Dissertations / Theses on the topic 'Displacement (Psychology) in art'

Cette thèse traite de la définition et des prolongements politiques de l’identité, questionnés à travers la manifestation de l’intime dans l’art vidéo des années 1970 à nos jours. L’intime est pensé aussi bien en tant qu’effacement des frontières entre le privé et le public qu’en tant que nature de la relation entre la vidéo et ses spectateurs. Le champ de recherche est géographiquement limité à la France, au Brésil et à la Turquie, de par la particularité de leurs rapports respectifs à l’identité culturelle et nationale : la jeune identité turque née des cendres de l’empire ottoman, entre Occident et Orient ; l’identité brésilienne, fondée sur l’hybridité ; l’identité française à l’épreuve de l’immigration. La première partie, structurée par une approche géographique et chronologique,expose les grands traits de l’histoire de l’art vidéo sur ces trois territoires et certains événements sociaux et/ou politiques marquant les choix esthétiques : les coups d’Etat au Brésil et en Turquie, l’avènement de la modernité turque, le mouvement anthropophagique brésilien, le reflet du mouvement féministe dans l’art français. Les thèmes majeurs qui y sont évoqués, comme le nomadisme, la relation entre le centre et la périphérie, le cinéma comme lieu d’invention des identités, dirigent les deux parties suivantes qui s’articulent autour des déplacements psychiques, géographiques et disciplinaires. Par le biais de l’analyse d’oeuvres vidéographiques de douze artistes - Nil Yalter, Regina Vater, Dias & Riedweg, Kutluğ Ataman, Fikret Atay, Şener Özmen,Thierry Kuntzel, Rebecca Digne, Brice Dellsperger, Wagner Morales, Pierrick Sorin etRafael França – on construit une réflexion sur la détermination de l’identité et la nature politique de l’intime
This thesis discusses the definition and the political extensions of identity, whichit questions through the expression of the intimate in video art from the 70s till today.The intimate is considered not only as the fading of borders between the private and the public but also as the nature of the relationship between the video and its viewers.The field of this research is geographically limited to France, Brazil and Turkey,because of the particular relation of each of these countries to the notion of cultural and national identity: the young Turkish identity, born from the ashes of the Ottoman Empire, standing between the West and the East; the Brazilian identity, established upon hybridity; the French identity, put to the test of immigration.The first part, which is structured by a geographical and chronological approach,exposes the important traits of video art’s history on these three territories as well assome social and/or political events which have left marks on the aesthetical preferences:the Coups d'état in Brazil and Turkey, the advent of Turkish modernity, the cannibalistic Brazilian movement, the reflections of the feminist movement in Frenchart. The major themes mentioned in the first part, like nomadism, the center-peripheryrelations and the cinema as a space to invent identities, guide the following two partsbased on psychic, geographical and disciplinary displacements. Through the analysis ofthe videographical pieces of twelve artists - Nil Yalter, Regina Vater, Dias & Riedweg,Kutlug Ataman, Fikret Atay, Sener Özmen, Thierry Kuntzel, Rebecca Digne, BriceDellsperger, Wagner Morales, Pierrick Sorin and Rafael França – a thinking on the determination of the identity and the political nature of the intimate is built

This thesis examines the relationship between art and place, and challenges conventional readings of the paintings of the late Aboriginal Anmatyerr elder Emily Kame Kngwarray of Australia and Canadian/American modernist artist Agnes Martin. In the case of Kngwarray, connections between body, ground and canvas are extensively explored through stories told to the author by Emily???s countrywomen at Utopia in the Northern Territory. In the case of Agnes Martin, these relationships are explored through personal interview with the artist in Taos, New Mexico, and by phenomenological readings of her paintings. The methodology is based on analysis of narrative, interview material, existing critical literature and the artists??? paintings. The haptic and embodiment emerge as strong themes, but the artists??? use of repetition provides fertile ground to question wholly aesthetic or cultural readings of their paintings. The thesis demonstrates the significance of historical and psychological denial and erasure, as well as transgenerational legacies in the artists??? work. A close examination is made of the artists??? use of surface shimmer in their paintings and the effects of it on the beholder. The implications of being mesmerized by shimmer, especially in the case of Aboriginal paintings, bring up ethical questions about cultural difference and the shadow side of art in its capacity for complicity, denial, appropriation and commodification. This thesis challenges the ocularcentric tradition of seeing the land and art, and examines what occurs when a painting is viewed on the walls of a gallery. It addresses Eurocentric readings of Aboriginal art and looks at the power of the aesthetic gaze that eliminates cultural difference. Differences between space and place are explored through an investigation of the phenomenology of perception, the haptic, embodiment and ???presentness???. Place affiliation and the effects of displacement are examined to discover what is often taken for granted: the ground beneath our feet. Art can express belonging and relationship with far-reaching cultural, political, psychological and environmental implications, but only if denial and loss of place are acknowledged.

Includes bibliographical references.
I was born in Cape Town, South Africa around the tumultuous time of the Soweto uprisings of 1976. The first few years of my life were spent living with relatives and friends of my mother in Langa while she worked in the city in various households as a domestic worker. Her occupation took her away for long periods of time. By the age of two my mother and I moved to Woodstock where we lived with a family that consisted of five adults, who each had children of their own all under one small roof. The house was always full of people.

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.

This thesis examines contemporary Canadian art practices, which aim to challenge the notion of multiculturalism as a purported 'solution' to the cultural, racial and ethnic diversity that comprises the nation. Specifically focusing on the work of Canadian artists, Jin-me Yoon, Kinga Araya and Ken Lum, I explore the mythology surrounding Canada's liberal pluralist politics and problematize the notion of nationalism as operating through a process of exclusion by privileging a white Anglo-Canadian norm. This system of exclusion complicates further the process of (im)migration, therefore, I explore the psychological and 'unhomely' experience of displacement as expressed visually through artistic practice. Furthermore, as a means of addressing multiculturalism and (im)migration, I acknowledge the need for more global modes of thinking, in proposing reconceptualizations of the notions home and nation that favour mobility, hybridity, and change over stable, static and pure definitions that sustain exclusionary politics.
Ce mémoire cherche à examiner des pratiques en art contemporain canadien qui ont pour but de questionner le concept du multiculturalisme en temps que « solution » allégée à la diversité culturale, raciale et ethnique dont est composée l’état-nation canadienne. En étudiant surtout les œuvres des artistes canadiens Jin-me Yoon, Kinga Araya et Ken Lum, j’explore la mythologie qui soutient les politiques pluralistes libérales au Canada. Cette dissertation problématize également la notion du nationalisme comme processus d’exclusion qui privilégie une norme anglo-canadienne de race blanche, compliquant davantage l’(im)migration. J’examine ainsi l’expérience psychologique de la non-appartenance, exprimée visuellement à l’instar de la pratique artis! tique. Finalement, en adressant le multiculturalisme et l’(im)migration de cette approche, je reconnaît la nécessité de penser de façons plus globales. Ma proposition est donc de repenser les notions du « chez-soi » et de la nation en mettant de l’emphase sur les thèmes de la mobilité et l’hybridité et non pas sur des définitions statiques et politiquement exclusivistes. fr

This research project used a causal comparative design to examine differences between intact groups of graduate art therapy students using art as a response to emotions and sharing the art during group supervision. There is scant research on group art therapy supervision thus in this study the variables of curiosity and psychological mindedness were analyzed. Utilizing art making as a tool to understand emotions in response to working with clients therapeutically provides both an implicit, internal focus on the self in relation to others that is then evaluated in an explicit, external context of group supervision, where these emotions are shared. Forty participants completed response art as well as pre- and post-test inventories of the Curiosity and Exploration Inventory-II, subscales of stretching and embracing, and the Balanced Inventory of Psychological Mindedness, subscales of interest and insight. Data were analyzed using Wilcoxon rank sum test and Spearmen’s rho correlations. While findings were limited due to the small sample size, nonparametric measures, and confounding variables, findings confirmed that stretching and interest showed significant increases. Students later in their practicum showed an increase in embracing while group size of four or less had greater increases in insight. Insight increased early in the research study and decreased significantly at the end of this present study, suggesting that as students learn they develop a more humble stance of not knowing. Future research would benefit from a qualitative inquiry to identify and understand aspects of creating art in response to clients and sharing it in supervision.

This thesis examines the workings of “home” for the displaced individual in contemporary contexts: whether a counterpoint for disorientation arising from displacement, for example, or an attempt to assert control in the very process of identity negotiation across geographical distances, “home” in the novels of White Teeth by Zadie Smith and Ignorance by Milan Kundera, especially, offer an important study of the quest for home through an unexpected anchor of exile. The signifier of ultimate security and belonging in pre-modern eras, God has been destabilized in the post-war, contemporary context. “Home,” like the notional God, that is, has been destabilized by social forces of the diaspora, where “home,” in addition to the physical native place of birth or permanent place of shelter, can take on forms of imaginary exile/unbelonging within the same place without physical estrangement; as Martin Heidegger recognizes home can paradoxically be constituted as a form of control, namely from the inside out: from the existential feeling of “not being at home.” Samad, Irena and Josef of White Teeth and Ignorance, respectively, are analyzed on their alternative quests for control of identity. Replacing the trace of God with a trace now of “home,” Samad, Irena and Josef face limitless freedom outside their native and geographic contexts, which entails at the same time a sense of disorientation. They feel compelled to achieve meaningful identity based on a left-over notion of “home,” or, in the converse, to utilize what they control as “home” to avoid at least self-annihilation. This thesis contends in the contemporary narratives studied that there is a tendency for the individual to avoid estrangement or perceived unnatural “provisional” separations from the idea of “home”; and, second, therefore to seek to control of identity formation in the name of seeking “home.” Such control is desired by reflex of aversion to estrangement, which can be felt with the liberation from God or the distances from the geographies or assumptions of “home.” This thesis will expound, therefore, upon the stages of estrangement through, first, an initial and tentative placement of “home”; then, displacement through physical departure; exile revisited; attempts at re-placement along a nostalgic trace of belonging toward a “home” in the identity negotiation; and the “returnability” of the displaced person to adopt a native “home” after prolonged absence. In conclusion, considering the placement of the self somewhere, in order to gain control over identity inside an environment of dis-placement; in physical and updated “exile” away from place of birth; or even in the form of tragic imagination to be discussed, a trace of “home” (like an absent “god” in Waiting for Godot, for example) cannot be relinquished altogether as a point of reference for reinvention of identity while it can still be reinvented and updated at the same time. However, even this trace remains an illusion of the displaced person, reflecting an ache for certainty of roots as a point of reference for identity formation, rather than a route, running backwards or forwards, towards a feasible alternative “home.”
published_or_final_version
English
Master
Master of Philosophy

Studies on the scientific background of Health Psychology are discussed, including the conceptual definition, as well as the bio-psycho-social model that characterizes it. The relation between health and behavior is described in order to have a better understanding of health and illness, as well as about the pathogenic and immunology issues related to behavior. The main contributions of Health Psychology to improve life quality and health are described. Moreover, medical psychology, psychosocial coping of illness, as well as intervention strategies, are discussed. Health Psychology becomes a good alternative for the understanding of health and illness mechanisms, as well as for the prevention process and illness treatment related to psychological components.
Se abordan los antecedentes de la Psicología de la Salud, incluyendo su definición conceptual, así como el modelo biopsicosocial que la caracteriza. Se detalla la relación existente entre comportamiento y salud para tener una mejor comprensión de la salud y la enfermedad, así como de los patógenos e inmunógenos comportamentales. Se describen las principales contribuciones de la Psicología de la Salud para la promoción de salud y calidad de vida, psicología hospitalaria, afrontamiento psicosocial de la enfermedad y estrategias de intervención. La Psicología de la Salud constituye una excelente alternativa para comprender los mecanismos de salud y enfermedad, así como para la prevención y el manejo de la enfermedad, en lo que se refiere a sus componentes psicológicos.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Professor Josephine Stealey. Includes bibliographical references.

Art therapy research studies neglect the description of practice. A literature review revealed that art therapists narrowly rely on self-reported case studies to build theory, but that approach tends to result in a description of the therapist's intention rather than the actions they undertook. Comparable forms of psychological therapy have constructed descriptions of practice from observational research but this method has been relatively underused by art therapists. The present study used observation to build a description of practice of how art therapists interacted with service users and their artworks in a mentalization-based art therapy group for people diagnosed with borderline personality disorder. Three fifteen minute video edited sequences of in vivo art therapy sessions were viewed by focus groups who described what they observed. Because the study assumed a social constructionist epistemology, focus groups were chosen to represent a range of service users, psychological therapists, art therapists and the treating art therapists' perspectives. A modified grounded theory approach was used to analyse transcripts from those focus groups which resulted in two core conceptual categories. The first proposed that when art therapists demonstrated their engaged attention, it supported a more reliable therapeutic interaction. The second, conversely, proposed that when the art therapists gave the appearance of passivity, it exacerbated dismissive interactions between group members and with artworks. This added new theoretical concepts to art therapy group literature. However, that theory was not tested in the present study.

People who have been displaced to Jordan by the ongoing conflict in Syria may face multiple challenges including exposure to conflict, forced migration, as well as ongoing daily stressors such as lack of access to basic rights and resources. This thesis explores the ways in which the discipline of clinical psychology may be prepared to assist members of the Syrian refugee community to respond to these challenges. Following initial examination of academic literature regarding cross-cultural validity of psychological constructs, a theoretical model was generated from qualitative synthesis of psychosocial needs reported by Syrians in Jordan, obtained through systematic search of grey literature. Three field work trips to Jordan were undertaken between 2013-2016 in which the author conducted interviews with Syrian and Jordanian psychosocial workers who were key informants regarding factors affecting uptake and implementation of psychosocial services for Syrian refugees in Jordan. Grounded theory analysis generated a model describing how the crisis has led to changes in attitudes to mental health care within the community. The Community Readiness Model was used to understand community level stage of change to guide implementation of a participatory action program to train local psychosocial workers in clinical psychology skills. Finally, an ecological framework was employed to build a theoretical model to guide future research and practice with displaced communities. Throughout, the analysis was shaped by the emergence of key concepts used by participants to describe reactions to the crisis of conflict and displacement including Karama (dignity) and Sadme (shock). The foregrounding of these concepts is integrated into an ecological framework which may help to broaden the scope of clinical psychology formulation to include more of issues of central importance to members of the Syrian refugee community in Jordan.

This thesis develops a notion of an archaeology of the voice that is situated between three principal areas of research and practice: oral history, locative media, and sound art. The research takes place in the context of contested urban space in Holbeck, Leeds one of the most deprived neighbourhoods in the U.K. Through a reiterative and reflexive process of extensive interviewing, soundwalking and field recording the area is deep mapped and material gathered in order to produce a percipient led sitespecific presentation of oral history I term 'phonoscape'. Although the technology exists to connect oral history to place via locative media within a database aesthetic, a practical and conceptual gap is identified between these technologies for those working with audio interview material. In this context a purpose-built app is developed to enable oral history audio archives to be distributed geospatially, becoming navigable aurally on foot. In order to distribute a polyvocal sampling of an archive in time-space, techniques and principles from contemporary sound art are introduced, in particular a form of field composition involving an understanding of constitutive silence, soundscape, and voice editing techniques. Research into contemporary audio walk and memoryscape practice confirms that non-linear, fragmented narrative forms are used the construction of polyvocal understandings of place, and this is taken forward within a conception of the embodied hypertextual affordance of locative technology. The findings are then brought together in a transdisciplinary manoeuvre that introduces Displacement Activities, a translocational form of site-specific participatory performance art, providing a public vehicle that draws attention to phonoscape, its oral history content, and the archive itself. As an open work that is generative and reflexive, Displacement Activities extend the notion of site-specificity, finding global analogues before returning to the original site to begin the work again.

Background: Posttraumatic-stress disorder (PTSD) is common in military veterans. Research has shown reduced effectiveness of commonly offered treatments in those with military backgrounds. Some research has suggested the usefulness of art therapy for veterans with PTSD. The project aimed to establish firstly participants’ perceptions of any impact of group art therapy for veterans and secondly some of the perceived mechanisms of change. Methodology: Semi-structured interviews were conducted with nine veterans who had received group art therapy, two art therapists, and a veteran’s wife. Interviews were analysed using grounded theory. Results: Theorised categories pertaining to active ingredients of art therapy and its impact included (a) the art therapy group, (b) the art therapist, (c) trust, (d) doing the work, (e) a communication tool, (f) points of recognition, (g) making things concrete, and (h) not a cure. Discussion: The developed grounded theory is linked with existing literature. Limitations of the study design and analysis are discussed. Clinical recommendation include a call for greater co-operation between mainstream and art therapists. Due to the fairly homogenous sample it is suggested to replicate the project at different sites. Elements of the model may be investigated further to establish its validity.

Art is one of life’s great joys, whether beautiful, ugly, sublime or shocking. Whilst neuroimaging studies using visual art as stimuli have yielded a wealth of information regarding aesthetic appreciation and beauty, few have considered a wider range of emotions or the effect of expertise and context. In order to address this three studies were conducted. The first studied the time course of visual, cognitive and emotional processes in response to visual art by investigating the event-related potentials (ERPs) elicited whilst viewing and rating the visceral affect of art, in artists and non-artists. The second, behavioural, study questioned the ecological validity of using reproductions of art. Contextual differences in arousal, aesthetic response, viewing time and memory, were explored. The final study aimed to extend the findings of the first two. Continuous EEG was recorded to explore effects of expertise and context on phase synchrony bands during the contemplation of art in a gallery. Behavioural measures and structured interviews were employed to examine the impact of contemplating art on subjective feelings, mood and memory. A number of negative environmental factors adversely affected collection and validity of the continuous EEG data, which was not considered further. There were three prominent findings. First, looking at art is interesting and rewarding, particularly for experts. It is not dependent on aesthetic preference, although expertise is important regarding the appreciation of abstract art. Second, the response to art is not isolated from the context in which it is experienced, whether the physical context of a gallery vs. laboratory, or original vs. reproduction. Finally, both the prospect of looking at art and contemplation of art, whether original or reproduced, increases calmness and contentedness and decreases alertness, irrespective of expertise. Interest and curiosity are the dominant factors eliciting positive mood and positive emotions. Looking at art is relaxing and is good for you.

Thesis (MMus (Music))--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: In a world of increased mobility, a growing number of people find themselves in places other than those that they originate from. While a strong case has been made in various disciplines for the experiences of alienation and disruption emanating from the politically tinctured notion of exile, this thesis argues that these experiences affect all émigrés alike, be it the consequence of forced or voluntary migration. It is this study’s aim to nuance the understanding of displacement and explore the ways in which the exile discourse informs a general, less extreme discourse of voluntary displacement with specific reference to the composer John Joubert and his opera Silas Marner. In the first chapter, displacement is theorized as a doubleness or ambivalence that is important in understanding creative work done by those who have been displaced and that is informed, in the South African composer’s case, by the relationship between the centre of ‘the’ art music tradition in Europe and Britain and its ‘peripheral’ practice in South Africa. The second chapter argues the ways that notions of nationality still inform thinking about composers and their aesthetic in a time that nationality is no longer a monolithic, stable denominator. This is done with specific reference to the composer John Joubert. In the third and fourth chapters, the focus narrows to Joubert’s opera Silas Marner (op. 31), and explores displacement as a theoretical paradigm for reading and studying of the opera. The third chapter discusses the choice of subject matter of the opera and the significance of Eliot’s novel as basis for an operatic text. Finally, the fourth chapter provides a brief analysis of the opera, its conception and reception history as well as a critical discussion of the ways in which notions of displacement is present in this work.
AFRIKAANSE OPSOMMING: In ‘n wêreld wat meer toeganklik as ooit tevore is, bevind mense toenemend hulself in plekke elders as waar hulle vandaan kom. Terwyl die konsep van ballingskap, met sy politiese konnotasies, al deur verskeie dissiplines bestudeer en geteoretiseer is, argumenteer hierdie tesis dat die gevoel van vervreemding en ontwrigting wat daaruit spruit deur alle emigrante beleef word, synde die gevolg van willekeurige of onwillekeurige emigrasie. Hierdie studie stel homself ten doel om die begrip van ontheemding te nuanseer en die verskeie maniere waarop die ballingskapdiskoers tersaaklik is vir ontheemding, te belig. Dit sal gedoen word met spesifieke verwysing na die komponis John Joubert en sy opera, Silas Marner (op. 31). In die eerste hoofstuk word ontheemding geteoretiseer as ‘n dubbelsinnigheid wat belangrik is in die verstaan van die ontheemde se kreatiewe werk. Die verhouding tussen die sentrum van ‘die’ kunsmusiektradisie in Europa en Brittanje en die ‘periferale’ beoefening daarvan in Suid- Afrika word as bydraend tot hierdie dubbelsinnigheid gesien. Die tweede hoofstuk argumenteer dat nasionaliteit nie meer ‘n eenduidige, stabiele aspek in die beskouing van musiek en musiekestetika verskaf nie en bedink die maniere waarop nasionaliteit steeds betrekking op musiekstudie kan hê. Dit word met spesifieke verwysing na John Joubert gedoen. In die derde en vierde hoofstukke vernou die fokus na Joubert se opera Silas Marner en word die wyses waarop ontheemding tot ‘n lesing van die opera kan bydra verken. Die derde hoofstuk behandel die keuse van onderwerp vir die opera en die belang van Eliot se roman as operateks. Die vierde hoofstuk bespreek die ontstaans- en resepsiegeskiedenis van die opera, analiseer die opera kortliks en verskaf ‘n kritiese bespreking van die wyses waarop nosies van ontheemding in die opera teenwoordig is.

Work which takes from elsewhere forms an important thread in European art music. There is a long tradition of music which variously borrows, thieves, pastiches, plagiarises, ironically ‘retakes’, hoaxes, impersonates and appropriates. The music I have written for Off the edge, while seeking to honour and add to this thread, also attempts to zoom in upon and make explicit the idea of an ultimate and irreversible composerly self-annihilation, a kind of one-way exit-gate from the world of authored musical works itself made of pieces of music, which so much of this tradition, I feel, points towards. (Of my nine pieces, it is perhaps Time to go—only, with its ‘à la suicide note’ texts and its music that seems to slide in from far beyond the frame that is ‘composer Luke Stoneham’, which manages to get closest to this.) I have chosen the title Off the edge, because all of my music tries to capture a sense of nocturnal peripheral vision: be content with catching glimpses of the composer Luke Stoneham, because as soon as you turn to look at him face-on, he disappears.

This thesis is about renovations and municipal housing companies, and more generally, it concerns housing inequality and urban restructuring. The Swedish housing market is strongly characterized by housing inequality, and, in addition, large parts of the affordable rental stock are facing need for renovations. Renovations which risk making the rental stock less accessible and, in addition, reinforce inequality and displacement. Half of all the properties facing renovation in Sweden are owned by municipal housing companies, allmännyttan, which are obliged to provide good and accessible housing for everyone and the common benefit. However, since 2011, the municipal housing companies are at the same time to operate under preconditions that require profit. In the light of this potential conflict of interest, the overarching purpose has been to provide an empirical exploration and problematization of how renovations are managed and motivated within allmännyttan and what potential implications this has on supplying good housing for all. Through the case of the municipal housing company Bostads AB Poseidon and the district Frölunda Torg in Gothenburg, renovations have been explored within a municipal setting and larger urban restructuring process. The material that formed the empirical data was qualitative and comprised three parts: policy, communication with tenants, and interviews with employees at Bostads AB Poseidon. Central concepts in exploring the renovations have been displacement pressure, urban restructuring, and hegemonic gaze. The thesis has identified several aspects concerning renovations and the altered role of allmännyttan which raises questions whether the renovations can be understood as for the common benefit.

This research is a qualitative study that investigated the experience of art-making in substance abuse recovery from the perspective of existential art therapy. The purpose of this study was to explore and develop a theory about how art therapy may impact individuals in recovery from substance abuse. Six participants who utilized art as part of their recovery were interviewed, and their responses to a questionnaire concerning their use of art making as part of their recovery from substance abuse were recorded. This research used Greening's Four Existential Challenges: Three Responses to Each (1992) as the basis from which to examine the participants' subjective experience of developing creative responses to existential challenges from their use of art in their recovery.

This study employed grounded theory to analyze the data that were collected. The participant responses were coded and six major themes emerged pertaining to the ways in which art aids in long-term recovery: life changes, changes in relationships, being alive, personal freedom, meaning and contribution to their world, and connection vs. isolation. The theme of life changes was broken down into five subthemes: physical, emotional, cognitive and spiritual, and changes in the way life is lived. The theme of being alive was broken down into four subthemes: changes in feelings, senses, intuition, and attitude toward living.

The participants' responses to the research questions suggest that they successfully used art as a means by which to transcend creatively the existential challenges that they faced in recovery. The participants also indicated that their making art in recovery led them to embrace creative responses to the challenges of sustaining their recovery. Based upon the data, the emergent theory identifies several ways that art aids in the long-term recovery process. The theory begins to offer an explanation of the ways in which one's making art can support sustained recovery from substance abuse and facilitate significant changes in the way life is lived, including one's relationships, personal freedom, and meaning.

In recent years, the American public has become increasingly fascinated by criminal profiling. Despite the popularity of criminal profiling, however, evidence of its accuracy and utility in serving the various phases of the criminal justice process has not been scientifically demonstrated. Historically portrayed as an art, profiling has increasingly been represented as a science by profiling practitioners, even in the absence of a body of scientific literature to support such a representation. The purpose of this book is twofold: First, the state of criminal profiling today will be critically examined. This examination will include a discussion of the scientific and practical limits of existing approaches and the scientific and practice implications of these limitations for the field of profiling. Next, given the limits of the extant profiling models, this book will discuss the steps necessary for building a science of profiling. It is hoped that collectively these chapters will enable profiling to emerge as a credible and respected field that ultimately will significantly advance law enforcement investigations.

This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.

Introduction Living with HIV has been described as a process of constant adjustment and re-adjustment as the person attempts to create both a good quantity and quality of life (Pierret, 2000). Most of the literature from the counselling psychology community has focused on the efficacy of cognitive behavioural therapy for this client group however; some of the theory behind this model has been questioned in relation to the needs of the HIV positive community. The current study explored the process between three HIV positive clients and twelve sessions of pluralistic therapy. Method Twelve pluralistic therapy sessions with three HIV positive clients were audio recorded. The participants were recruited from the waiting list of a specialist HIV mental health service in London. Grounded theory strategies were used to analyse the transcriptions of the therapy sessions. Feedback sessions were also conducted with each of the clients in order to gain insight into their experience. The client work and analysis is presented in three pragmatic case studies. Results Goals: These HIV positive clients had specific ‘relational goals’ for therapy. More specifically, the goal was to have the experience of being the ‘expert’ in the room. Tasks: A common theme was ‘self care’ and increasing quality of life. Methods: The therapeutic relationship was found to be a method within the pluralistic framework. A common element for all three clients was the absolute importance placed on ‘creating a shared understanding’ between the client and the therapist.

Thesis (MA)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: While every Botswana national can claim to be a citizen legally within the framework of the modern nation-state, some (minority groups in the main) are perceived by others (among the majority Tswana groups especially), as less authentic nationals or citizens. There is a hierarchy of citizenship fostered by political, economic, social and cultural inequalities, such that it makes some individuals and groups much more able to claim and articulate their rights than others. Ethnic identities seem stronger than ‘national identities’ as they work at the very macro level and on an immediate and daily basis. Thus the multicultural and linguistic diversity of Taung compels us to view every group as heterogeneously unique and important in its own ways, since students become marginalised as a result of individual circumstances, by being members of historically oppressed social groups. The main aim of this study was to explore visual art as a learning platform to negotiate social and cultural meanings and inform understandings of self. A qualitative approach towards the study was considered the most suitable way for conducting the research. An interpretive analysis was used to gain insight into how students made sense of their experiences and the significance of art as a platform to negotiate stigmas and stereotypes in class and school. Using the case study drawn from Taung Junior Secondary School comprising of twelve students from different ethnic groups, two major themes of difference and discrimination were identified. The sub-theme discussed under difference includes sub themes race, ethnicity and nationality, and language; while stereotyping and stigma, feelings of discomfort and feeling outcast, and Othering and marginalisation were discussed under the theme discrimination. My study revealed that art can be an especially effective catalyst for developing a critical awareness of issues of race, immigration, difference, and privilege. Art practices can become a platform for the negotiation and construction of meaning and lobby for removing the historic inequalities and injustices created by a stratified society. For this reason, it is important to understand culture and cultural diversity because culture provides beliefs, values, and the patterns that give meaning and structure to life. It enables individuals within the multiple social groups of which they are a part to function effectively in their social and cultural environments, which are constantly changing. Groups try to maintain social hierarchies and individuals maintain their position within such hierarchies by excluding others, to deny difference and try and enforce homogeneity and reproduce current social relations. As such if forces such as, differences in race, culture, gender, language, and religion are well understood, the students will engage in the process of identifying ways to manage them to shape their own educational practices.
AFRIKAANSE OPSOMMING: Terwyl elke Botswana burger wetlik aanspraak kan maak op burgerskap binne die raamwerk van die moderne volkstaat, word sommige (hoofsaaklik minderheidsgroepe) deur ander (veral Tswana groepe) as minder egte burgers beskou. Daar bestaan ‘n hierargie van burgerskap wat deur politieke, ekonomiese, sosiale en kulturele ongelykhede bevorder word; tot die mate dat sommige individue en groepe meer geredelik hulle regte kan verwoord as ander. Etniese identiteite blyk sterker te wees as ‘nasionale identiteite’ omdat dat dit op makrovlak funksioneer sowel as op ‘n onmiddellike en daaglikse basis. Gevolglik dring die multikulturele en linguistiese diversiteit van Taung ons om elke groep as heterogeen uniek en belangrik op sy eie manier te beskou, aangesien studente gemarginaliseerd raak weens individuele omstandighede, deurdat hulle lede van geskiedkundigonderdrukte sosiale groepe is. Die hoofdoel van hierdie studie was om ondersoek in te stel na die visuele kunste as ‘n leerplatform om oor sosiale en kulturele betekenisse te onderhandel en selfbeskouings toe te lig. Daar is besluit dat ‘n kwalitatiewe benadering tot die studie die mees geskikte manier is om die navorsing uit te voer. ‘n Verklarende analise is gevolg om insig te verkry ten opsigte van hoe studente sin maak uit hulle ervarings en die betekenisvolheid van kuns as ‘n platform om oor stigmas en stereotipes in die klas en skool te onderhandel. Deur van Taung Junior Sekondêre Skool, met twaalf studente van verskillende etniese groepe, as gevallestudie gebruik te maak, is twee hooftemas, nl verskil en diskriminasie, geidentifiseer. Die subtemas wat onder verskil bespreek word, sluit ras, etnisiteit en burgerskap en taal in; terwyl stereotipering en stigma, gevoelens van ongemak en verwerping en ‘Othering’ en marginalisering onder die tema diskriminasie bespreek word. My studie het getoon dat kuns ‘n besonder effektiewe katalisator is vir die ontwikkeling van ‘n kritiese bewustheid ten opsigte van kwessies soos ras, immigrasie, verskil en voorreg. Kunspraktyke kan ‘n platform word vir die onderhandeling en konstruksie van betekenis en selfs druk uitoefen ten opsigte van die opheffing van historiese ongelykhede en ongeregtighede wat deur ‘n gestratifiseerde samelewing geskep is. Dit is vir hierdie rede belangrik om kultuur en kulturele diversiteit te verstaan omdat kultuur die oortuigings, waardes en die patrone voorsien wat betekenis en struktuur aan die lewe gee. Dit gee vir individue binne die verskeie sosiale groepe waarvan hulle deel vorm, die vermoë om effektief in hul sosiale en kulturele omgewings, wat deurlopend verander, te funksioneer. Groepe poog om sosiale hierargië te handhaaf en individue handhaaf op hulle beurt hul posisie binne hierdie hierargië deur ander uit te sluit, verskille te ontken en homogeniteit af te dwing en huidige sosiale verhoudings te herproduseer. Indien daar ‘n goeie begrip is van magte, soos verskille in ras, kultuur, geslag, taal en godsdiens, sal studente betrokke raak by die proses om maniere te identifiseer om dit te bestuur en sodoende hule eie opvoedkundige praktyke te vorm.

Cities in Dust is a collection of 15 short stories and the first two chapters of Biggest Little City, a novel-in-progress. This collection looks at queerness, gender, sex work, addiction, illness, and the effects of displacement--leaving homes, cities, relationships, and theoretical safety before we are ready. Cities in Dust works to tell stories from the space between places and the moment between moments. Transition is a city of its own.

Fur, Pixels, Loved Ones and Other Transients is a paper discussing my practice from 2000 to 2003. It is a personal and theoretical exploration of common concepts and theories in reference to my works Fluff Snuffs (2000), Relentless (2001), Trigger Displacement (2002), Bathing in a Warm Glow of Nothing (2003) and Memory Play Back (2003). The effects of Tele-visual and computer mediated images of death and violence within these works are investigated, which lead to an exploration of fear and trauma. This mechanism of mediation is used within the works as a means of exploring the subtleties within the screen-based image that may go unnoticed or seem disconcerting. The role of the soft toy is an important element in these works and this is further explored by referencing the use of the soft toy in works of several other contemporary artists. These works are discussed to further explore the complexity of ideas on death, violence, trauma, memory and fear
Master of Arts (Hons) (Contemporary Arts)

2-Shapes (Stuebe, 2017), an art-based antecedent intervention, was introduced as an intervention to regulate disruptive behaviors in this study. The researcher was interested in discovering whether this art-based antecedent activity could help manage self-regulation in a K3 student during group time. The goal of this art-based antecedent study was to provide a meaningful intervention to a child that supports self-regulation, improves self-awareness, and supports intrapersonal and interpersonal thought processes to manage changing conditions. The results of the study revealed the importance of completing a thorough Functional Behavioral Assessment followed by a Functional Analysis to understand the function of a class of disruptive behaviors exhibited by a K3 child. The interview process prior to any assessments may answer many of the questions researchers have about the function of target behaviors and should be completed thoroughly with a great deal of thought and detail. This study demonstrated the need for addressing these steps in determining an appropriate intervention. Results from a Functional Analysis performed after the data collection process determined that the function of the disruptive behavior was attention and that this intervention, if proven effective, would have been addressing the function of attention and therefore would have been an effective treatment for the identified child.

Thesis (M.A.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Paul J. Silvia; submitted to the Dept. of Psychology. Includes bibliographical references (p. 50-53).

This paper illustrates the impact of an 8-week art therapy regimen on the perceived self-efficacy of participants seeking dual diagnosis treatment for the Substance Use Disorders (SUDs). It was hypothesized that pre- and post-test results of the General Self-Efficacy Scale (GSE), the State-Trait Anxiety Inventory for Adults (STAIAD), and the Quick Inventory of Depressive Symptomology Self-Report (QIDS-SR) would reflect an increase in perceived self efficacy, and decreases in anxiety and depressive symptoms. The STAIAD and QIDS-SR were included in the study as indicators of well-being. The regimen was designed by the student researcher and focused on identity exploration through the lens of Humanistic theory. The regimen is outlined week-by-week, illustrative case studies and group responses are described, and empirical assessment of the regimen?s efficacy is provided. Discussion focuses on the significance of results obtained and the need for further research. Paired samples testing showed an increase in perceived self-efficacy and decreases in anxious and depressed symptoms, as predicted. Small population size meant that these results were not statistically significant. However, qualitative results indicate that participants found the 8-week regimen helpful. Participants vocalized a belief that art-making provided emotional release through externalization, a tool for self-expression, and a source of pride in Self. Jungian concepts presented also resonated with participants, with some sharing with the group regarding ways in which these concepts related to themselves and provided groundwork and structure for understanding the Self.

This exploratory single case study assessed the effectiveness of a new body-based art psychotherapy intervention to address trauma and, thereby, promote constructive change in an individual who perpetrated inter-partner violence (IPV). The participant was a single Spanish-speaking 42-year-old heterosexual Mexican immigrant male with a history of psychological trauma. The therapy was conducted over the course of 2 years within an existential framework and addressed the following themes: relationships, childhood trauma and abuse, masculine ideology and IPV, and anger and related feelings. Furthermore, the intervention, which included a breathing practice grounded in Jin Shin Jyutsu (energy work), was implemented for the purpose of fostering the embodiment/internalization of material examined in therapy. Because breathing helps modulate affect, the breathing practice increased the client’s capacity to work through his childhood trauma and enabled him to somatically access feelings, memories, and unconscious material. It also contributed to the client’s development of insight and awareness concerning emotions and deepened his spirituality. Equally important, the intervention included an art therapy process that encouraged the client to externalize difficult feelings that he might otherwise not have been able to articulate. The Formal Elements of Art Therapy Scale (FEATS) detected the client’s depression in his artwork at a critical point in the therapy. Over time, the participant’s artwork showed changes not only in the themes depicted, but in the clarity and fluidity of the images he created. The results of this study suggest that this intervention might be a viable treatment for addressing trauma in men who perpetrate IPV. Furthermore, because this intervention increases self-awareness, self-understanding, and the motivation to change, it could be explored as a treatment for other mental health conditions, including with other populations and in group settings.

A quazi-experimental, one-group, pretest/posttest study was conducted with a group of 25 hospice workers employed by a medium sized county hospice organization in the southeastern United States that was experiencing rapid personnel turn-over. Participants in the study included a doctor, a physician’s assistant, a nurse practitioner, a massage therapist, a grief counselor, a licensed practical nurse, a certified nursing assistant, two clergy, three administrative staff, three social workers, seven volunteers, eight registered nurses and one other. The purpose was to investigate whether attending four 1-hour art therapy sessions could help reduce stress and thereby Burnout. Stamm’s (2010) Professional Quality of Life theory was utilized to frame the study and Stamm’s ProQOL-5 was used as both pretest and posttest. The ProQOL-5 tested three elements of Stamm’s theory which cannot be combined: Compassion Satisfaction, Burnout and Secondary Traumatic Stress, and a paired sample t-test were applied to each element. No statistical differences were found between pretest and posttest scores on the ProQOL-5 in the areas of Compassion Satisfaction and Secondary Traumatic Stress. Interestingly, posttest scores on the ProQOL-5 went up instead of down significantly, after participants received four 1-hour sessions of art therapy. No quantitative evidence was found to support the use of art therapy to reduce Burnout and increase Compassion Satisfaction and Secondary Traumatic Stress. There were some minor qualitative data to indicate art therapy was helpful in reducing stress at least temporarily. More investigation needs to be done in order to develop evidence-based interventions to relieve stress and reduce Burnout in hospice/palliative care workers as the field is growing rapidly.

This thesis comprises two research papers. The first is a systematic review which examines the effectiveness of Art Therapy (AT) for people with psychosis, and whether it is a suitable and meaningful intervention to them. A systematic search of the literature resulted in 16 articles which were critically reviewed. There was inconclusive evidence for the efficacy of AT due to the limited and poor quality research. However, AT was considered beneficial and meaningful by people with psychosis and art therapists. The use of AT for this population cannot be discounted though better quality research is needed to guide clinical practice. The second component is an empirical paper that explores the meaning of adaptation to First Episode of Psychosis (FEP), through creating images. Ten participants engaged in an interview where they created an image of their experience. The data were analysed through Interpretative Phenomenological Analysis and image analysis. Adaptation to FEP entailed challenges and growth as participants’ came to terms with FEP, reformed their life and re-evaluated their identity and place in the world. This research adds to the recovery and growth literature and highlights the benefits of visual research methods. Drawings produced powerful data which facilitated understanding of the phenomenon.

A presente pesquisa problematiza a noção de paisagem na arte contemporânea a partir da fotografia. Para tanto, analisa trabalhos fotográficos de três artistas: Efêmera Paisagem, do paraense Alberto Bitar, West Solent Coastline Rhythm, do inglês radicado no Brasil Nick Rands, e A Road Divided, do americano Todd Hido. Nas obras em questão, o deslocamento é interpretado como parte fundamental do processo criativo e modo particular de vivenciar a paisagem, contribuindo para a elaboração de uma noção de paisagem como “passagem”, a partir de Nelson Brissac e Walter Benjamin.
The present research problematizes the notion of contemporary landscape in photography. It does so by analyzing three photographic works by three artists: Efêmera Paisagem, by the Brazilian Alberto Bitar, West Solent Coastline Rhythm, by the Englishman Nick Rands, and A Road Divided, by the American Todd Hido. In these works, moving about is treated as a fundamental part of the creative process and as a particular mode of experiencing landscape, contributing to the formulation of a notion of landscape as “passage”, as from Nelson Brissac and Walter Benjamin.

Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-1110103-132434. Includes bibliographical references. Also available via Internet at the UMI web site.

This study aimed to investigate the use of expressive art as a manifestation of the unconscious psyche and as an indication of underlying personality dynamics. Its use as a significant medium for therapeutic encounter and exploration was investigated by analysing the art produced by four psychiatric in-patients during their participation in an eight-week art therapy programme. Each patient's art series was qualitatively and thematically interpreted with a focus upon the meaning of significant recurring images and motifs. The results of this study indicate that the particularity of each patient's graphic imagery enabled the lived experience of their struggles and preoccupations to emerge as uniquely different. Through their art productions they revealed the nature of their inner worlds and the power of their thoughts, feelings and experiences.

This dissertation explores the implications of borders and boundaries for how forcibly displaced young Georgians from Abkhazia understand issues of belonging and return. My theoretical framework draws from theories on home and belonging as well as theories on border and boundary making, and locates them in geographies of uncertainty – or riskscapes – areas characterized by conflict and/or inequality. Empirical data was collected through two sets of interviews in Zugdidi near the border to Abkhazia and a questionnaire survey in Zugdidi and the capital Tbilisi. These data have been analysed through both qualitative and quantitative methods.   The young respondents providing material for this research do not constitute a homogenous group. Some of the respondents have family still living in Abkhazia or even partly grew up in the area; others have never been there. The primary goal of the Georgian government has been that the displaced population should return to their homes, and the government’s efforts for local integration has long been insufficient. Since no peace accords have been signed, a lack of security prevents a large-scale return. Notwithstanding increased border controls that have made it difficult to visit former homes, some young people still cross the de facto border. By doing this they contest both the Abkhazian de facto authorities and the border as a symbol of separation and differentiation, while claiming a right to belong in Abkhazia. Property and social relations in Abkhazia contribute to stronger connections and an imperative to return. On the other hand, experience of hardship in contemporary Abkhazia has resulted in some young people not considering return as a viable option. Youth who never visited Abkhazia depend mainly on other peoples’ memories and political discourse to create emotional bonds to the area their parents fled and to form their ideas of return. Results from the quantitative survey indicate that youth living in Tbilisi, closer to the political centre, to a higher extent intend to return than their peers in Zugdidi. Meanwhile young people’s experiences of everyday life in current dwellings in relative stability create emotional bonds to their present place of living. These experiences challenge both collective processes and experiences from Abkhazia when it comes to maintaining the desire to return.   This research offers insights into the human consequences of war and conflict. More specifically, this dissertation sheds light on how young internally displaced persons (IDPs) are living in a borderland (in both temporal and spatial terms) characterized by uncertainty-- between the past and the future as well as between Georgia and Abkhazia. Practices of exclusion and segregation are constitutive of the borders and boundaries that permeate life experiences of the forcibly displaced youth. Furthermore, these borders and boundaries are situated in riskscapes of disputed belongings, which makes this borderland more or less stable for different groups of IDPs. This dissertation contributes to an increased understanding of how political aspirations and personal desire to return preserves instability and uncertainty as long as return is not possible.
Denna avhandling undersöker konsekvenserna av gränser och gränsskapande för hur unga georgiska internflyktingar från Abkhazien förstår frågor om tillhörighet och återvändande. Jag utgår från teorier om hem och tillhörighet, liksom teorier om gränser och gränsskapande, och lokaliserar dem till geografier av osäkerhet – “riskscapes” – områden som karaktäriseras av konflikter och/eller ojämlikheter. Det datamaterial som ligger till grund för avhandlingen utgörs av två intervjustudier i Zugdidi nära gränsen till Abkhazien; och en enkätstudie som genomfördes i Zugdidi och i den georgiska huvudstaden Tbilisi. Materialet har analyserats genom användande av både kvalitativa och kvantitativa metoder.   Avhandlingens respondenter utgör inte en homogen grupp. Några respondenter har familj och släktingar som bor i Abkhazien eller har delvis växt upp i området, medan andra aldrig ens varit där. Det primära målet för den georgiska regeringen har varit att internflyktingarna ska återvända till sina hem, och regeringens ansträngningar för integration i lokalsamhället har länge varit otillräckliga. Det saknas fredsavtal och bristen på säkerhet förhindrar återvändande i stor skala. Trots de ökade gränskontroller som gjort det svårt att korsa de facto gränslinjen tar sig en del ungdomar ändå over gränsen. Genom att göra detta bestrider de både de abkhaziska de facto myndigheterna och gränsen som symbol för separation och åtskillnad, medan de hävdar sin rätt att känna tillhörighet till Abkhazien. Att ha ett hus och sociala relationer i Abkhazien bidrar till emotionella band och en starkare uppmaning till att återvända. Å andra sidan kan erfarenheterna av vardagens umbäranden inne i Abkhazien resultera i att unga människor inte ser återvändande som ett tänkbart alternativ. Ungdomar som aldrig varit i Abkhazien är beroende av andra människors minnen och politiska diskurser för att skapa känslomässiga band och tankar om återvändande till det område deras föräldrar har flytt från. Resultat från den kvantitativa undersökningen visar vidare att ungdomar som bor i Tbilisi, närmare Georgiens politiska centrum, i högre grad anger att de har för avsikt att återvända än deras jämnåriga i Tbilisi. Ungdomars erfarenheter av vardagslivet i sina nuvarande bostäder i relativ stabilitet bidrar emellertid till att skapa känslomässiga band till den aktuella bostadsorten. Dessa erfarenheter utmanar på så vis både de kollektiva processerna och erfarenheter från Abkhazien när det gäller att upprätthålla drömmen om återvändande.   Avhandlingen bidrar med insikter om konsekvenser av krig och konflikter för människors vardagsliv. Mer specifikt belyser jag hur avhandlingens unga respondenter lever i en sorts rumsligt och temporalt gränsland mellan det förflutna och framtiden och mellan Georgien och Abkhazien, och detta gränsland kännetecknas av osäkerhet. Praktiker av isärhållande och segregering är konstituerande för de gränser som genomsyrar internflyktingungdomarnas erfarenheter. Dessa gränser är dessutom situerade i ”riskscapes” av ifrågasatta tillhörigheter, som gör gränslandet mer eller mindre stabilt för olika grupper av internflyktingar. Avhandlingen bidrar med en ökad förståelse för hur politiska ambitioner och personliga drömmar om återvändande håller kvar människor i instabilitet och osäkerhet så länge återvändandet inte är möjligt.

Vid tidpunkten för disputationen var följande delarbeten opublicerade: delarbete 3 inskickat.

At the time of the doctoral defence the following papers were unpublished: paper 3 submitted.

The purpose of this research was to explore concepts and perceptions in the area of visual resource management via geographic information systems. A scenic assessment of Interstate 17 was conducted, then a digital database was built for a subset of the study area. Theoretical frameworks were explored and expanded. Review of the current literature resulted in a methodologically alternate conceptual model which utilized spatial analysis. After checking for issues of validity and accuracy, data visualization products were developed which aided in understanding the procedures and results. The results showed that given the readily available data an automated scenic assessment was not currently feasible.

Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.
Master of Architecture
Living in the new and unreal world of technology and computers, we realize how much humans are separated from nature, which means the actual connection between our soul, brain, and body to the real and touchable environment and experiencing in-person connections. Since birth, we have a special connection with nature and so we realize that nature gives us feelings of peace and happiness. Staying close to nature makes us feel alive from the inside and it reduces stress, depression and, negative emotions and it improves our mental, physical, and spiritual health condition., Ultimately, it gives us motivation and hope in life. To explore the architectural implications of these ideas, I have designed a Museum of Art in Washington DC, beside the Kenilworth Aquatic Gardens of water lilies. In my project, I propose how to stay in touch with nature as a visitor who is walking through each part of the museum. From each exhibition room to the next, there is a break to a special view of nature and water to take a deep breath of fresh air. This also makes the viewer understand the artwork inside before entering each room. Bringing outside nature to the inside and creating a connection between the viewer, view, and artwork gives the visitors a break from the world of technology and makes them connect to the blue and green world which is integral with human nature. The connection between the site and the building makes the viewers feel at home when they are exploring the exhibition rooms to see the artworks since nature is our first home. This is how my design explains my thesis as you are walking through this heavenly art world.