A Thematic Analysis of Adults’ Reflection on Childhood Experiences Being Parented by an Adult with Mental Health Issues

Children are impacted by their relationships with caregivers. The objective of this research was to develop awareness of the impact on children being cared for by caregivers with mental health issues by examining the experiences of individuals who had a caregiver with severe and persistent mental health issues during childhood. Researchers also gained insight on how social workers can be more supportive to children in these circumstances. The researchers conducted interviews with five participants, the recordings of which were then transcribed and coded to identify themes. Prevalent themes include critiques of available services, resiliency and challenges of family members as improved awareness of the significance of interpersonal relationships. For participants, compassion and tolerance have flourished since childhood, as well as a desire to help those in need. This research aims to inform and improve current services to children in the care of individuals struggling with severe or persistent mental health symptoms and improve both family and individual functioning. The research also aims to destigmatize the labeling of caregivers with mental health symptoms and improve the service delivery and professional parameters associated with working with children under the care of caregivers with mental health

GEFF (Genre film festival) 1963 − 1970: contextual and theoretical intersection

Diplomski rad razmatra uvelike neistraženu bijenalnu manifestaciju GEFF i pokret antifilm s kulturno-povijesnog i teorijskog motrišta te ih određuje kao pojave uz bok avangardnim i neoavangardnim tendencijama šezdesetih godina na međunarodnoj i domaćoj sceni. Prva dva poglavlja, Definicija konteksta i Avangardizmi pedesetih i šezdesetih godina, definiraju korijene nastanka pokreta antifilm čiji teorijski oslonac nalaze u razgovorima između entuzijastičnih članova Kinokluba Zagreb zabilježenim u katalogu Knjiga GEFF-a 63. Poglavlja osvrću se na povijest kinoamaterizma u Hrvatskoj i svijetu, kao i povijest pisanja o filmu i povijest filmske avangarde. Paralelno prate političke promjene na domaćoj razini, ponajprije one vezane za novo socijalističko uređenje države koje je izazvalo cvjetanje filmskog amaterizma na domaćoj sceni – kako u Zagrebu, tako u Splitu i Beogradu. Središnje poglavlje Film kao integralni dio života: avangardna vizija antifilma u fokus stavlja razgovore naslovljene Antifilm i mi koji su se održavali između 1962. i 1963. godine, teorijski ih raščlanjujući i smještajući u kontekst novih, prvenstveno likovnih, tendencija. Trasira veze teorijskih postavki kako domaće avangarde, tako i svjetske: ideja bavljenja filmom premješta se iz okvira medija pričanja priče u ludičku aktivnost čija je zadaća fenomenološkim pristupom istraživati. Poglavlje Četiri susreta filmskih stvaralaca eksperimentatora: Genre film festival (GEFF) ispituje avangardnu teoriju u praksi, kada ideja antifilm izlazi na svjetlo dana u četiri izdanja festivala GEFF-a: Antifilm i nove tendencije (1963.), Istraživanje filma i istraživanje pomoću filma (1965.), Kibernetika i estetika (1967.) i Seksualnost kao mogućnost za novi humanizam (1970.). Recepcija novog pokreta ocrtana je diskusijama između pripadnika beogradske i zagrebačke škole, čime se jasnije oslikava antifilm ne kao žanr filma, već kao zaigrani, geffovski duh. Za svako izdanje festivala popisane su osnovne informacije te se obrazlažu njima specifične tematske i teorijske postavke. Zaključno, poglavlje sagledava antifilm u praksi, definira termin film fiksacije kojega uvodi Dušan Stojanović kao žanr svojstven zagrebačkim eksperimentatorima, a poglavlje osvrće se i na tipologije eksperimentalnih filmova GEFF-a, od filma redukcije, minimalnog i strukturalnog filma, filma materijalističkog usmjerenja do proširenog filma koje u praksi nalazimo u filmovima autora i duhovnog nositelja pokreta, Mihovila Pansinija, zatim Vladimira Peteka, Tomislava Gotovca, Ivana Martinca, Ante Verzottija, Milana Šameca i Zlatka Hajdlera.The thesis deals with the largely unexplored biennial manifestation GEFF (Genre Film Festival) and the anti-film movement from a cultural-historical and theoretical point of view, placing them as movements appearing alongside the avant-garde and neoavantgarde tendencies of the sixties on the international and local scene. The first two chapters, Context Definition and Avant-garde of the Fifties and Sixties, define the roots of the anti-film movement, whose theoretical basis are found in conversations between enthusiastic members of the cine-club Kinoklub Zagreb recorded in the catalogue Knjiga GEFF-a 63. The chapters focus on the history of Croatian and international cinema-amateurism, as well as the history of writing about film and the history of avant-garde cinema. Parallel to political changes at the local level, primarily those related to the new socialist arrangement of the state, the chapter traces a blooming of amateur film on the domestic scene – as in Zagreb, so in Split and Belgrade. The central chapter Film as an Integral Part of Life: The Avant-garde Vision of Anti-film focuses on the discussions titled Antifilm i mi held between 1962 and 1963, theoretically analyzing them and placing them in the context of the new, neoavangarde, tendencies. It links the theoretical background both to the domestic and international avant-garde: the idea of film is shifted from the context of a story-telling media to the exploration of a phenomenological approach to filmmaking. The chapter Four Encounters of Film Creators and Experimenters: Genre Film Festival (GEFF) examines the avant-garde theory in practice when the idea of antifilm becomes public during the four GEFF festivals: Antifilm and New Tendencies (1963), Film Exploration and Exploration through Film (1965), Cybernetics and Aesthetics (1967), and Sexuality as a Possible Way to New Humanism (1970). The reception of the new movement is described during the discussions between members of the Belgrade and Zagreb school, thus enlightening anti-film not as a genre of film but as a playful, geff spirit. For each edition of the festival, basic information is listed, and specific thematic and theoretical settings are explained. In conclusion, the chapter examines anti-film in practice, defines the term fixation film introduced by Dušan Stojanović as a genre inherent to Zagreb experimenters, and the chapter also focuses on the typologies of GEFF experimental films, from the film of reduction, minimal and structural film, materialistic film to expanded film which in practice is found in the films of the author and the spiritual leader of the movement, Mihovil Pansini, as well as those of Vladimir Petek, Tomislav Gotovac, Ivan Martinac, Ante Verzotti, Milan Šamec and Zlatko Hajdler

“Alien” Ontologies in New Artistic Practices

The contribution explores the common tendencies of the practices of the younger generation of artists and collectives from Croatia and Slovenia (Neja Zorzut, Sara Salamon, MediumMovement collective and the duo Aljaž Rudolf and Eva Smrekar) who are connected by the conceptual actualization of “alien” ontologies. It is a question of conceptually, methodologically, and aesthetically heterogeneous practices that have as a common starting point the criticism of anthropocentrism, while explicitly relying on the speculative tendencies of philosophical realism and materialism in which human and non-human, subject and object are revealed as active and interdependent elements of a wider network of reality. Therefore, in the first part the text summarizes some of the key philosophical positions – those of object-oriented ontology, posthumanist and materialist criticism, and the question of the relationship between the human, reality, and technology. In this framework we observe how artistic activity acquires a special status as a causal, active field of research into the potential of the future and the actualization of alternative realities. We also consider the ways in which non-human or more-than-human subjects are articulated in the works as “alien” ontologies, and we examine the correlation with their inherent affective modalities of the “weird”, “eerie” and “uncanny”. These modalities are not necessarily associated with feelings of terror, horror, or discomfort, but seen as an aesthetic register that marks the liminal zone of reality and fiction, “inside” and “outside”, human and non-human. The aim of the text is to explore these philosophical, aesthetic, and methodological trajectories and to propose an “art of negative space” as a conceptual field applicable to a wider group of works and artistic practices both in Croatia and internationally

System of Equations for Hierarchical Decision Modeling

Decision-making is a cognitive process to select an alternative or a course of action in a specific context. In 1983, Dundar Kocaoglu proposed hierarchical decision modeling as a participative approach to program evaluation [1]. It has since been used to solve decision problems in many areas like the assessment of solar photovoltaic technologies [2] and enterprise data storage systems [3]. We present a simplified system of equations for hierarchical decision models with multiple perspectives, criteria, and alternatives

“Alien” Ontologies in New Artistic Practices

The contribution explores the common tendencies of the practices of the younger generation of artists and collectives from Croatia and Slovenia (Neja Zorzut, Sara Salamon, MediumMovement collective and the duo Aljaž Rudolf and Eva Smrekar) who are connected by the conceptual actualization of “alien” ontologies. It is a question of conceptually, methodologically, and aesthetically heterogeneous practices that have as a common starting point the criticism of anthropocentrism, while explicitly relying on the speculative tendencies of philosophical realism and materialism in which human and non-human, subject and object are revealed as active and interdependent elements of a wider network of reality. Therefore, in the first part the text summarizes some of the key philosophical positions – those of object-oriented ontology, posthumanist and materialist criticism, and the question of the relationship between the human, reality, and technology. In this framework we observe how artistic activity acquires a special status as a causal, active field of research into the potential of the future and the actualization of alternative realities. We also consider the ways in which non-human or more-than-human subjects are articulated in the works as “alien” ontologies, and we examine the correlation with their inherent affective modalities of the “weird”, “eerie” and “uncanny”. These modalities are not necessarily associated with feelings of terror, horror, or discomfort, but seen as an aesthetic register that marks the liminal zone of reality and fiction, “inside” and “outside”, human and non-human. The aim of the text is to explore these philosophical, aesthetic, and methodological trajectories and to propose an “art of negative space” as a conceptual field applicable to a wider group of works and artistic practices both in Croatia and internationally