Artículos de revistas sobre el tema "Jade art objects"

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

In a variety of cultural contexts, primitive ideas invariably corresponded to the socio-cultural background of the era, as a result of which many legends and religious rituals associated with jade were formed. The subjects of the Chinese art of jade carving are the fruit of centuries–old cultural and historical experience. They are an expression of the spirit of national culture in the form. Thus, the subject of this study is the Chinese carved jade from the collection of the Museum of Anthropology and Ethnography Peter the Great (Kunstkamera) of the Russian Academy of Sciences (hereinafter - the Kunstkamera). The subject of the study are objects of Chinese jade carving art, which are in the collection of the Kunstkamera. The main conclusion of this study is that the subjects made in jade carving were associated with mythology and religion, and their artistic expression reflected the jade culture of different historical periods and representations of different social strata. The novelty of the research lies in the fact that the article focuses on determining the age of jade products by analyzing their plots, and also confirms that ancient artists, through geometric shapes and dynamism of the pine tree image as one of the central images of plant plots, enhanced the transmission of spatial perspective in the art of jade carving. This may be of interest to researchers in related scientific fields.

Abstract Objects carved of jade often were placed in Han-dynasty burials of people of high rank. This article focuses on a small, shield-shaped (or “heart-shaped”) pendant frequently found near the deceased. The development of the type is examined through its appearance in tombs dating to the early Western Han through the end of the Eastern Han and extending into the immediate post-Han period. The typology of the pendant and its surface decoration are analyzed. This type of jade pendant resurfaced in the Song dynasty, but its most significant resurgence is during the Ming and early Qing dynasties, although by then its decorative features, as recorded in illustrations in books, appear to be more important than its use in burials. The article also explores the foundational years of collecting Chinese art in the West by individuals such as the sinologist Berthold Laufer, as well as other scholars of Chinese art, as they began to understand the shield-shaped pendant's origin as a Han-dynasty artifact and to explore its significance.

Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products.

Multi-media artist and performer Ursula Brookbank has created the She World Archive to organize and display an array of what she calls inspirational “relics, ephemera and everyday objects from the lives of women.” Brookbank has searched estate sales, alleyways, and secondhand shops for scrapbooks, paintings, sewing notions, and myriad household items used and crafted by women. She repurposes many of the items for her own installations, video art, photographs, and immersive performances that strive to capture “the energy held in personal residue.” The collaborating authors present a visual profile highlighting the She World Archive as a tactile collection of women's things that evoke private histories, accompanied by a short essay that contextual-izes the images from the archive in terms of the recent focus on affect in archival theory. The photographs are also accompanied by captions that highlight Brookbank's present and past projects employing objects from the collection.

The object of the study is a Chinese screen. The subject of the study is the characteristic features of the Chinese screen based on the material of the Hermitage collection. During the consideration of the topic, such issues as the degree of study of the issues under consideration, the connection of the screen with the fields of fine and decorative arts are traced and analyzed. The analysis of seven items from the collection of the State Hermitage Museum is carried out. The analysis of rare samples of the Chinese screen allows us to identify the characteristic features of this subject, the specifics of the development of the Chinese screen in the XVIII – XIX centuries, as well as to discover its relationship with the spheres of decorative, applied and fine arts of China. The author examines in detail the artistic features of the objects, their design characteristics, the use of various materials – porcelain, wood, metal, jade, the content of calligraphic inscriptions appearing on the objects in the context of the aesthetics of the epoch and socio-cultural space. The research involves the systematization of information related to collecting, studying, and describing the screen in Russian museum practice and theory. Traditional methods of art criticism and historiographical analysis are used; a combination of formal and iconological methods allows to create a reliable idea of the works of art under consideration, identify meaningful and formal features; the historical and cultural method allows to clarify the nature of the patterns of screen development. The scientific novelty of the research primarily consists in the fact that for the first time an analysis of the Chinese screen in the collection of the State Hermitage Museum is carried out, a detailed description and a comprehensive art historical analysis of a number of previously unexplored objects are given. The systematization of Russian publications devoted to the problem of the screen is carried out, in particular, offering a description and analysis of certain screens. The study clarifies and expands existing ideas about the Chinese screen, clarifies the attribution of a number of objects in the collections of the State Hermitage Museum. It is concluded that the objects presented in the Hermitage collections are of considerable variety and give an idea of the variety of techniques and materials for creating screens in China in the XVIII – XIX centuries, allow us to see the connection between the art of creating screens with the field of decorative and applied arts and painting. The screen of this period is a work of art with high artistic value. The aesthetics of the screen is connected not only with the current trends in the development of decorative, applied and fine arts, but also with the socio-cultural context.

At present, the urgent task is to preserve and broadcast the cultural values of different peoples. From this point of view, symbols of Chinese benevolent culture can be seen as an important form of cultural communication. Three symbols of good wishes were chosen as the objects of the study: dragon, lotus and phoenix. Despite the prevalence of these images, there are practically no works in the literature that comprehensively, from different points of view, would describe the semantics of each of them. Thus, the goal is to reveal the history of these symbols, their meaning and traditions of use in a benevolent culture. The author identified and systematized the main images and meanings of the three symbols of Chinese culture. Based on the results of the work, the author came to the conclusion that all three symbols have a number of hidden images and meanings that can vary depending on the way they are depicted, and also have opposite meanings when combined with other symbols (for example, a dragon combined with a phoenix). Purpose. The article considers the symbolism of the benevolent culture of the PRC, as one of the connecting threads in the development of Chinese identity. The symbolism is illustrated by examples of some of the most common images used in jade art – the dragon, lotus and phoenix. The author aims to reveal the history of the use of these images, their symbolism and traditions of use in a benevolent culture. Methodology. The research is based on hermeneutic, comparative and axiological methods. Results. The results of the work are that the author identified and systematized the main images and meanings of the three symbols of Chinese culture: the dragon, the phoenix and the lotus. Practical implications. The results of the study can be used in the educational process when teaching courses on the history and culture of China, including history, art history, oriental culture, sinology, etc. The study of the cultural values of China, in particular, the symbolism of auspicious ornaments, allows you to broadcast, preserve and transmit the history and traditions of the art of the Middle Kingdom.

AbstractThis work addresses varying interpretations of the production, circulation, and consumption of jades in the Maya area from the Preclassic through the Postclassic periods (600 b.c.–a.d. 1697). Traditionally, exchange of jades has been seen as a dyadic relationship between elites (gifting and tribute). Some have argued for gradations of value in the circulation of jades, which probably circulated in both elite and commoner spheres. More recent research argues that jade blanks were commoditized because they could be standardized. In this article, we evaluate this last claim, concluding there is no evidence for standardization and commodification of jade blanks, and a dearth of jade blanks in archaeological deposits. We critique the expectation that commodities in some nonindustrial economies should be standardized, and make suggestions about what kinds of jade objects, if any, have greatest potential to become commodities in the Maya area.

The Japan Art Documentation Society (JADS) was founded in April. Inspired by developments both within Japan and abroad, and by the IFLA Section of Art Libraries, JADS has set out to embrace the common interests of library and museum professionals as represented by an integrated concept of “art documentation”. Essentially, the Society represents a collective response to the challenge and potential of the computer - to the benefits it can bring to, and the methodologies it requires of, the organising of art objects, art images, and art information. (The Society’s “prospectus”, from its first Newsletter, is appended).

AbstractMost ancient Maya jade workshops have been discovered in the Motagua Valley, the region where the majority of known Mesoamerican jade sources are located; whereas in the Maya lowlands, evidence of jade production has primarily been in the form of finished objects or, in a few cases, of jade debitage in construction fill and cache contexts. At Cancuen, however, a large jade preform production area was discovered in the heart of a major lowland Maya site. In this paper we present the technological reanalysis of this material and show that the quality and color of the raw material corresponds to very different production processes, values, and distribution within the site. We suggest that most of Cancuen's jade production was exported to recipient sites as preforms and discuss the importance of this organization for understanding the nature of wealth goods production and exchange in the ancient Maya world.

Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in relation to the customary, gendered patterns of looking and being looked at which dominated Victorian society. This strategic interweaving of visual culture with scopic custom allows Bronte to accentuate their interdependence as a socio-cultural dynamic of critical significance, and to illuminate their share in the cultural and social constraints affecting women as producers and objects of representation.

This study aims to see the aesthetic spaces in synthetic cubism by Armen Nazaruddin. When mastering the techniques, tools and materials that are mastered, the next problem that arises is the application of aesthetic values in the form of works of art. Therefore, describing an experience of having a sense and being intellectual in giving birth to his work of art. This is what the author did to conduct an object study of Armen Nazaruddin's painting, which later could be used as a reference and reference in the development of painting in Indonesia, especially in West Sumatra. This painting really considers the principles of making principles in detail and meticulously as well as the stars of the message and meaning in it. Artists experiment with how to make use of objects around them that have no value to become more appropriate in accordance with the Minang Kabau philosophy, namely, "Nature Takambang Becomes a Teacher". Keywords: Aesthetics, Painting, Synthetic Cubism, ExperimentRuang Estetika Dalam Kubisme Sintetik, Analisis Interpretasi Terhadap Lukisan Armen NazaruddinAbstrakPenelitian ini bertujuan untuk melihat ruang-ruang estetis dalam kubisme sintetik karya Armen Nazaruddin. Ketika penguasaan teknik, alat dan bahan sudah dikuasai, persoalan selanjutnya yang muncul adalah terapan nilai estetika dalam wujud karya seni. Oleh karena itu, seniman dituntut memiliki suatu kepekaan rasa dan intelektual dalam melahirkan karya seninya. Hal inilah yang mendasari penulis melakukan objek kajian terhadap karya seni lukis Armen Nazaruddin, yang nantinya bisa dijadikan acuan serta referensi dalam perkembangan seni lukis di Indonesia, khususnya di Sumatera Barat. Lukisan ini sangat mempertimbangkan prinsip-prinsip penyusunan secara detail dan teliti dan juga tersirat pesan dan makna di dalamnya. Seniman senantiasa bereksperimentasi dengan cara memanfaatkan benda-benda yang ada di sekitarnya yang tidak memiliki nilai menjadi lebih bernilai sesuai dengan falsafah minang kabau yakni “alam takambang jadi guru”. Kata kunci : Estetika, Seni Lukis, Kubisme Sintetik, Eksperimentasi

Imaging through the wavy water–air interface is challenging since the random fluctuations of water will cause complex geometric distortion and motion blur in the images, seriously affecting the effective identification of the monitored object. Considering the problems of image recovery accuracy and computational efficiency, an efficient reconstruction scheme that combines lucky-patch search and image registration technologies was proposed in this paper. Firstly, a high-quality reference frame is rebuilt using a lucky-patch search strategy. Then an iterative registration algorithm is employed to remove severe geometric distortions by registering warped frames to the reference frame. During the registration process, we integrate JADE and LBFGS algorithms as an optimization strategy to expedite the control parameter optimization process. Finally, the registered frames are refined using PCA and the lucky-patch search algorithm to remove residual distortions and random noise. Experimental results demonstrate that the proposed method significantly outperforms the state-of-the-art methods in terms of sharpness and contrast.

Object There is an unmet clinical need to develop neuroprotective agents for neurosurgical and endovascular procedures that require transient cerebral artery occlusion. The aim in this study was to explore the effects of a single dose of recombinant human erythropoietin (rhEPO) before middle cerebral artery (MCA) occlusion in a focal cerebral ischemia/reperfusion model. Methods Twenty-eight adult male Wistar rats were subjected to right MCA occlusion via the intraluminal thread technique for 60 minutes under continuous cortical perfusion monitoring by laser Doppler flowmetry. Rats were divided into 2 groups: control and treatment. In the treated group, rhEPO (1000 IU/kg intravenously) was administered 10 minutes before the onset of the MCA ischemia. At 24-hour reperfusion, animals were examined for neurological deficits, blood samples were collected, and animals were killed. The following parameters were evaluated: brain infarct volume, ipsilateral hemispheric edema, neuron-specific enolase plasma levels, parenchyma histological features (H & E staining), Fluoro-Jade–positive neurons, p-Akt and total Akt expression by Western blot analysis, and p-Akt–positive nuclei by immunohistochemical investigation. Results Infarct volume and Fluoro-Jade staining of degenerating neurons in the infarct area did not vary between groups. The severity of neurological deficit (p < 0.001), amount of brain edema (78% reduction in treatment group, p < 0.001), and neuron-specific enolase plasma levels (p < 0.001) were reduced in the treatment group. Perivascular edema was histologically less marked in the treatment group. No variations in the expression or localization of p-Akt were seen. Conclusions Administration of rhEPO before the onset of 60-minute transient MCA ischemia protected the brain from this insult. It is unlikely that rhEPO pretreatment leads to direct neuronal antiapoptotic effects, as supported by the lack of Akt activation, and its benefits are most probably related to an indirect effect on brain edema as a consequence of blood-brain barrier preservation. Although research on EPO derivatives is increasing, rhEPO acts through distinct neuroprotective pathways and its clinical safety profile is well known. Clinically available rhEPO is a potential therapy for prevention of neuronal injury induced by transitory artery occlusion during neurovascular procedures.

Image processing is a powerful tool apt to perform selective data extraction from high-content images. In agricultural studies, image processing has been applied to different scopes, among them the classification of crop shelters has been recently considered especially in areas where there is a lack of public control in the building activity. The application of image processing to crop-shelter feature recognition make it possible to automatically produce thematic maps that constitute a basic knowledge for local authorities to cope with environmental problems and for technicians to be used in their planning activity. This paper reviews the authors’ experience in the definition of methodologies, based on the main image processing methods, for crop-shelter feature extraction from aerial digital images. Some experiences of pixel-based and object-oriented methods are described and discussed. The results show that the methodology based on object-oriented methods improves crop-shelter classification and reduces computational time, compared to pixel-based methodologies.

This paper is about a unique custom that sacrifices the red burnished jar inside the wall of the tomb. In this regard, there was a study from the perspective of construction ritual and gamsil(龕室), which is also in line with this paper's perspective to relate to ideas of the afterlife. The location of the red burnished jar, which sacrificed inside the wall of the tomb, varies. However, it has stronger commonality than differentiation in that it is placed in an independent space, distinguished from other objects such as sword, arrowhead, and jade. The location of the red burnished jar is mainly on the corner side, although there are also short wall or long wall. In this respect, it is presumed that the red burnished jar inside the wall was an object for the soul of the deceased. The period of tombs with these customs is mainly in the second half of Songguk-ri Culture. These cases are distributed only in a limited range in the southern part of the Korean Peninsula, especially in Gyeongnam, in Northeast Asia during the Bronze Age. More specifically, the main distribution area is the line leading to Sancheong-Haman-(Masan)-Geojedo Island in Gyeongnam. In terms of human activities forming tangible and intangible lines, this line can be seen as reflecting the spiritual culture or ideas of the afterlife that was shared only in a specific region at a specific period.

Alam Takambang Jadi Guru merupakan falsafah yang melandasi cara berpikir masyarakat Minangkabau. Falsafah ini juga sebagai norma-norma adat dan turunannya untuk menjalankan kehidupan yang diatur dalam adat Minangkabau. Jejak Alam Takambang Jadi Guru atau "segala sesuatu yang ada di ‘alam’ dapat dijadikan guru" terlihat jelas dari penggunaan kata-kata yang berasal dari “alam” (sifat, tumbuhan, hewan, benda, tempat dan kegiatan maupun peristiwa atau kejadian) sebagai bagian dari norma adat yang mengatur setiap tindakan masyarakat Minangkabau baik individu maupun kelompok. Penggunaan kata maupun tutur yang merujuk kepada “alam” dalam setiap falsafah dan norma adat mengacu pada makna kiasan, sehingga falsafah dan norma adat tersebut mampu untuk memunculkan arti serta maknanya. Filosofi Alam Takambang Jadi Guru juga berdampak pada kesenian khususnya musik tradisional Minangkabau. Hal ini terlihat dalam syair dendang dan penamaan repertoar-repertoar musik tradisional Minangkabau. Penelitian ini bertujuan untuk melihat sejauh mana falsafah Alam Takambang Jadi Guru digunakan dan bagaimana munculnya dalam kesenian ksususnya musik tradisional Minangkabau sebagai representatif dari falsafah itu sendiri. Metode yang digunakan pada penelitian ini adalah kualitatif deskriptif dengan pendekatan fenomenologi. Pengumpulan data dilakukan dengan teknik wawancara, observasi serta studi literatur. Hasilnya adalah ditemukannya beberapa repertoar kesenian tradisional Minangkabau dengan menggunakan kata maupun tutur yang merujuk kepada “alam” sebagai jejak dari falsafah Alam Takambang Jadi Guru. Nama maupun tutur tersebut hadir dalam repertoar-repertoar musik tradisional Minangkabau yang sesuai dengan interpretasi masyarakat Minangkabau dalam melihat fenomena “alam”. Alam Takambang Jadi Guru is a philosophy that underlies the way of thinking of the Minangkabau people as customary norms and derivatives to carry out a life regulated in custom. The traces of Alam Takambang Jadi Guru, or "everything in nature can be used as a teacher", is seen from the use of words derived from “nature” (Characteristic, plants, animals, objects, places and activities or events) as part of customary norms that regulate every action of the Minangkabau community both individuals and groups. The use of names and speech that refer to "nature" in every philosophy and customary norm refers to figurative meanings so that these traditional philosophies and standards can bring out their meanings. The Philosophy of Alam Takambang Jadi Guru also impacts art, mainly traditional Minangkabau music. This can be seen in the dendang poetry and the naming of traditional Minangkabau music repertoire. This study aims to know the extent to which the philosophy of Alam Takambang Jadi Guru is used and how the emergence in the arts, especially Minangkabau traditional music, represents the philosophy itself. The method used in this study is descriptive qualitative with a phenomenological approach. Data collection is carried out by interview, observation and literature study techniques. The result was the discovery of several repertoires of traditional Minangkabau arts using words and words that refer to "nature" as traces of the philosophy of Alam Takambang Jadi Guru. The name and speech are present in the repertoire of traditional Minangkabau music following the interpretation of the Minangkabau people in seeing the phenomenon of nature.

In the early 1880s, a finely carved Maya shell picture plaque was found at the Toltec capital of Tula, central Mexico, and was subsequently acquired by The Field Museum in Chicago. The shell was probably re-carved in the Terminal Classic period and depicts a seated lord with associated Maya hieroglyphs on the front and back. Here the iconography and glyphic text of this unique artifact are examined, the species and habitat of the shell are described, and its archaeological and social context are interpreted. The Tula plaque is then compared with Maya carved jade picture plaques of similar size and design that were widely distributed throughout Mesoamerica, but were later concentrated in the sacred cenote at Chichen Itza. It is concluded that during the Late Classic period, these plaques played an important role in establishing contact between Maya lords and their counterparts representing peripheral and non-Maya domains. The picture plaques may have been elite Maya gifts establishing royal alliances with non-local polities and may have become prestige objects used in caches and termination rituals.

Background: People with Alzheimer’s disease (AD) often demonstrate difficulties in discourse production. Referential communication tasks (RCTs) are used to examine a speaker’s capability to select and verbally code the characteristics of an object in interactive conversation. Objective: In this study, we used contextualized word representations from Natural language processing (NLP) to evaluate how well RCTs are able to distinguish between people with AD and cognitively healthy older adults. Methods: We adapted machine learning techniques to analyze manually transcribed speech transcripts in an RCT from 28 older adults, including 12 with AD and 16 cognitively healthy older adults. Two approaches were applied to classify these speech transcript samples: 1) using clinically relevant linguistic features, 2) using machine learned representations derived by a state-of-art pretrained NLP transfer learning model, Bidirectional Encoder Representation from Transformer (BERT) based classification model. Results: The results demonstrated the superior performance of AD detection using a designed transfer learning NLP algorithm. Moreover, the analysis showed that transcripts of a single image yielded high accuracies in AD detection. Conclusion: The results indicated that RCT may be useful as a diagnostic tool for AD, and that the task can be simplified to a subset of images without significant sacrifice to diagnostic accuracy, which can make RCT an easier and more practical tool for AD diagnosis. The results also demonstrate the potential of RCT as a tool to better understand cognitive deficits from the perspective of discourse production in people with AD.

Object Traumatic brain injury (TBI) often occurs as part of a multisystem trauma that may lead to hemorrhagic shock. Effective resuscitation and restoration of oxygen delivery to the brain is important in patients with TBI because hypotension and hypoxia are associated with poor outcome in head injury. We studied the effects of hemoglobin-based oxygen-carrying (HBOC)–201 solution compared with lactated Ringer (LR) solution in a large animal model of brain injury and hemorrhage, in a blinded prospective randomized study. Methods Swine underwent brain impact injury and hemorrhage to a mean arterial pressure (MAP) of 40 mm Hg. Twenty swine were randomized to undergo resuscitation with HBOC-201 (6 ml/kg) or LR solution (12 ml/kg) and were observed for an average of 6.5 ± 0.5 hours following resuscitation. At the end of the observation period, magnetic resonance (MR) imaging was performed. Histological studies of swine brains were performed using Fluoro-Jade B, a marker of early neuronal degeneration. Results Swine resuscitated with HBOC-201 had higher MAP, higher cerebral perfusion pressure (CPP), improved base deficit, and higher brain tissue oxygen tension (PbtO2) than animals resuscitated with LR solution. No significant difference in total injury volume on T2-weighted MR imaging was observed between animals resuscitated with HBOC-201 solution (1155 ± 374 mm3) or LR solution (1246 ± 279 mm3; p = 0.55). On the side of impact injury, no significant difference in the mean number of Fluoro-Jade B–positive cells/hpf was seen between HBOC-201 solution (61.5 ± 14.7) and LR solution (48.9 ± 17.7; p = 0.13). Surprisingly, on the side opposite impact injury, a significant increase in Fluoro-Jade B–positive cells/hpf was seen in animals resuscitated with LR solution (42.8 ± 28.3) compared with those resuscitated with HBOC-201 solution (5.6 ± 8.1; p < 0.05), implying greater neuronal injury in LR-treated swine. Conclusions The improved MAP, CPP, and PbtO2 observed with HBOC-201 solution in comparison with LR solution indicates that HBOC-201 solution may be a preferable agent for small-volume resuscitation in brain-injured patients with hemorrhage. The use of HBOC-201 solution appears to decrease cellular degeneration in the brain area not directly impacted by the primary injury. Hemoglobin-based oxygen-carrying–201 solution may act by improving cerebral blood flow or increasing the oxygen-carrying capacity of blood, mitigating a second insult to the injured brain.

Desde la segunda mitad del siglo XX las intervenciones artísticas se independizan de los hartados y constantes componentes estéticos, miméticos y matéricos. La imposibilidad de custodiar la obra como objeto demanda nuevos mecanismos que registren un arte tan cambiante como caprichoso. Con los avances de la tecnología, la fotografía digital y las innovaciones acontecidas en el campo del arte, los artistas comenzarán a dejar constancia de sus intervenciones haciendo uso de cámaras fotográficas y pequeñas grabaciones para inmortalizar sus obras. Destinamos esta investigación a trabajar, a través de una representación de autores emergentes, las dificultades en el registro de obras artísticas caracterizadas por su intangibilidad. El desafío está servido, cualquier persona o entidad vinculada a lo artístico se enfrenta a la difícil tarea de registrar para conservar la inmortalidad del acontecimiento artístico. Estas innovadoras y fugaces categorías llevan implícita la condición participativa del espectador, el espacio como continente y contenido de la obra, el tiempo, la extinción de los materiales, la acción, el desplazamiento, la pérdida de la unicidad del arte, así como su acelerada mortalidad. Condiciones y aspectos que hacen del arte un “arte-acontecimiento”, predispuesto por la condición espaciotemporal a su caducidad, modificación o desaparición. Since the second half of 20th century, artistic interventions have become independent of the jaded and constant aesthetic, mimetic and mathematical components. The impossibility of guarding the work as an object demands new mechanisms that register an art as changing as it is capricious. With the advances in technology, digital photography and innovations in the field of art, artists will begin to record their interventions, using cameras and small recordings to immortalize their works. We dedicate this research to work through a representation of emerging authors, difficulties in the registration of artistic works characterized by their intangibility. The challenge is served, any person or entity linked to the artistic, faces the difficult task of registering to preserve the immortality of the artistic event. These innovative and fleeting categories implicitly involve the participatory condition of the viewer, space as a continent and content of the work, time, extinction of materials, action, displacement, loss of the uniqueness of art, as well as its accelerated dematerialization Conditions and aspects that make art an “art-event”, predisposed by the space-time condition to its expiration, modification or disappearance.

Kebenaran adalah persesuaian antara pengetahuan dan objek bisa juga diartikan suatu pendapat atau perbuatan seseorang yang sesuai dengan (atau tidak ditolak oleh) orang lain dan tidak merugikan diri sendiri. Sedangkan Rekonsiliasi adalah perbuatan memulihkan hubungan persahabatan pd keadaan semula; perbuatan menyelesaikan perbedaan, Undang-Undang Nomor 26 Tahun 2000 tentang Pengadilan Hak Asasi Manusia yang sebagai bagian dari cara untuk penyelesaian pelanggaran HAM masa lalu. Ketentuan ini menunjukkan bahwa KKR adalah mekanisme yang mampu menyelesaikan kasus pelanggaran HAM yang berat dan mempertegas bahwa dalam proses penyelesaian pelanggaran HAM yang berat dimasa lalu ada dua jalan (avenue) yakni melalui pengadilan HAM ad hoc dan mekanisme KKR. Materi yang diatur termasuk materi yang secara spesifik saling bertentangan antara satu dengan yang lainnya. Disatu sisi korban Genosida ingin pertanggungjawaban pemerintah disisi lain keturunan pelaku kejahan ingin mendapat perlakuan yang sama dengan masyarakat lainnya. Jadi sangat dapat diperkirakan bahwa undang-undang ini dapat diuji materil. Masalah pertentangan inilah yang membuat undang-undang KKR ini tidak dapat berjalan sebagaimana mestinya yang terdapat dinegara-negara lain. Kata kunci: Alasan Hukum, Kebenaran, Rekonsiliasi Abstract Truth is the correspondence between knowledge and object can also be interpreted as an opinion or action of someone who is in accordance with (or not rejected by) other people and does not harm themselves. Whereas Reconciliation is the act of restoring friendship relations to its original state; the act of resolving differences, Law Number 26 of 2000 concerning Human Rights Courts as part of a way to resolve past human rights violations. This provision shows that the TRC is a mechanism capable of resolving cases of gross human rights violations and emphasizes that in the past the process of resolving human rights violations there were two avenues, namely through the ad hoc human rights court and the TRC mechanism. Arranged material includes material that is specifically conflicting with one another. On the one hand the victims of the Genocide want the government's responsibility on the other hand the offspring of perpetrators of violence want to get the same treatment with other communities. So it is very predictable that this law can be materially tested. It is this problem of conflict which makes the KKR law unable to work properly in other countries. Keywords: Reasons Of Law, Truth, Reconciliation

This study is based on the background of the many found embroideries that are less balanced between the lifeboat thread and the material so that the embroidery results look stiff on the material that is loose or vice versa. The purpose of this study is to obtain an explanation of the description of the results of manual machine embroidery of designs on duchess fabric using lifeboat threads such as embroidery thread, sewing thread, and obras thread and to obtain an explanation of the effect of different lifeboat threads on the finished results of manual machine embroidery on duchess fabric. This research uses an experimental system. The object studied was the result of manual machine embroidery on duchess fabric using lifeboat thread in the form of sewing thread, obras thread, and embroidery thread. The assessors in the study were 5 validators. The instrument in this research is through a questionnaire. The results of manual machine embroidery (sassy) using lifeboat thread in the form of sewing thread are "very neat, very stable, and soft". Then, the finished result of manual machine embroidery (sassy) using lifeboat thread in the form of obras thread is "neat, stable, and soft". Furthermore, the results of manual machine embroidery (sassy) using lifeboat thread in the form of embroidery thread are "very neat, very stable, and very soft". The results of embroidery on duchess fabric are influenced by the use of different lifeboat threads. Also, if you want to produce embroidery whose results are very soft, very neat, and very stable on bridal materials, it is recommended to use lifeboat threads in the form of embroidery threads.Keywords: thread, sassy embroidery, duchess , lifeboat. AbstrakRiset ini berlatar belakang dari banyaknya ditemukan bordiran yang kurang seimbang antara benang sekoci dengan bahan sehingga hasil bordirannya terlihat kaku pada bahan yang melangsai atau sebaliknya. Tujuan dari penelitian ini ialah untuk memperoleh penjelasan tentang uraian hasil bordir kerancang mesin manual di kain duchess dengan memakai benang sekoci seperti benang bordir, jahit, dan benang obras serta untuk mendapatkan penjelasan tentang pengaruh benang sekoci yang berbeda terhadap hasil jadi bordir mesin manual di kain duchess. Riset ini memakai sistem eksperimen. Objek yang diteliti ialah hasil bordir kerancang mesin manual pada kain duchess memakai benang sekoci berupa benang jahit, benang obras, dan benang bordir. Penilai pada penelitian ialah 5 orang validator. Instrumen pada riset ini melalui kuesioner. Hasil bordir mesin manual (kerancang) memakai benang sekoci berupa benang jahit adalah “sangat rapi , sangat stabil, dan lembut”. Lalu, hasil jadi bordir mesin manual (kerancang) memakai benang sekoci berupa benang obras adalah “rapi, stabil, dan lembut”. Selanjutnya, hasil bordir mesin manual (kerancang) memakai benang sekoci berupa benang bordir adalah “sangat rapi, sangat stabil, dan sangat lembut”. Hasil bordir kerancang dikain duchess dipengaruhi oleh penggunaan benang sekoci yang berlainan. serta, jika ingin menghasilkan bordiran yang hasilnya sangat lembut, sangat rapi, dan sangat stabil di bahan bridal disarankan menggunakan benang sekoci berupa benang border.Kata Kunci: benang, bordir kerancang, duchess , sekoci. Authors:Zafirah Afaf : Universitas Negeri PadangWeni Nelmira : Universitas Negeri Padang References:Arleni, I. (2023). “Penggunaan Benang Sekoci Untuk Bordir Kerancang”. Hasil Wawancara Pribadi: 23 Juli 2023, Universitas Negeri Padang.Bastaman, W. N. U., & Fadliani, T. N. I. (2020). Pengembangan Motif Bordir Kerancang Tasikmalaya dengan Software JBatik. Dinamika Kerajinan dan Batik, 37(2), 371632.Bernette, M. (2020). 13 Jenis Benang Jahit Yang Digunakan Untuk Menjahit atau Menghias Pakaian. Diakses pada tanggal 9 Maret 2023. https://shop.mybernette.id/Budiyono, Sudibyo, W., Herlina, S., Handayani, S., Parjiyah, Pudiastuti, W., Palupi, D. S., Syamsudin, Irawati, & Parjiyati. (2008). Kriya Tekstil Jilid 2. In Paper Knowledge. Toward a Media History of Documents (Vol. 3). Direktorat Pembinaan Sekolah Menengah Kejuruan.Ernawati, Izwerni, & Nelmira, W. (2008). TATA BUSANA SMK JILID 2. Direktorat Pembinaan Sekolah Menengah Kejuruan.Hasyim, H. (2009). Bordir Aplikasi. Surabaya: Tiara Aksa.Nelmira, W., Adriani, & Halmawati. (2021). Desain Motif , Alat dan Proses Pembuatan Kerajinan Bordir Kerancang Bukittinggi. Jurnal Pendidikan Tambusai, 5, 542–550. https://jptam.org/index.php/jptam/article/view/Noerati, Gunawan, Ichwan, M., & Sumihartati, A. (2013). Teknologi Tekstil. Academia.Edu, 382.Nurdhani, D. P. A., & Wulandari, D. (2016).Teknik Dasar Bordir (B.Trimansyah (ed.)). Direktorat Pembinaan Kursus dan Pelatihan.Poespo, Goet. (2005). Pemilihan Bahan Tekstil. Yogyakarta: Kanisius.Prawirosentono, S. 2004. Filosofi Baru Tentang Manajemen Mutu Terpadu Total Quality Management Abad 21 Studi Kasus & Analisis. Jakarta: PT. Bumi Aksara.Ramadhani, S. A., & Nelmira, W. (2023). Transformasi Motif Burung Merak Pada Produk Bordir Kebaya Di Kecamatan Harau Kabupaten Lima Puluh Kota. Gorga Jurnal Seni Rupa, 12 (November 2022). https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/.Sugiyono, S. (2022). Metode Penelitian Kuantitatif, Kualitatif, dan R&D. Bandung: Alfabeta.Suhersono, H. (2005). Desain Bordir Motif Fauna. Jakarta: Gramedia Pustaka Utama.Suhersono, H. (2011). Mengenal Lebih Dalam Bordir Lukis Transformasi Seni Kriya Ke Seni Lukis. Jakarta: Dian Rakyat.Suliyanthini, D. (2016). Ilmu Tekstil. In PT Raja Grafindo Persada (Vol. 290, Issue 1).Susiani, R., & Ernawati, E. (2019). Strategi Produk Bordir di Kapalo Koto, Koto Tangah Simalanggang, Kota Payakumbuh (Studi Kasus di Usaha Bordir Limpapeh” (Kebaya). Gorga: Jurnal Seni Rupa, 8(1), 111-119. https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/.Veera Zahara, S., & Mukhirah, F. (2018). Daya Tarik Wisatawan pada Produk Kerajinan Bordir Aceh. Jurnal Ilmiah Mahasiswa Pendidikan Kesejahteraan Keluarga, 3(1). https://jim.usk.ac.id/pkk/article/view/15693/.Yuliarma, Y. (2016). The Art of Embroidery Designs. Jakarta: Kepustakaan Populer Gramedia.Zyahri, M. (2013). Pengantar Ilmu Tekstil 2. In Kemendikbud.

ABSTRAK Fraktur merupakan terputusnya kontuinitas tulang yang dapat menimbulkan gejala yang umum seperti nyeri atau rasa sakit, pembengkakan dan kelainan bentuk tubuh. Fraktur atau patah tulang harus ditangani dengan cepat, tepat dan harus sesuai dengan prosedur pelaksanaan. Menurut WHO 70% kecelakaan lalu lintas dialami oleh pelajar atau remaja. Berdasarkan Survei Kesehatan Nasional melaporkan bahwa kasus fraktur pada tahun 2017 secara Nasional mengalami peningkatan sebesar 27,7%. Kecelakaan pada sistem musculoskeletal harus ditangani dengan cepat dan tepat. Apabila tidak dilakukan akan menimbulkan cidera yang semakin parah dan dapat memicu terjadinya perdarahan. Dampak lain yang terjadi dapat mengakibatkan kelainan bentuk tulang, kecacatan dan sampai kematian. Untuk mencegah terjadinya cidera pada sistem muskuloskeletal dibutuhkan pertolongan balut bidai. Balut bidai merupakan tindakan memfiksasi atau mengimobilisasi bagian tubuh yang mengalami cidera yang menggunakan benda yang bersifat kaku maupun fleksibel sebagai fiksator. Pertolongan balut bidai dapat dilakukan oleh semua orang awam yang terlatih. Salah satu orang awam yang terlatih disekolah yaitu siswa yang telah mendapatkan pendidikan dasar kegawatdaruratan melalui kegiatan ekstrakurikuler Palang Merah Remaja (PMR), dan seharusnya pendidikan dasar kegawatdaruratan tidak hanya diberikan kepada anggota PMR tetapi juga semua siswa disekolah atau remaja di lingkungan desa. Pengabdian masyarakat yang dilakukan di Kelurahan Tamanmartani ini diikuti oleh 21 kader remaja Parikesit. Metode yang digunakan dengan pemberian materi secara online pada hari pertama dan praktik secara langsung di hari kedua. Pengetahuan kader remaja sebelum dan setelah edukasi pembalutan dan pembidaian ada peningkatan pengetahuan dengan mean nilai pretest adalah 62,38 dan mean nilai posttest adalah 95,24. Jadi ada peningkatan sebesar 32,86. Kader sebelum pelatihan yang tidak terampil menjadi terampil sebanyak 12 (57%) kader, sedangkan 4 (19%) kader masih belum terampil. Dibutuhkan pendampingan dari pihak puskesmas Kalasan agar kader remaja Parikesit dapat mengaplikasi ilmu yang telah didapatkan untuk pencegahan komplikasi akibat gangguan fraktur. KATA KUNCI: Posyandu Remaja; Fraktur; Kader Remaja ABSTRACT A fracture is a break in the continuity of the bone that can cause general symptoms such as pain or tenderness, swelling and deformity of the body. Fractures or fractures must be treated quickly, accurately and follow the implementation procedure. According to WHO 70% of traffic accidents are experienced by students or teenagers. Based on the National Health Survey reports, fracture cases in 2017 increased by 27.7% nationally. Accidents to the musculoskeletal system must be treated quickly and appropriately. Failure to do so will result in more severe injury and lead to bleeding. Other impacts can result in bone deformities, disability and even death. To prevent injury to the musculoskeletal system, splints are needed. A splint is an act of fixing or immobilizing the injured body part using a rigid or flexible object as a fixator. Splint dressing can be performed by all trained laypeople. One of the laypeople who are trained in school is a student who has received basic emergency education through extracurricular activities of the Palang Merah Remaja (PMR), and basic emergency education should not only be given to PMR members but also all students in schools or youth in the village environment. The community service carried out in Tamanmartani Village was attended by 21 Parikesit youth cadres. The method used is giving the material online on the first day and hands-on practice on the second day. There was an increase in knowledge of adolescent cadres before and after education on bandages and splints, with the mean pretest value being 62.38 and the posttest mean value being 95.24. So there is an increase of 32.86. There were 12 (57%) cadres before training who were unskilled, while 4 (19%) cadres were still unskilled. Assistance is needed from the Kalasan Public Health Center so that the Parikesit youth cadres can apply the knowledge obtained to prevent complications due to fracture disorders. KEYWORDS: Posyandu Remaja; Fracture; Youth Cadre

AbstractJade and greenstone objects have been held in high regard by many cultures stemming from their limited geological availability and their unique optical and mechanical properties. Jade and greenstone objects symbolized life, fertility, and eternity to early Mesoamerican people. In recent years, scientific studies on jade and greenstone objects have been performed to establish provenance and usage, identify composition, and verify the presence of a particular material. These studies of jade and greenstone objects are generally divided geographically, with considerable interest in China and Central America. Most studies are focused on objects from one particular archaeological site; however, a few studies have focused on collections from a range of sites. The use of multiple complimentary analytical techniques has been shown to be the most effective method for characterizing and understanding the technical information obtained from cultural heritage objects. In our study, we examine a set of Mesoamerican jade and greenstone objects from the collection at the Dallas Museum of Art using multiple non-destructive techniques, including scanning electron microscopy with energy dispersive spectroscopy, Raman spectroscopy, X-ray diffraction, and handheld X-ray fluorescence spectroscopy. We briefly discuss the advantages and disadvantages of each technique. Lastly, we present the results from our study and discuss them in their archaeological and historical context.

AbstractThis article investigated the multifaceted role of artists in educational programmes, focusing on the challenges they face while balancing their identity as artist‐teacher, artist teacher, artist‐educator, and artist educator. This research was conducted in two phases. Phase one interrogated the effectiveness of artists taking on dual roles as both artists and educators/teachers within international and New Zealand's educational programmes. This phase advocated for artists to embrace their original role as artists without the additional burdens of other roles. Moving to phase two, this research employed the method of document analysis to investigate the historical and current engagement of artists in students' museum education within the context of New Zealand. Historically, artists were considered as art technicians with no direct involvement in art teaching or creation. Although the current LEOTC and ELC programmes in New Zealand value artists' contributions to art education, they do not indicate artists' involvement in these two programmes. Drawing from the findings of phase one and two, the study proposed a novel model that emphasises the integration of three elements: learning environment (art museum), people (artists), and objects (artworks). This model suggested that the combined action of these three elements could lead to a transformation from teacher‐led teaching to student‐centred learning in art education. Such a transition held the potential to enrich students' educational experience through collaborative efforts between artists, museum educators, and schoolteachers, and also enhance students' interdisciplinary learning experiences.

AbstractIn this paper, four colleagues working in teacher education reflect on a conversation. The conversation in question was a tangible discussion documented through frequent and purposeful email exchange, exploring traditionalist school art curricula through reference to lived experience, academic theory, and professional anecdote. The primary objective of this dialogic self‐enquiry was informal critical analysis of the cultural diversity and positioning of art objects that populate classroom curricula in English schools, starting with the ‘African mask’. The secondary objective of our conversation was exploration of how complex talk on culture and curriculum might be modelled for schoolteachers yet to initiate similar conversations in their own professional contexts. We each provide reflections on the success of our conversation against these objectives and find that while email exchange provided some formal advantages for the structure of our discourse, this was not as we might have expected. The dialogue facilitated a rhizomatic deepening of our individual questioning of culturality in the classroom, which while nourishing was arguably unproductive in instrumental terms. Collectively, our reflections suggest that dialogue may be a critical catalyst for the latter, inherently private work of decolonising one's own critical teaching praxis.

AbstractIn this article, I ask what becoming a sustainable visual arts teacher might look like, and how a sustainable teaching practice might be created. The problem for education, and teachers’ becoming, is that formal schooling presumes how life should be lived there, how the assemblage of learning should be composed and the prescribed identities of humans and objects. This article aims to explore visual arts teachers’ becoming as a relational and entangled process. A Deleuze and Guttarian framework for thinking about the becoming(‐teacher) involves relational and differentiated co‐becoming that fold, unfold and refold in the process of becoming. The research questions of this article explore the potentials of the concept of becoming animal to activate and facilitate thinking differently about visual arts teachers’becoming. By mapping the academic degree project of one visual arts teacher student, this research investigates how multiple lines of becoming a visual arts teacher change and intermingle through the degree project. The results shows that animal becoming creates new sensitivities, dilating one's perception as a teacher. Sustainable teacher becoming involves the balancing (cat‐)act of not only following molar lines of the curriculum, or the idols of pedagogy, but also making the curriculum come alive through molecular cat‐becoming. Becoming cat means opposing administrative burdens and showing one's claws, as well as developing agility to find new ways of thinking, acting, resting, and finding space for playful inventiveness as a teacher.

ABSTRACTAt the Neolithic archaeological site at Liangzhu in China, located 16 kilometers northwest of Hangchou in Cheking province, many objects of stone, jade, and black pottery were discovered between 1936 and 1939. While the exact date of the Liangzhu culture is uncertain, it is considered to be between 3500 and 2000 BC. A characteristic feature of the Liangzhu-culture pottery is a thin black finish and a layered structure of the body consisting of a black core sharply changing to a gray or red band ending in the black surface.The focus of this paper is to explain why the cores of the vessels are black and why the colored bands occur and what they indicate about the firing conditions of the pottery. Analyses were ca rried out using SEM, electron-beam microprobe, X-ray diffraction, photo-electron spectroscopy, and polarizing microscopy. From this evidence, it is clear thait a clay vessel containing abundant charcoal was thrown on the wheel and then fired under reducing conditions so that charcoal was retained and iron reduced. Just before completion of the firing or during the cooling phase, air was allowed to enter the kiln and a limited thickness of the outer core was oxidized. Then, for decorative purposes, the surface was heavily smoked, and/or a thin iron-containing slip layer was reduced in smoke and burnished.

Oracle bone inscriptions of the late Shang Dynasty (1250–1046 BC) record the burning of jade as a ceremonial sacrifice, a practice now corroborated archaeologically. The origins of ceremonial jade burning, however, are unclear. Using archaeometric methods and experimental archaeology, the authors examine an assemblage of jade objects from the late Liangzhu-period (2600–2300 BC) cemetery of Sidun. The cause of the jades’ variable surface colours has been long debated. The results presented here demonstrate that the colour changes relate to alterations in chemical composition due to exposure to fire. The evidence from Sidun confirms that the burning of jade in China commenced more than a millennium earlier than previously documented.

Abstract Previous studies have interpreted greenstone objects referred to as Olmec “spoon” pendants based on hypothetical utilitarian functions that they might have served. This study argues that the unique form of these pendants is actually based on the shell of the wing oyster (Pteria), a nacreous pearl-forming bivalve found on either coast of Mesoamerica. The study of these skeuomorphic recreations of shells sheds light on conceptual relationships between jade and iridescent shell, as well as the ideological motivations behind such material substitutions. Although wing oyster pendants were produced during only the Formative period, the Classic Maya continued to value pearls, formed by such nacre-producing mollusks. This study demonstrates the frequent appearance of pearls in Mesoamerican artwork. Wing oyster pendants constitute an early basis for the ritual interchangeability of jade, shell, and pearl, and the widespread conceptual associations of these valued materials with breath, wind, and ancestors among later Mesoamerican traditions.

Article 12 a PTPK Law only applies to State Employees and State Administrators. Article 12 a PTPK Law basically regulates the actions of civil servants or state administrators that are contrary to their duties or obligations. The convict Sujendi Tarsono alias Ayen is not a Civil Servant or a State Administrator. The person concerned is as an entrepreneur as Director of PT Ada Mobil / Owner Ada Jadi Mobil. In connection with the description above, the possibility that occurs is the occurrence of errors in persona and Error in Objecto, meaning that the wrong person and the wrong object that was decided to convict Sujendi alias Ayen. In my opinion, the defendant SUJENDI TARSONO alias AYEN can be categorized as Also Participating in this case Telling Doing (Middelijk daders). Forcing to do is someone who wishes to do something criminal, but does not do it himself, but rather tells others to do it. The person who ordered it uses someone else (ie the person who was told) to realize his intention. The main requirement (characteristic) of ordering to do is that the person who is told to be must be a person who cannot be accounted for legally (according to Criminal Law). The reasons are as follows: a. Because of criminal exemptions. b. Because one element of the crime was not fulfilled, for example the element of error (intentional), which is related to the intention (as a subjective element) in the occurrence of the crime. Those who do what is wrong (menrea) while those who do have no mistakes. The liability of the person who ordered it to do is limited to the act carried out by the material maker (the person ordered).

ABSTRACT Based on research that has been done a few years ago, about the dynamics performances Ngarot ceremonial mask, which is a cultural activity or practice of traditional ceremonies for the community to reach a meeting of Indramayu transcendental. The departure of this study encourage curiosity on the phenomena that occur on the object to be studied, it can be identified several issues that will be the basis to learn more about the phenomenon that is no change in the philosophical values, function and role in culture Ngarot mask performance, which is so Problems are how to form a mask dance in Ngarot transformation from time to time? The main problem will be revealed in this study is the change seen from asfek philosophical values, functions and roles. This study used a qualitative method, because of the problems of this research is in the area of art that narrow space, simple yet complex variable at the level of content, questioned the meaning, and questioned the phenomenon. While the approach adopted is to use a multidisciplinary approach to art, culture approach, and the approach to sociology. Target outcomes to be achieved from this study resulted in deepening the concept of meaning, and or innovat- ing dance masks to the public. The resulting concept can be used as one of the guide also to be creative/work in an effort to revitalize and innovate other mask dance. Keywords: Performance Masks, Ngarot, transformation, change    ABSTRAK Berdasarkan riset yang telah dilakukan beberapa tahun yang lalu, tentang dinamika per- tunjukan Topeng dalam upacara adat Ngarot, yaitu sebuah kegiatan atau praktik kultural ten- tang upacara adat bagi masyarakat Indramayu untuk mencapai pertemuan transedental. Ke- berangkatan penelitian ini mendorong  keingintahuan atas fenomena yang terjadi pada objek yang akan diteliti, maka dapat diidentifikasikan beberapa masalah yang akan dijadikan dasar untuk mengetahui lebih jauh tentang fenomena tersebut yaitu ada perubahan nilai-nilai filoso- fis, fungsi dan peran pertunjukan topeng dalam budaya Ngarot, yang jadi problematikanya adalah bagaimana wujud transformasi tari topeng dalam Ngarot dari masa ke masa? Masalah utama yang akan diungkapkan dalam penelitian ini adalah perubahan dilihat dari asfek nilai- nilai filosofis, fungsi dan peran.  Penelitian ini menggunakan metode kualitatif,  karena ma- salah-masalah penelitian ini ada dalam wilayah ruang seni yang sempit, variabel sederhana namun rumit dalam tataran konten, mempersoalkan makna, dan mempertanyakan fenomena. Sedangkan pendekatan yang diterapkan adalah multidisiplin dengan menggunakan pendeka- tan seni, pendekatan budaya, dan pendekatan sosiologi.Target luaran yang ingin dicapai dari penelitian ini menghasilkan konsep pendalaman makna, dan atau menginovasikan tari Topeng untuk masyarakat. Konsep yang dihasilkan dapat dijadikan salah satu panduan juga untuk berkreasi/berkarya dalam upaya merevitalisasi dan menginovasi tari Topeng lainnya. Kata kunci: Pertunjukan Topeng, ngarot, transformasi, perubahan

Introduction: Shock WavesAs I carefully unfold the delicate piece of crisp white paper, three rogue words wildly jump up off the page before sinking deeply into my skin: “Cold and condescending.” A charge of anger surges up my spine, as these words begin to now expand and affectively resonate: “I found the instructor to be cold and condescending.” Somehow, these words impact me both emotionally and physiologically (Brennan 3): my heart beats faster, my body temperature rises, my stomach aches. Yet, despite how awful I feel, I keep on reading, as if compelled by some inexplicable force. It is not long before I devour the entire evaluation—or perhaps it devours me?—reading every last jarring word over and over and over again. And pretty soon, before I can even think about it, I begin to come undone ...How is it possible that an ordinary, everyday object can pull at us, unravel us even? And, how do such objects linger, register intensities, and contribute to our harm or good? In this paper, we draw upon our collective teaching experiences at college and high school level in order to explore how teacher evaluations actively work/ed to orient our bodies in molar and molecular ways (Deleuze and Guattari 3), thereby diminishing or enhancing our capacity to act. We argue that these textual objects are anything but dead and lifeless, and are vitally invested with “thing-power,” which is the “ability of inanimate things to animate, to act, to produce effects dramatic and subtle” (Bennett 6).Rather than producing a linear critique that refuses “affective associations” (Felski para. 6) and the “bodily entanglements of language” (MacLure, Qualitative 1000), we offer up a mobile conversation that pulls readers into an assemblage of (shape)shifting moments they can connect with (Rajchman 4) and question. While we attend to our own affective experiences with teacher evaluations, we wish to disrupt the idea that the self is both autonomous and affectively contained (Brennan 2). Instead, we imagine a self that extends into other bodies, spaces, and things, and highlight how teacher evaluations, as a particular thing, curiously animate (Chen 30) and affect our social worlds—altering our life course for a minute, a day, or perhaps, indefinitely (Stewart 12).* * *“The autobiographical is not the personal. […] Publics presume intimacy” (Berlant, The Female vii). Following Berlant, we propose that our individual narratives are always tangled up in other social bodies and are, therefore, not quite our own. Although we do use the word “I” to recount our specific experiences of teacher evaluations, we by no means wish to suggest that we are self-contained subjects confessing some singular life history or detached truth. Rather, together we examine the tensions, commonalities, possibilities, and threats that encounters with teacher evaluations produce within and around collective bodies (Stewart). We consider the ways in which these material objects seep deeply into our skin, re/animate moving forces (e.g. neoliberalism, patriarchy), and even trigger us emotionally by transporting us back to different times and places (S. Jones 525). And, we write to experiment (Deleuze and Guattari 1; Stewart 1) with the kind of “unpredictable intimacy” that Berlant (Intimacy 281; Structures 191) speaks of. We resist (as best we can) telos-driven tales that do not account for messiness, disorientation, surprise, or wonder (MacLure, Classification 180), as we invite readers to move right along beside (Sedgwick 8) us in this journey to embrace the complexities and implications (Nelson 111; Talburt 93) of teacher evaluations as corporeal matters. The “self” is no match for such affective entanglements (Stewart 58).Getting Un/Stuck “Cold and condescending.” I cannot help but get caught up in these words—no matter how hard I try. A million thoughts begin to bubble up: Am I a good teacher? A bad person? Uncaring? Arrogant? And, just like that, the ordinary turns on me (Stewart 106), triggering intense sensations that refuse to stay buried. What began as my reaction to a teacher evaluation soon becomes something else, somewhere else. Childhood wounds unexpectedly well up—leaking into the present, spreading uncontrollably, causing my body to get stuck in long ago and far away.In a virtual flash (Deleuze and Guattari 94), I am somehow in my grandmother’s kitchen once more, which even now smells of avgolemono soup, warm bread rising, home. Something sparks, as distant memories come flooding back to change my course and set me straight (or so I think). When I was a little girl and could not let something go, my yiayia (grandmother) Vasiliki would tell me, quite simply, to get “unstuck” (ξεκολλά). The Greeks, it seems, know something about the stickiness of affective attachments. Even though it has been over twenty years since my grandmother’s passing, her words, still alive, affectively ring in my ear. Out of some kind of charged habit (Stewart 16), her words now escape my mouth: “ξεκολλά,” I command, “ξεκολλά!” I repeat this phrase so many times that it becomes a mantra, but its magic has sadly lost all effect. No matter what I say or what I do, my body, stuck in repetition, “closes in on itself, unable to transmit its intensities differently” (Grosz 171). In an act of desperation (or perhaps survival), I rip the evaluation to shreds and throw the tattered remains down the trash chute. Yet, my actions prove futile. The evaluation lives on in a kind of afterlife, with its haunting ability to affect where my thoughts will go and what my body can do. And so, my agency—my ability to act, think, become (Deleuze and Guattari 361)—is inextricably twisted up in this evaluation, with its affective capacity to connect many “bodies” at once (both material and semiotic, human and non-human, living and dead).A View from Nowhere?At both college and school-level, formal teacher evaluations promise anonymity. Why is it, though, that students get to be voices without bodies: a voice that does not emerge from a complex, contradictory, and messy body, but rather “from above, from nowhere” (Haraway 589)? Once disembodied, students become god-like (Haraway 589), able to “objectively” dissect, judge, and even criticise teachers, while they themselves receive “panoptic immunity” (MacLure, Classification 168).This immunity has its consequences. Within formal and informal evaluations, students write of and about bodies in ways that often feel violating. Teachers’ bodies become spectacle, and anything goes:“Professor is kinda hot—not bad to look at!”“She dresses like a bag lady. [...] Her hair and clothing need an update.”“There's absolutely nothing redeeming about her as a person [...] but she has nice shoes.”(PrawfsBlog)Amid these affective violations, voices without bodies re/assemble into “voices without organs” (Mazzei 732)—a voice that emanates from an assemblage of bodies, not a singular subject. In this process, patriarchal discourses, as bodies of thought, dangerously spring up and swirl about. The voyeuristic gaze of patriarchy (see de Beauvoir; Mulvey) becomes habitual, shaping our stories, encounters, and sense of self.Female teachers, in particular, cannot deny its pull. The potential to create and/or transmit knowledge turns us into “risky subjects” in need of constant surveillance (Falter 29). Teacher evaluations do their part. As a metaphoric panopticon (see Foucault), they transform female teachers into passive spectacles—objects of the gaze—and students into active spectators who have “all the power to determine our teaching success” (Falter 30). The effects linger, do real damage (Stewart), and cause our pedagogical performances to fail every now and then. After all, a “good” female teacher is also a “good female subject” who is called upon to impart knowledge in ways that do not betray her otherwise feminine or motherly “nature” (Falter 28). This pressure to be both knowledgeable and nurturing, while displaying a “visible fragility [...] a kind of conventional feminine vulnerability” (McRobbie 79), pervades the social and is intense. Although it is not easy to navigate, the fact that unrecognisable bodies are subject to punishment (Butler, Performative 528) helps keep power dynamics firmly in place. These forces permeate my body, as well, making me “cold” and “unfair” in one evaluation and “kind” and “sweet” in another—but rarely smart or intelligent. Like clockwork, this bodily visibility and regulation brings with it never-ending self-critique and self-discipline (Harris 9). Absorbing these swarming intensities, I begin to question my capacity to effectively teach and form relationships with my students. Days later, weeks later, years later, I continue to wonder: if even one student leaves my class feeling “bad,” do I have any business being a teacher? Ugh, the docile, good girl (Harris 19) rears her ugly (or is it pretty?) head once again. TranscorporealityEven though the summer sun invites me in, I spend the whole day at home, in bed, unable to move. At one point, a friend arrives, forcing me to get up and get out. We grab a bite to eat, and it is not long before I confess my deepest fear: that my students are right about me, that these evaluations somehow mark me as a horrible teacher and person. She seems surprised that I would let a few comments defeat me and asks me what this is really all about. I shrug my shoulders, unwilling to go there.Later that night, I find myself re-reading my spring evaluations online. The positive ones electrify the screen, filling me with joy, as the constructive ones get me brainstorming about ways I might do things differently. And while I treasure these comments, I do not focus too much on them. Instead, I spend most of the evening replaying a series of negative tapes over and over in my head. Somewhat defeated, I slip slowly back into my bed and find that it surprisingly offers me a kind of comfort that my friend does not. I wonder, “What body am I now in the arms of” (Chen 202)? The bed and I become “interporous” (Chen 203), intimate even. There is much solace in the darkness of those lively, billowy blue covers: a peculiar solace made possible by these evaluations—a thing which compels me to find comfort somewhere, anywhere, beyond the human body.The GhostAs a high school teacher, I was accustomed to being reviewed. Some reviews were posted onto the website ratemyteacher.com, a platform of anonymously submitted reviews of kindergarten through 12th-grade teachers on easiness, helpfulness, clarity, knowledge, textbook use, and exam difficulty. Others were less official; irate commentary posted on social media platforms or baldly concise characterisations of our teaching styles that circulated among students and bounded back to us as hearsay and whispered asides. In these reviews, our teacher-selves were constructed: One became the easy teacher, the mean teacher, the fun teacher, or the hard-but-good teacher. The teacher who could not control her class; the teacher who controlled her class excessively.Sometimes, we googled ourselves because it was tempting to do so (and near-impossible not to). One day, I searched various forms of my name followed by the name of the school. One of my students, a girl with hot pink streaks in her hair and pointy studs shooting out of her belt and necklaces, had written a complaint on Facebook about a submission of a final writing portfolio. The student wrote on the publicly visible wall of another student in my class, noting how much she still had left to do on the assignment. Dotting the observation with expletives, she bemoaned the portfolio as requiring too much work. Then, she observed that I had an oily complexion and wrote that I was a “dyke.” After I read the comment, I closed my laptop and an icy wave passed through me. That night, I went to dinner with friends. I ruminated aloud over the comments: How could this student—with whom I had thought I had a good relationship—write about me in such a derisive manner? And what, in particular, about my appearance conveyed that I was lesbian? My friends laughed; they found the student’s comments funny and indicative of the blunt astuteness of teenagers. As I thought about the comments, I realised the pain lay in the comments’ specificity. They demonstrated the ability of the student to perceive and observe a bodily attribute about which I was particularly insecure. It made me wonder about the countless other eyes and glances directed at me each day, taking in, noticing, and dissecting my bodily self (McRobbie 63).The next morning, before school, I stared at myself in the bathroom mirror and dabbed toner on my skin. Today, I thought, today will be a day in which both my skin texture and my lesson plans will be in good order. After this day, I could no longer bring myself to look this student directly in the eye. I was officious in our interactions. I read her poetry and essays with guarded ambivalence. I decided that I would no longer google myself. I would no longer click on links that were pointedly reviews of me as a teacher.The reviewed-self is a ghost-self. It is a shadow, an underbelly. The comments—perhaps posted in a moment of anger or frustration—linger. Years later, though I have left full-time classroom teaching, I still think about them. I have not recovered from the comments though I should, apparently, have already recuperated from their sharp effects. I wonder if the reviews will ceaselessly follow me, if they will shape the impressions of those who google me, if my reviewed-self will become the first and most formidable impression of those who might come to know me, if my reviewed-self will be the lasting and most formidable way I see myself.Trigger Happy In 2014, a teacher at a California public high school posts a comment on Twitter about wishing to pour coffee on her students. Some of her students this year, she writes, make her “trigger finger itchy” (see Oakley). She already “wants to stab” them a mere two weeks into the school year. “Is that bad?” she asks. One of her colleagues screen-captures her tweets and sends them to the school principal and to a local newspaper. They go viral, resulting in widespread condemnation on the Internet. She is named the “worst teacher ever” by one online media outlet (Parker). The media swarm the school. The reporters interview parents in minivans who are picking up their children from school. One parent, from behind the steering wheel, expresses her disapproval of the teacher. She says, “As a teacher, I think she should be held to a higher accountability than other people” (Louie). In the comments section of an article, a commenter declares that the “mutant should be fired” (Oakley). Others are more forgiving. They cite their boyfriends and sisters who are teachers and who also air grievances, though somewhat less violently and in the privacy of their homes (A. Jones). All teachers have these thoughts, some of the commenters argue, they just are not stupid enough to tweet them.In her own defence, the teacher tells a local paper that she “never expected anyone would take me seriously” (Oakley). As a teacher, she is often “forced to cultivate a ‘third-person consciousness,’ to be an ‘objectified subject’” (Chen 33) on display, so can we really blame her? If she had thought people would take her seriously, “you'd better believe I would have been much more careful with what I've said” (Oakley). The students are the least offended party because, as their teacher had hoped, they do not take her tweets seriously. In fact, they are “laughing it off,” according to a local news channel (Newark Teacher). In a news interview, one female student says she finds the teacher’s tweets humorous. They are fond of this teacher and believe she cares about her students. Seemingly, they do not mind that their teacher—jokingly, of course—harbours homicidal thoughts about them or that she wishes to splash hot coffee in their faces.There is a certain wisdom in the teacher’s observational, if foolhardy, tweeting. In a tweet tagged #secretlyhateyou, the teacher explains that while students may have their own negative feelings towards their teachers, teachers also have such feelings for their students. But, she tweets, “We are just not allowed to show it” (Oakley). At parties and social gatherings, we perform the cheerful educator by leaving our bodies at the door and giving into “the politics of emotion, the unwritten rules that feelings are to be ‘privatised’ and ‘pathologised’ rather than aired” (Thiel 39). At times, we are allowed a certain level of dissatisfaction, an eye roll or shrug of the shoulders, a whimsical, breathy sigh: “Oh you know! Kids today! Instagram! Sexting!” But we cannot express dislike for our own students.One evening, I was on the train with a friend who does not work as a teacher. We observed a pack of teenagers, screaming and grabbing at each other’s cell phones. The friend said, “Aren’t they so fascinating, teenagers?” Grumpily, I disagreed. On that day, no, I was not fascinated by teenagers. My friend responded, shocked, “But don’t you work as a teacher…?” It is an unspoken requirement of the job. We maintain relentless expressions of joy, an earnest wonderment towards those whom we teach. And we are, too, appalled by those who do not exhibit a constant stream of cheerfulness. The teachers’ lunchroom is the repository for “bad” feelings about students, a site of negative feelings that can somehow stick (Ahmed, Happy 29) to those who choose to eat their lunch within this space. Only the most jaded battle-axes would opt to eat in the lunchroom. Good teachers—happy and caring ones—would never choose to eat lunch in this room. Instead, they eat lunch in their classrooms, alone, prepare dutifully for the afternoon’s classes, and try to contain all of their murderous inclinations. But (as the media love to remind us), whether intended or not, our corporeal bodies with all their “unwanted affects” (Brennan 3, 11) have a funny way of “surfacing” (Ahmed, Communities 14).Conclusion: Surging BodiesAffects surge within everyday conversations of teacher evaluations. In fact, it is almost impossible to talk about evaluations without sparking some sort of heated response. Recent New York Times articles echo the more popular sentiments: from the idea that evaluations are gendered and raced (Pratt), to the prevailing notion that students are informed consumers entitled to “the best return out of their educational investments” (Stankiewicz). Evidently, education is big business. So, we take our cues from neoliberal ideologies, as we struggle to make sense of all the fissures and leaks. Teachers’ bodies now become commodified objects within a market model that promises customer satisfaction—and the customer is always right.“Develop a thicker skin,” they say, as if a thicker skin could contain my affects or prevent other affects from seeping in; “my body is and is not mine” (Butler, Precarious 26). Leaky bodies, with their permeable borders (Renold and Mellor 33), affectively flow into all kinds of “things.” Likewise, teacher evaluations, as objects, extend into human bodies, sending eruptive charges that both register within the body and transmit outward into the environment. These charges emerge as upset, judgment, wonder, sadness, confusion, annoyance, pleasure, and everything in between. They embody an intensity that animates our social worlds, working to enhance energies and/or diminish them. Affects, then, do not just come from, and stay within, bodies (Brennan 10). A body, as an assemblage (Deleuze and Guattari 4), is neither self-contained nor disconnected from other bodies, spaces, and things.As a collection of sticky, “material, physiological things” (Brennan 6), teacher evaluations are very much alive: vibrantly shifting and transforming teachers’ affective capacities and life trajectories. Attending to them as such offers a way in which to push back against our own bodily erasure or “the screaming absence in [American] education of any attention to the inner life of teachers” (Taubman 3). While affect itself has become a recent hot-topic across American university campuses (e.g. see “trigger warnings” debates, Halberstam), conversations tend to exclude teachers’ bodies. So, for example, we can talk of creating “safe [classroom] spaces” in order to safeguard students’ feelings. We can even warn learners if material might offend, as well as watch what we say and do in an effort to protect students from any potential trauma. But we cannot, it would seem, matter, too. Instead, we must (if good and caring) be on affective autopilot, where we can only have “good” thoughts about students. We are not really allowed to feel what we feel, express raw emotion, have a body—unless, of course, that body transmits feel-good intensities.And, feeling bad about teacher evaluations ... well, for the most part, that needs to remain a dirty little secret, because, how can you possibly let yourself get so hot and bothered over a thing—a mere object? Yet, teacher evaluations can and do impact our lives, often in ways that are harmful: by inflicting pain, triggering trauma, encouraging sexism and objectification. But maybe, just maybe, they even offer up some good. After all, if teacher evaluations teach us anything, it is this: you are not simply a body, but rather, an “array of bodies” (Bennett 112, emphasis added)—and your body, my body, our bodies “must be heard” (Cixous 880).ReferencesAhmed, Sara. “Happy Objects.” The Affect Theory Reader. Eds. Melissa Gregg and Gregory J. Seigworth. Durham, NC: Duke UP, 2010. 29–51.———. “Communities That Feel: Intensity, Difference and Attachment.” Conference Proceedings for Affective Encounters: Rethinking Embodiment in Feminist Media Studies. Eds. Anu Koivunen and Susanna Paasonen. 10-24. 1 Jan. 2016 <http://www.utu.fi/hum/mediatutkimus/affective/proceedings.pdf>.Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Durham, NC: Duke UP, 2010.Berlant, Lauren. “Intimacy: A Special Issue.” Critical Inquiry 24.2 (1998): 281-88.———. The Female Complaint: The Unfinished Business of Sentimentality in American Culture. Durham, NC: Duke UP, 2008.———. “Structures of Unfeeling: Mysterious Skin.” International Journal of Politics, Culture, and Society 28 (2015): 191-213.Brennan, Teresa. The Transmission of Affect. Ithaca, NY: Cornell UP, 2004.Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40.4 (1988): 519-31.———. Precarious Life: The Powers of Mourning and Violence. New York: Verso, 2004.Chen, Mel. Animacies: Biopolitics, Racial Mattering and Queer Affect. Durham, NC: Duke UP, 2012.Cixous, Hélène, Keith Cohen, and Paula Cohen (trans.). "The Laugh of the Medusa." Signs 1.4 (1976): 875-93.De Beauvoir, Simone. The Second Sex. London: Jonathan Cape, 1953.Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis, MN: U of Minnesota P., 1987.Falter, Michelle M. “Threatening the Patriarchy: Teaching as Performance.” Gender and Education 28.1 (2016): 20-36.Foucault, Michel. Discipline and Punish: The Birth of a Prison. New York: Random House, 1977.Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Feminism. St. Leonards, NSW: Allen & Unwin, 1994.Halberstam, Jack. “You Are Triggering Me! The Neo-Liberal Rhetoric of Harm, Danger, and Trauma.” Bully Bloggers, 5 Jul. 2014. 26 Dec. 2015 <https://bullybloggers.wordpress.com/2014/07/05/you-are-triggering-me-the-neo-liberal-rhetoric-of-harm-danger-and-trauma/>.Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14.3 (1988): 575-99.Harris, Anita. Future Girl: Young Women in the Twenty-First Century. New York: Routledge, 2004.Jones, Allie. “Racist Teacher Tweets ‘Wanna Stab Some Kids,’ Keeps Job.” Gawker, 28 Aug. 2014. 1 Jan. 2016 <http://gawker.com/racist-teacher-tweets-wanna-stab-some-kids-keeps-job-1627914242>.Jones, Stephanie. “Literacies in the Body.” Journal of Adolescent & Adult Literacy 56.7 (2013): 525-29.Louie, D. “High School Teacher Insults Students, Wishes Them Bodily Harm in Tweets.” ABC Action News 6. 28 Aug. 2014. 1 Jan. 2016 <http://6abc.com/education/teacher-insults-students-wishes-them-bodily-harm-in-tweets/285792/>.MacLure, Maggie. “Qualitative Inquiry: Where Are the Ruins?” Qualitative Inquiry 17.10 (2011): 997-1005.———. “Classification or Wonder? Coding as an Analytic Practice in Qualitative Research.” Deleuze and Research Methodologies. Eds. Rebecca Coleman and Jessica Ringrose. Edinburgh, Scotland: Edinburgh UP, 2013. 164-83. Mazzei, Lisa. “A Voice without Organs: Interviewing in Posthumanist Research.” International Journal of Qualitative Studies in Education 26.6 (2013): 732-40.McRobbie, Angela. The Aftermath of Feminism: Gender, Culture, and Social Change. London: Sage, 2009.Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Film Theory and Criticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. 833-44.Nelson, Cynthia D. “Transnational/Queer: Narratives from the Contact Zone.” Journal of Curriculum Theorizing 21.2 (2005): 109-17.“Newark Teacher Still on the Job after Threatening Tweets.” CBS Local. CBS. 5KPLX, San Francisco, n.d. <http://sanfrancisco.cbslocal.com/video/2939355-newark-teacher-still-on-the-job-after-threatening-tweets/>. Oakley, Doug. “Newark Teacher Who Wrote Nasty, Threatening Tweets Given Reprimand.” San Jose Mercury News, 27 Aug. 2014. 1 Jan. 2016 <http://www.mercurynews.com/education/ci_26419917/newark-teacher-who-wrote-nasty-threatening-tweets-given>.“Offensive Student Evaluations.” PrawfsBlog, 19 Nov. 2010. 1 Jan 2016 <http://prawfsblawg.blogs.com/prawfsblawg/2010/11/offensive-student-evaluations.html>.Parker, Jameson. “Worst Teacher Ever Constantly Tweets about Killing Students, But Is Keeping Her Job.” Addicting Info, 28 Aug. 2014. 1 Jan. 2016 <http://www.addictinginfo.org/2014/08/28/worst-teacher-ever-constantly-tweets-about-killing-students-but-is-keeping-her-job/>.Pratt, Carol D. “Teacher Evaluations Could Be Hurting Faculty Diversity at Universities.” The New York Times, 16 Dec. 2015. 17 Dec. 2015 <http://www.nytimes.com/roomfordebate/2015/12/16/is-it-fair-to-rate-professors-online/teacher-evaluations-could-be-hurting-faculty-diversity-at-universities>.Rajchman, John. The Deleuze Connections. Cambridge, MA: MIT P, 2000.Rate My Teachers.com. 1 Jan. 2016 <http://www.ratemyteachers.com>. Renold, Emma, and David Mellor. “Deleuze and Guattari in the Nursery: Towards an Ethnographic Multisensory Mapping of Gendered Bodies and Becomings.” Deleuze and Research Methodologies. Eds. Rebecca Coleman and Jessica Ringrose. Edinburgh, Scotland: Edinburgh UP, 2013. 23-41.Sedgwick, Eve Kosofsky. Touching Feeling: Affect, Pedagogy, Performativity. Durham, NC: Duke UP, 2003.Stankiewicz, Kevin. “Ratings of Professors Help College Students Make Good Decisions.” The New York Times, 16 Dec. 2015. 7 Dec. 2015 <http://www.nytimes.com/roomfordebate/2015/12/16/is-it-fair-to-rate-professors-online/ratings-of-professors-help-college-students-make-good-decisions>.Stewart, Kathleen. Ordinary Affects. Durham, NC: Duke UP, 2007.Talburt, Susan. “Ethnographic Responsibility without the ‘Real.’” The Journal of Higher Education 57.1 (2004): 80-103.Taubman, Peter. Teaching by Numbers: Deconstructing the Discourse of Standards and Accountability in Education. New York: Routledge, 2009.Thiel, Jaye Johnson. “Allowing Our Wounds to Breathe: Emotions and Critical Pedagogy.” Writing and Teaching to Change the World. Ed. Stephanie Jones. New York: Teachers College P, 2014. 36-48.

Fig. 1: A Start. I could write or I could weave.I could write or I could weave…Write, weave. Weave.Then a colleague and friend says to me: why do you weave?I weave to put myself back together again.I weave the pieces of me that are shattered and broken.I weave because the rhythm, flow, feel, pattern and solidity comforts me.I weave because my body tells me to.I weave to breathe more slowly, more deeply.I weave because the threads that create the strands of my life need a language.… This article reflects on my relationship with weaving and what it offers to the remaining threads of my life. Weaving is embodied, procedural and experiential: it is personal, cultural, and spiritual for me. It is a language that allows me sacred time and space, whether by myself (although I’m really never alone) or with other people. It is an extension of my breath, from my body, in co-creation with earth and sky that manifests as a solid object in my hands. It was when my colleague suggested I write about why I weave that I realised such reflection could help me tap into knowledge. Nithikul Nimkulrat says that knowledge is generated from within the researcher-practitioner’s artistic experience. The procedural and experiential knowledge thus becomes explicit as a written text and/or as visual representations. … With the slow pace of a craft-making process, the practitioner-researcher is able to generate ‘reflection-in-action’ and document the process. (1) For me, knowledge becomes an embodied state of being while I’m weaving: while my hands move, my body grounds, my heart calms, my mind detaches from thoughts, letting one flow to the next, as I watch one stitch lead / follow the next. Until the row becomes the spiral becomes the base becomes the basket. Each stitch documenting my reflections in the process of weaving the whole. The regenerative aspect of this process has been powerful and impactful for me because of my relationship with time and space, my relationship with my Country, my relationship with people, my relationship with sovereignty. I don’t have the words to describe how weaving allows me to embody a relationship with that tiny little spark of creativity in me, so I weave it instead. I see that spiral fractal in everything around me. Weaving, for me, has become a way to listen to them speak. The spiral centre of each round woven basket is my favourite part. I love spirals. Fibonacci sequence. Golden Ratio. Fractals. I’ve heard stories about how some people can look at a specific symbol or drawing and immediately transform their reality from reading the immense wisdom it held. I can only imagine what that must mean and feel like, but when I look at a spiral, anywhere, in anything, I can see through space and time differently. I imagine that must be what our DNA looks like. I feel an immense sense of connectedness when I see that smallest spiral circle core. Reflection in action. I believe we carry our Ancestors in our DNA, or maybe they carry us. I believe this ancient beautiful land we are on was carved out by the Ancestors. Human, non-human, and more-than-human: I see one now. As I write this. On my Country. In my nest. I live in a nest amidst the hills. And so, when I weave, I weave myself into that nest. Freja Carmichael writes: “whether old or new forms, First Nations fibre practices are grounded in histories and knowledges that run deep and interconnect across the lands and waters. Our many nations inherit specific fibre traditions relative to Ancestral, spiritual, environmental and historical contexts all of which are interconnected with culture” (44). While I weave nests, baskets, bags, mats, to my west sits an ancient volcano. An ancient creation ancestor. She called to me in my dreams although I did not know why. Fig. 2: An Aerial Shot. When I weave with my bare feet resting on earth, I feel the pulse of electromagnetic energy, while the warmth of the sun renourishes my face and skin. I feel my heart rate slow, my breathing deepens and my body relaxes. Andrea Hinch-Bourns writes: wherever we are, we can sit down upon the earth, let the dirt run through our fingers, take off our shoes and squish the dirt through our toes, and if we listen carefully, we will hear our ancestors talk to us in the language of our people. This knowledge is contained in all of us, through what is referred to as, ‘blood memory’ … and ‘molecular or cellular memory’ … . This intuition is carried within all of us regardless of whether we are connected to our culture, speak our language, or live somewhere other than our communities. It is something innate, powerful, which draws us together as a collective people. (20) I gather a few individual raffia strands and press them closely together, wrap them with another thread, and reshape them from single strands into a firm spiral base, like the spiral energy at the base of my spine. Grief and love curl themselves through my body and into my hands. I exhale the emotions out and inhale the scent and sounds of my Country, imbuing the threads in my hands with the gratitude that tracks up my back, along meridian points, like the movement of those Seven Sisters embedded in the landscape of my body. I sit straighter, breathe and remember. Weaving can shift my consciousness into a different state of being, allowing me to imagine even more. Such a place, a state of mind, seems to be filled with the potential to transform. In recent years I have, at times, physically, mentally, and emotionally been unable to speak. I don’t like talking, but the act of weaving feels like a conversation, one in which I am involved, wholeheartedly. A conversation that holds potential to transform. Whatever that might look like. The image below of 12 baskets speaks of a three-month conversation I experienced with a group of people, who individually and as a whole grounded me with reciprocity. Fig. 3: 12 Gifts. Aboriginal peoples in Australia have been weaving since the beginning. Please don’t make me attach a linear number of years to that, it’s just not going to align with the spiral base of my basket. In their research exploration of the insider-outsider experience in research spaces, Radley, Ryan, and Dowse “describe weaving as method and cultural process as our individual strands weave together with collective ways of knowing, being and doing openly and freely” (414). They extend the work of Chew, and articulate how the metaphor of weaving as a cultural practice conveys “a model for planning and decision-making that acknowledges ancestral wisdom”; it is, for them, “an intangible knowledge process, narrative, belonging and knowledge transference” (414). They emphasise that the Western notion of “metaphor” does not necessarily convey this conceptual, and I would add embodied, framework. In trying to articulate what weaving is and does, means for me, I have to access my whole being – cognitive, experiential and embodied. At the spiral centre of it, I have to be creative, and creativity is a direct connection to the divine. Country is a physical and metaphysical manifestation of divine source. Tapping into my creativity taps me into my Country and my Ancestors. When I’m tapped in, I listen better, and when I listen better, I recognise other connections and communities around me. The different strands of each community, human, non-human, more-than-human, at first seem unconnected and separate, but these more-than-metaphor threads co-create a basket or nest with me. The final physical object I can touch, feel, and hold in my hands is my cognitive unconsciousness manifested in a more-than-metaphor object. Shay Welch states that cognitive embodied metaphor theory posits that how we conceive the world is a function of our embodied interaction with the world and, as such, most of our depictions, linguistic representations, imaginative operations, and abstract thought are metaphorical with respect to our spatial-locomotive-sensory activities and experiences. That is, most Western theorists reject the idea that metaphors are embodied, that they have meaning and are meaningful. (28) When I hold the threads of raffia, when I shape them, bend them, bind them, and strengthen them, I am in co-creation with the world around me and in me. My internal and external landscapes manifest the nest that holds and nurtures me and I, in return, love hard on it. Gregory Cajete, a Tewa man, states that the metaphoric mind is the oldest mind: connected to the creative center of nature, the metaphoric mind has none of the limiting conditioning of the cultural order. It perceives itself as part of the natural order, a part of the Earth mind. Its processing is natural and instinctive. It is inclusive and expansive in its processing of experience and knowledge … . Because its processes are tied to creativity, perception, image, physical senses and intuition, the metaphoric mind reveals itself through abstract symbols, visual/spatial reasoning, sound, kinesthetic expression, and various forms of ecological and integrative thinking. (51) Weaving has taught me to calm my mind and body, reconnect with my heart, and centre peace in my soul. While most of my weaving has been done without other humans around, any sense of loneliness and isolation is eased by my Country: by the galahs, the magpies, the cockatoos, the crows, the wrens, the clouds, the winds, the sounds, the stars, the air, and the earth. I no longer ever feel lonely, even when I am alone. In co-creating the nest in my hands with the nest I am nestled in, I weave myself back together. Māori researcher Linda Tuhiwai Smith writes: the project of creating is not just about the artistic endeavours of individuals but about the spirit of creating which Indigenous communities have exercised over thousands of years. Imagination enables people to rise above their own circumstances, to dream new visions and to hold on to old ones. It fosters inventions and discoveries, facilitates simple improvements to peoples lives and uplifts our spirits. Creating is not the exclusive domain of the rich nor of the technologically superior, but of the imaginative. (158) Weaving, is at times, my portal to imaginative realms. Once, after a women’s ceremony in north-east Arnhem-Land, the women told us – us women from the heavily colonised and disconnected New South Wales east coast – to not forget what they had taught us and to always return to them in our imaginations. According to Welch, some scholars refer to this as the inscape or the inner space – the source of insight and intuition (27). And according to Ermine (1995), one important aspect of knowledge creation occurs through introspection, the way in which knowledge creation becomes a spiritual experience. He goes on to explain that as knowledge and understanding of the world comes from within, it is through rituals and ceremonies, and the experience of self-actualisation, that knowledge creation occurs and “is synonymous with the soul, the spirit, the self, or the being” (103). Weaving, the practice and the knowing it brings, returns me to a state of embodied being. Anjilkurri Radley acknowledges that, given that all things are connected, “what I perceive as not knowing is only a lack of connectedness” (quoted in Radley, Ryan, and Dowse 423). As I gather together the strands of my life, weaving becomes both the process and language for me to connect my knowings and unknowings. The reviewer for this article pointed out to me how this relates to that spiral, with embodied knowing and practicing circling back on itself. With each moment of return something more has been revealed. “There is a whole ritual in weaving … and for me, it’s a meditation … from where we actually start, the centre part of a piece, you’re creating loops to weave into, then you move into the circle” (Aunty Ellen Trevorrow cited in Bell 44). Weaving helps me listen better. My ears hear differently, pick up differently the languages of earth and sky. The vibrations reverberate in a deep part of my inner landscape. The threads are like the string that keeps me connected to the sky world. Weaving becomes a language that connects my inner and outer worlds, crafting each basket into a story. Stories that keep me connected to communities. Communities that include what Jace Weaver refers to as “the wider community of Creation itself” (xiii). Stories like that Songspiral of those Seven Sisters. The Seven Sisters creation story that we now read in the sky as the Pleiades: “those faint, gentle stars have touched all our lives on a multitude of levels. Their celestial influence in all spheres of life is prolific while their esoteric, spiritual nature in world mythology is profound. Beyond their symbolic meaning, the practical application of the Pleiades in the sciences – especially in measurements, geodesics, geometry, architecture and navigation – is considerable” (Andrews 8). Those Seven Sisters speak to me of my Creation Story and I see their emplaced myth in both the landscape of my body and on my Country. A resting site of theirs nearby. Such emplaced myth speaks of connection and community. The solidity of the raffia strands keeps me grounded in earth, while the rhythm of weaving tugs on my string to the Milky Way. My great, great Aunt (my Nan really) taught me to crochet when I was little. We would sit together out the back of the kitchen and I would listen to her tell stories about locals while we crocheted ourselves together in a rug. Lifetimes later, I learnt how to weave after collecting pandanus, stripping, dying, drying it, sat in a circle on the earth with Aunts and Grandmothers. My sinful left-handedness called to mind my late Mum’s voice – “you cacky-handed bitch” – making me try with my right hand out of shame when I see not one other woman is using her left hand! Eventually, I give in to the calling of my naturally inclined hand to hold the needle and I switch over, requiring me to learn left to right all over again. Now, another lifetime later, I mostly weave alone. But that’s another story and one that’s changing as I sit on my Country with family, little ones, and Elders, hopelessly trying to teach the kids to mirror me, not follow me. From weaving with Yolŋu yapas, to weaving alone, to weaving with mob, the threads of each experience always bring me back to connection. Back together. Joseph Couture says that “Native ‘seeing’ is a primary dynamic, an open and moving mindscape. This process determines and drives the Native habit to be fully alive in the present, without fear of self and others, non-compulsively and non-addictively in full relationship to all that is – in relationship with the ‘is’-ness of a self-organizing ecology, a cosmic community of ‘all my relations” (48). Weaving that relationship became a language for me, allowing me to find the words to write. Once it’s finished, I will give the basket away. I only ever start weaving an item with a person in mind to gift it to. From my heart to my hands, I try to imbue each strand with love, with strength, with harmony. Sometimes the baskets emerge slightly lopsided and uneven in their base or bulgy in some spots in the side. Sometimes I weave embroidered trimming in swirls around the top edge. Holding the emerging basket in my hands, each one takes its own form in co-creation with the world around me. I have no idea how each basket will turn out, its size, its shape, its depth, until it says to me in the process of embodied co-creation, it’s time, it’s done. And so I gather the final strands and weave into the whole. “Sometimes knowledge is received as a gift at a moment of need; sometimes it manifests itself as a sense that ‘the time is right’ to hunt, or counsel, or make a decisive turn in one’s life path” (Castellano 24). Why do I weave? To weave myself whole again. To remember. “From fish traps and cradles to coffins, a basket can hold many things: food, babies, love, trinkets, water, sustenance, bones, burdens, grief and secrets. Like a gathering up of ‘all those shattered pieces’ that have been taken, lost or forgotten, a basket can hold stories, ceremonies and dances, for a new remembering” (Harkin 156). I stop and start this article so many times. I stop because of tears and fears. I start again because of love. The threads of raffia I am using feel alive in my hands. I acknowledge and pay respect to Pandanus and briefly in my imagination return to north-east Arnhem Land: the sky, the smell, the hooked stick to pull the strands of pandanus down, filling bags to take back to camp to prepare for stripping and dying. I run my fingers down a few strands, recalling through my fingers a nightmare as a child – a thread of hair, expanding, igniting a horror in me that even waking up didn’t dispel. Once, when I told a sista about this dream, she said perhaps someone had sung me as a child. The threads of raffia don’t feel like the terror of the hair strand, though. Instead, they feel like home and each time I touch the threads, pushing through, curling over, pulling up, the rhythm, the flow of the pattern, centres me, grounds me while my bare feet rest on the earth. On my Country. That black soil that grew me up. The smell of first rain on its layer of dry dust is the best smell in the world. Petrichor, my sons would say. And I weave the elements of earth, rain, and air into my nest, the basket that will carry love after transmuting my fears with each thread. Seneca dancer Rosy Simas writes, “recent scientific study verifies what many Native people have always known: that traumatic events in our ancestors’ lives persist in our bodies, blood, and bones. These events leave molecular scars that adhere to our DNA” (29). The stories I carry in my body, in my DNA, the stories I carry for my descendants, may not be able to be expressed in spoken English, but my baskets hold them. Fig. 4: The Whole. Radley, Ryan, and Dowse refer to this as “intentionally trusting ancestors and their gifts of cellular memory to guide [us] when something is, or is not, right” and explain how it underscores their ethical and cultural research protocols (435). Dancer Monique Mojica, from the Guna and Rappahannock nations, expresses how “our bodies are our libraries – [with] references in memory, an endless resource, a giant database of stories. Some we lived, some were passed on, some dreamt, some forgotten, some we are unaware of, or dormant, awaiting the key that will release them” (97). I carry my Ancestors in my DNA and the threads that hold us together become solid in my hands. And so, I breathe and weave. References Andrews, Munya. The Seven Sisters of the Pleiades: Stories from Around the World. North Melbourne: Spinifex, 2004. Bell, Diane. Ngarrindjeri Wurruwarrin: A World That Is, Was, and Will Be. North Melbourne: Spinifex, 1998. Cajete, Gregory. "Philosophy of Native Science." American Indian Thought (2004): 45-57. Carmichael, Elisa J. How Is Weaving Past, Present, Futures? Dissertation. Queensland University of Technology, 2017. Castellano, Marlene Brant. "Updating Aboriginal Traditions of Knowledge." Indigenous Knowledges in Global Contexts: Multiple Readings of Our World (2000): 21-36. Couture, Joseph E. A Metaphoric Mind: Selected Writings of Joseph Couture. Athabasca: University Press, 2013. Ermine, Willie, M. Battiste, and J. Barman. "Aboriginal Epistemology." First Nations Education in Canada: The Circle Unfolds (1995): 101-12. Harkin, Natalie. "Weaving the Colonial Archive: A Basket to Lighten the Load." Journal of Australian Studies 44.2 (2020): 154-166. Hinch-Bourns, Andrea Colleen. In Their Own Words, in Their Own Time, in Their Own Ways: Indigenous Women's Experiences of Loss, Grief, and Finding Meaning through Spirituality. Canada: University of Manitoba, 2013. Mojica, Monique. "Stories from the Body: Blood Memory and Organic Texts." Native American Performance and Representation (2009): 97-109. Nimkulrat, Nithikul. "Hands-On Intellect: Integrating Craft Practice into Design Research." International Journal of Design 6.3 (2012): 1-14. Radley, Anjilkurri, Tess Ryan, and Kylie Dowse. "Ganggali Garral Djuyalgu (Weaving Story): Indigenous Language Research, The Insider–Outsider Experience and Weaving Aboriginal Ways of Knowing, Being, and Doing into Academia." WINHEC: International Journal of Indigenous Education Scholarship 1 (2021): 411-448. Simas, Rosy. “My Making of We Wait in the Darkness.” Dance Research Journal 48.1 (2016): 29. Smith, Linda Tuhiwai. Decolonizing Methodologies: Research and Indigenous Peoples. London: Zed, 1999. Weaver, Jace. That the People Might Live: Native American Literatures and Native American Community. Oxford: Oxford UP, 1997. Welch, Shay. “Dance as Native Performative Knowledge.” Native American and Indigenous Philosophy 18.1 (2018): 23-35.

In this essay we challenge whether current conceptions of optimism, hope, and resilience are complete enough to account for the complexity and nuance of developing and maintaining these in practice. For example, a quick perusal of popular outlets (e.g., Forbes, Harvard Business Review) reveals advice to managers urging them to “be optimistic,” or “be happy” so that these types of emotions or feelings can spread to the workplace. One even finds simple advice and steps to follow on how to foster these types of things in the workplace (McKee; Tjan). We argue that this common perspective focuses narrowly on individuals and does not account for the complexity of resilience. Consequently, it denies the role of context, culture, and interactions as ways people develop shared meaning and reality. To fill this gap in our understanding, we take a social constructionist perspective to understand resilience. In other words, we foreground communication as the primary building block to sharing meaning and creating our worlds. In so doing, we veer away from the traditional focus on the individual and instead emphasise the social and cultural elements that shape how meaning is shared by peoples in various contexts (Fairhurst, Considering Context). Drawing on a communication, discourse-centered perspective we explore hope and optimism as concepts commonly associated with resilience in a work context. At work, leaders play a vital role in communicating ways that foster resilience in the face of organisational issues and events (e.g., environmental crises, downsizing). Following this lead, discursive leadership offers a framework that positions leadership as co-created and as the management of meaning through framing (Fairhurst, Power of Framing). Thus, we propose that a discursive leadership orientation can contribute to the communicative construction of resilience that moves away from individual perspectives to an emphasis on the social. From a discursive perspective, leadership is defined as a process of meaning management; attribution given by followers or observers; process-focused rather than leader-focused; and as shifting and distributed among several organizational members (Fairhurst Power of Framing). By switching from the individual focus and concentrating on social and cultural systems, discursive leadership is able to study concepts related to subjectivity, cultures, and identities as it relates to meaning. Our aim is to offer leaders an alternative perspective on resilience at the individual and group level by explaining how a discursive orientation to leadership can contribute to the communicative construction of resilience. We argue that a social constructionist approach provides a perspective that can unravel the multiple layers that make up hope, optimism, and resilience. We begin with a peek into the social scientific perspective that is so commonplace in media and popular portrayals of these constructs. Then, we explain the social constructionist perspective that grounds our framework, drawing on discursive leadership. Next, we present an alternative model of resilience, one that takes resilience as communicatively constructed and socially created. We believe this more robust perspective can help individuals, groups, and cultures be more resilient in the face of challenges. Social Scientific Perspectives Hope, optimism, and resilience have widely been spoken in the same breath; thus, in what follows we review how each is treated in common portrayals. In addition, we discuss each to point to further implications of our model proposed in this essay. Traditionally taken as cognitive states, each construct is based in an individual or an entity (Youssef and Luthans) and thus minimises the social and cultural. Hope Snyder, Irving, and Anderson define the construct of hope as “a positive motivational state that is based on an interactively derived sense of successful (1) agency (goal-directed energy) and (2) pathways (planning to meet goals)” (287). This cognitive set therefore is composed of the belief in the ability to create strategies toward a goal and the belief that those plans can be realised. Exploring hope can provide insight into how individuals deal with stress and more importantly how they use past experiences to produce effective routes toward goals (Brown Kirschman et al.). Mills-Scofield writing in Harvard Business Review mirrors this two-part hope structure and describes how to integrate hope into business strategy. Above all she emphasises that hope is based in fact, not fiction; the need to learn and apply from failures; and the need to focus on what is working instead of what is broken. These three points contribute to hope by reinforcing the strategies (pathways) and ability (agency) to accomplish a particular goal. This model of hope is widely held across social scientific and popular portrayals. This position, however, does not allow for exploring how forces of social interaction shape either how these pathways are created or how agency is developed in the first place. By contrast, a communication-centered approach like the one we propose foregrounds interaction and the various social forces necessary for hope to be fostered in the workplace. Optimism Optimism centers on how an individual processes the causality of an event (e.g., an organisational crisis). From this perspective, an employee facing significant conflict with his immediate supervisor, for example, may explain this threat as an opportunity to learn the importance of supervisor-subordinate relationships. This definition therefore explores how the individual interprets his/her world (Brown Kirschman et al.). According to Seligman et al. the ways in which one interprets events has its origins in several places: (1) genetics; (2) the environment in the form of modeling optimistic behaviours; (3) environment in forms of criticism; and (4) life experiences that teach personal mastery or helplessness (cited in Brown Kirschman et al.). Environmental sources function as a dialectical tension. On one hand the environment provides productive modeling for optimism behaviours, and on the other the environment, through criticism, produces the opposite. Both extremes illustrate the significance of cultural and societal factors as they contribute to optimism. Additionally, life experiences play a role in either mastery or helplessness. Again, interaction and social influences play a significant part in the development of optimism. Much like hope, due to the attention given to social and interactive forces, the concept of optimism requires a framework rooted in the social and cultural rather than the individual and cognitive. A significant drawback related to optimism (Brown Kirschman et al.) is the danger of unrelenting optimism and the possibility this has on producing unrealistic scenarios. Individuals, rather, should strive to acknowledge the facts (good or bad) of certain circumstances in order to learn how to properly manage automatic negative thoughts (Brown Kirschman et al.). Tony Schwartz writing in Harvard Business Review argues that “realistic optimism” is more than putting on a happy face but instead is more about telling what is the most hopeful and empowering of a given situation (1). Thus, a more interaction-based approach much like the model that we are proposing could help overcome some of optimism’s shortcomings. If the power of optimism is in the telling, then we need a model where the telling is front and center. Later, we propose such a model and method for helping leaders’ foster optimism in the workplace and in their communities. Resilience Resilience research offers several definitions and approaches in attempt to examine the phenomenon. Masten defines resilience as a “class of phenomena characterized by good outcomes in spite of serious threats to adaptation or development” (228). Luthar, Cicchetti, and Becker argue that resilience is “a dynamic process encompassing positive adaptation within the context of significant adversity” (543). Interestingly, resilience and developmental researchers alike have positioned resilience as an individual consistently meeting the expectations of a given society or culture within a particular historical context. Broadly speaking, two central conditions apply toward resilience: (1) the presence of significant threat or adversity; and (2) the achievement of positive adaptation (Luthar, Cicchetti, and Becker. Masten goes on to argue that resilience is however ordinary and naturally occurring. That is, the adaptive systems required during significant threat are already present in individuals and is not solely retained by a select few. Masten et al., argues that resilience does not come “from rare and special qualities, but from the operations of ordinary human systems in the biology and psychology of children, from the relationships in the family and community, and from schools, religions, cultures, and other aspects of societies” (129). Based on this, the emphasis of resilience should be within adaptive processes, such that are found in supportive relationships, emotion regulation, and environment engagement (Masten et al.), rather than on individuals. Of these varied interpretations of resilience, two research designs drive the academic literature— outcome- and process-based perspectives (Kolar). Those following an outcome-focused approach tend to concentrate on functionality and functional behaviour as key indicators of resilience (Kolar). Following this model, cognitive states such as composure, assurance, and confidence are examples of resilience. By contrast, a process-focused approach concentrates on the interplay of protective and risk factors as they influence the adaptive capacity of an individual (Kolar). This approach acknowledges that resilience is contextual and interactive, and is “a shared responsibility between individuals, their families, and the formal social system rather than as an individual burden (Kolar 425). This process-based approach toward resilience allows for greater inclusion of factors across individual, group, and societal levels (Kolar). The rigidity of outcome-based models and related constructs does not allow for such flexibility and therefore prevents exploring full accounts of resilience. A process-based approach allows for the inclusion of context throughout measures of resilience and acknowledges that interplay of risk and protective factors across the individual, social, and community level (Kolar). Bearing this in mind, what is needed are more complex models of resilience that account for a multiplicity of factors. An Alternate Framework: Social Construction of Reality Language is the tool storytellers use to generate interest and convey ideas. From a social constructionist standpoint, language is the primary mechanism in the construction of reality. Berger and Luckmann present language as a system that allows us to categorise subjective ideas, which over time accumulates into our “social stock of knowledge” (41). As our language creates the symbols that we use to make sense of the world around us, we add to our social knowledge thereby creating a shared vision of our own social reality. Because we accumulate varying levels and amounts of social knowledge, what we know of the world constantly changes. For example, in organisations, our discourse and on-going interactions with each other serve to shape what we consider to be real in our day-to-day lives. In this view, subjective experiences of individuals are central to our understanding of various events (e.g., organizational change, crises, conflict) and the ways in which we cope with such occurrences (e.g., through hope, optimism, resilience). Alternative Models of Resilience We take Buzzanell’s framework as inspiration for an alternative model of resilience. Her communication-centric model is based in messages, d/Discourse, and narrative where communication is an emergent process involving the interplay of messages and interaction (Buzzanell). Furthermore, the communicative construction of resilience involves “a collaborative exchange that invites participation of family, workplace, community, and interorganizational network members” (Buzzanell 9). This alternative perspective of resilience explores human communication resilience processes as the focal point rather than examining the person or entity. This is essentially a design change, where the focus shifts from the individual or singular toward the communication processes that enable resilience. Essentially, according to Poole, “in process, we can see resilience as dynamic, integrated, unfolding over time and through events, evolving into patterns, and dependent on contingencies” (qtd. in Buzzanell 2). Buzzanell describes five processes included in the communicative construction of resilience: (1) crafting normalcy; (2) affirming identity anchors; (3) maintaining and using communication networks; (4) legitimising negative feelings while foregrounding productive action; and (5) putting alternative logics to work. Here, we highlight two that most directly relate to the alternative model we propose. First, legitimising negative feelings while foregrounding productive action may sound like repression, but in fact it emphasises that negative feelings (nonproductive emotions) are real and that focusing on positive action enables success while facing significant threat. Furthermore, as a communicative construction, this process includes reframing of a situation both linguistically and metaphorically. This communicative process address a major drawback related to the optimism construct presented by Brown Kirschman and colleagues regarding the potential danger of unrelenting optimism. Similarly, putting alternative logics to work, in its practical application, creates resilient systems through (re)framing. Through (re)framing, individuals, groups, and communities can create their own logics that enable them to reintegrate when facing adverse experiences. That is, (re)framing provides an opportunity to endure unfavorable situations while creating communicatively creating conditions that enable adaptation. This idea can also be seen in popular press such as in the Harvard Business Review blog “Craft a Narrative to Instill Optimism” (Baldoni). According to Baldoni, leaders have a choice in creating the narrative of our world. Thus, leaders serve as the primary meaning managers in the workplace. Leadership and the Management of Meaning Kelly begins our discussion toward an ongoing discursive turn in leadership research. Much like hope, optimism, and resilience, Kelly proposes that leadership has been wrongly categorised and therefore has been inadequately observed. That is, due to focusing on trait-based leadership models espoused by leadership psychology the area of leadership has been left with significant deficits surrounding the very core of leadership. The lessons learned about the reductionist treatment of leadership can be applied to our understanding of resilience. Thus, we draw on discursive leadership because it provides an example for how leaders can foster resilience in various settings. The discursive turn stems from the incongruity seen in these traditional trait or style-based leadership approaches. From a social constructionist perspective, researchers are able to explore the forms in which leadership contributes to the meaning construction process, much in the same way that a communication perspective, outlined above, emphasises resilience as a process. This ontological shift in leadership research not only re-categorises leadership but also changes the ways in which leadership is studied. Kelly’s emphasis on a socially constructed view of leadership combined with alternative methodological approaches contributes to our aim to explore how a discursive leadership orientation can contribute to communicative construction of resilience. Discursive Leadership Discursive leadership views leadership as more of an art rather than a science, one that is contested and inventive (Fairhurst, Discursive Leadership). Where leadership psychology emphasises the individual and cognitive, discursive leadership highlights the cultural and the communicative (Fairhurst, Discursive Leadership). Leadership psychology is analogous to common, social scientific understandings of resilience that typically confines resilience into something easily attainable by individuals. The traditional leadership psychology literature attempts to determine causality among the cognitive, emotional, and behavioural elements of leader actors, whereas, discursive leadership takes discourse as the object of study to view how we think, see, and attribute leadership. Discursive leadership offers an optimal resource to view the communicative practices involved in the management of meaning and communicative construction of reality, including resilient systems and processes. Thus, we draw everything together now, and introduce practical interventions organisations can implement to foster hope, optimism, and resilience. An Alternate Model in Practice Attention to human capabilities and adaptive systems that promote healthy development and functioning have the potential to inform policy and programs that foster competence and human capital and aim to improve the health of communities and nations while also preventing problems (Masten 235). Masten’s words point to the tremendous potential of resilience. Thus, we wish to conclude with the implications of our perspective for individuals, groups, and communities. In what follows we briefly explain framing, and end with two interventions leaders can use to help foster resilience in the workplace. A common and practical example of language creating reality is framing. Fairhurst, in her book The Power of Framing explores framing as a leader’s ability to construct the reality of a subject or situation. A frame is simply defined as a mental picture where framing is the process of communicating this picture to others. Although words or language cannot alter any physical conditions, they may, however, influence our perceptions of them. Fairhurst goes on to “frame” leadership as co-created and not necessarily found in specific concrete acts. That is, leadership emerges when leader actors are deemed to have performed or demonstrated leadership by themselves and/or others. Leadership in this case is determined by attribution. For Fairhurst, leaders are able to shape and co-create meaning and reality by influencing the here and now. From this perspective interventions should be designed around the idea of creating alternative logics (Buzzanell) by emphasizing the elements of framing. For the sake of brevity, we wish to emphasise two fundamental areas surrounding process-oriented and communicative constructed resilience. It is our hope that leaders may use these takeaways and build upon them as they reflect how to position resilience at the individual and organisational level. First, interventions should focus on identifying the supportive adaptive systems at the individual, group, and societal level (e.g., family, work teams, community coalitions). This could be done through a series of dialogue sessions with an aim of challenging participants to not only identify systems but to also reflect upon how these systems contribute toward resilience. These could be duplicated in work settings and community settings (e.g., community forums and the like). Second, to emphasise framing, interventions should involve meaningful dialogue to help identify the particular conditions within a significant threat that will (a) lead to productive action and (b) enable individuals, groups, and communities to endure. Overall, an increased emphasis should be placed on helping participants understand how they are able to metaphorically and linguistically (Buzzanell) create the conditions surrounding adverse events. Our aim in this essay was to present an alternate model of various human processes that help people cope and bounce back from troubling times or events. Toward this end, we argued that media and popular portrayals of constructs such as hope, optimism, and resilience lack the complexity to account for how these can be put into practice. To fill this gap, we hope our communication-based model of resilience, with its emphasis on interaction will provide leaders and community members a method for engaging people in the process of coping and communicating resilience. Honoring the processual nature of these ideas is one step toward bettering individuals, groups, and communities. References Baldoni, John. “Craft a Narrative to Instill Optimism.” Harvard Business Review 17 Dec. 2009: 1. Berger, Peter L., and Thomas Luckmann. The Social Construction of Reality. New York: Anchor Books, 1966. Brown Kirschman, Keri J., Rebecca J. Johnson., Jade A. Bender., and Michael C. Roberts. “Positive Psychology for Children and Adolescents: Development, Prevention, and Promotion.” Oxford Handbook of Positive Psychology. Eds. Shane J. Lopez and Charles R. Snyder. New York: Oxford. 2009. 133-148. Buzzanell, Patrice M. “Resilience: Talking, Resisting, and Imagining New Normalcies into Being.” Journal of Communication 60 (2010): 1-14. 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