists in a pre-linguistic representation which draws on embodied knowledge and lived experience from outside contexts. I developed a novel vocal interaction method which uses measurement of laryngeal muscular activations through surface electromyography. Biofeedback was presented to vocalists through soni- fication. Acting as an indicator of vocal activity for both conscious and unconscious gestures, this feedback allowed vocalists to explore their movement through sound. This formed new perceptions but also questioned existing understanding of the body. The thesis also uncovers ways in which vocalists are in control and controlled by, work with and against their bodies, and feel as a single entity at times and totally separate entities at others. I conclude this thesis by demonstrating a nuanced account of human interaction and perception of the body through vocal practice, as an example of how technological intervention enables exploration and influence over embodied understanding. This further highlights the need for understanding of the human experience in embodied interaction, rather than solely on digital interpretation, when introducing technology into these relationships
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