Chains of art offer connection and care

2021 ◽  
Vol 12 (3) ◽  
pp. 319-326 ◽  
Author(s):  
Tova Speter

Art Therapist Tova Speter shares a sample from Translations: connected art reflecting empathy (c.a.r.e.), a creative example of how engagement in a collaborative art experience can help people feel connected despite being physically isolated. This community art experience was launched in response to the isolating effects of the COVID-19 global pandemic. Over 100 artists participated in nineteen chains of six linked artistic expressions translating the words of the community through art. The six links in each chain offered a creative way to connect, which offset the 6 feet of physical distance we were advised to keep from each other in order to care for each other. This project highlights how art can hold and communicate intention and feeling across modalities as it offers connection and inspiration to a wide audience.

2021 ◽  
Vol 84 (3) ◽  
pp. 517-519
Author(s):  
K Furukawa ◽  
K Sato ◽  
S Okachi ◽  
H Kawashima ◽  
M Fujishiro

Coronavirus disease 2019 (COVID-19) caused by severe acute respiratory syndrome coronavirus 2 (SARSCoV- 2) has become a global pandemic. The human-tohuman transmission of SARS-CoV-2 occurs primarily through droplets, aerosols, and direct contact. Endoscopy is performed at a short physical distance between an endoscopist and patient, which increases the risk of SARS-CoV-2 transmission to the endoscopist through contact with body fluids and exposure to droplets due to vomiting, retching, and coughing during endoscopic procedures (1). Gastrointestinal endoscopic procedures generate aerosols, which mandates the use of appropriate personal protective equipment (PPE) (1,2). To further reduce the risk of viral infection during endoscopy, additional infection protection is needed to assist PPE from not only the side of endoscopists but also the side of patients (3). Various infection prevention devices, such as a reusable plastic cube barrier, have been reported (3); however, we focused on a surgical mask as a simple and inexpensive method (4). Previous studies proposed modified surgical masks with an endoscopic insertion port, which were handmade with an incision for endoscope insertion into commercially available surgical masks (2,4). Although these “handmade” masks may be easily modified, their preparation is burdensome and not sterile. We developed a novel disposal surgical mask with a mask manufacturer that is specifically designed as a droplet prevention device for endoscopic procedures that may be massproduced with uniform quality and easily introduced into endoscopy units. This novel surgical mask has a 10-mm slit in the center for the insertion of an endoscope and two small 6-mm slits for suction on the left and right. The width of the pleats in the center have been widened to easily cut the slits, which allows for cost-effective mass production. Despite its close fit, the narrow slit allows for the easy passage of an endoscope and smooth endoscopic manipulation. Furthermore, the leakage of droplets and aerosols through the slit in the surgical mask is minimized (Fig. 1A-D).


2018 ◽  
Vol 6 (1) ◽  
pp. 44-88
Author(s):  
Alice Anne Eden

This article is a scholarly reflection on a recent collaborative art project entitled Enchanted Community, which took place in Coventry and Leamington, 1 May - 31 July 2017. The project sought to communicate art historical scholarship to the wider community through innovative methods: using art and craft activities combined with education, inter-disciplinary framing and collaborative working. Experiences of communicating art historical research and engaging the public with regard to the themes of art and enchantment were both rewarding and surprising. The article summarises the key aspects of the project: its events, outcomes, challenges and successes including outputs and feedback statements from attendees. The article is framed by a number of scholarly perspectives. I survey historical ideas of art and enchantment which inspired the project. I also consider academic debates concerning outreach, public engagement, community art activities and impact through the arts and humanities. The project provided the opportunity to reflect on these areas of historical scholarship alongside methodological issues while developing pathways and contacts for further activities.


Author(s):  
Celiane Camargo-Borges ◽  
Sheila McNamee

We are living in challenging times, surfacing many reactions, thoughts, visions and beliefs in an attempt to understand and offer ways to cope with the COVID crisis and the recovery of the world. We believe a constructionist stance can help us respond to this moment.  Everyday life is uncertain, although we most often act as if it is predictable and dependably redundant.  We organize our lives around certainties that lead us to feel that we are in control. The pandemic has pulled the rug from under our feet and uncertainty is now the slogan of our time. However, one “silver lining” of the pandemic might be the way it exposes the unfolding nature of our worlds. To that end, the pandemic helps us embody and thus “know from within” (Shotter, 2010) a constructionist sensibility.  This embodiment of social construction takes us far beyond a simple academic understanding. The confluence of the pandemic and learning about social construction can create the opportunity to put ideas into practice and, in so doing, our understanding of constructionist ideas is deepened. From a constructionist perspective, COVID-19 is not separate from us.  It is happening through us, in us, between us and because of us. Social construction helps us see the world as an interconnected and complex system in which macro and micro levels, as well as human and non-human entities are constantly creating and re-creating possible realities (Simon & Salter, 2020). Indeed, this highly contagious virus, initially framed as a public health issue,  soon revealed its complexity, having also political, social, economic, environmental and relational entanglements. Our attempt to balance the shutdowns (staying at home), for health protection, with the economic need for business to operate is an illustration of how interconnected these systems are. The virus also makes it necessary to balance physical distance with social connection and collective support.  Despite the fear and discomfort, the potential for change ignited by this global crisis is substantial. By coming together with a diversity of voices, experiences, and perspectives, new performances can be enacted, new ways to respond and cope can be imagined, and new forms of living can be created – and these are all changes that could possibly be sustained once the pandemic has past. The pandemic therefore is a perfect time for dialogue and innovation. Dialogue and relationality are fundamental pillars in the construction, de-construction and re-construction of knowledge and society (Gergen, 2009a). Change starts with us in our interactions, one interaction at a time. SC invites us to come together and share the challenges we face, co-creating new possibilities for health and connection. Through collective interactions, new meanings and possibilities emerge; we re-invent realities. How can we address this interconnected and complex reality? And how do we ignite change that supports a reconstruction of our world in ways that address the inequities we currently face? What are the social conditions that can ignite new forms of understanding that generate new and resourceful ways of living? 


2018 ◽  
Vol 6 (3) ◽  
pp. 322
Author(s):  
Saioa Olmo Alonso

This article centres on the exchange of necessities, projections, ways of behaving and of establishing relations, of people involved in participatory art projects and collective artistic practices. For that, we explore how these exchanges happen, thinking about the transactions (from the point of view of the Transactional Analysis), the transferences and counter transferences (from Freudian Psychoanalysis), the concept of “habitus” (of Pierre Bourdieu’s sociology) and the transitional phenomena (from Donald W. Winnicott’s theory). We cross these concepts with the artistic fact andspecifically with ways of doing art usually appointed under labels such as Participatory Art, Collaborative Art, Relational Art, Dialogical Art, Community Art, Social Engaged Art, Artivism, New Genre Public Art and Useful Art. We pay attention to artistic practices that specifically put the focusof interest on exploring different possibilities of sociability that let people and collectives make transitions (ideological, practical, emotional, material, relational ones…) from one situation or position to another. We call “Transart” to this kind of artistic practice that works under the idea that art isa human creation that experiment with ways of exchange, that facilitate transits and that can contribute to processes of transformation.


2021 ◽  
pp. 1-34
Author(s):  
Viktoriia Shubina ◽  
Aleksandr Ometov ◽  
Anahid Basiri ◽  
Elena Simona Lohan

AbstractSince the beginning of the coronavirus (COVID-19) global pandemic, digital contact-tracing applications (apps) have been at the centre of attention as a digital tool to enable citizens to monitor their social distancing, which appears to be one of the leading practices for mitigating the spread of airborne infectious diseases. Many countries have been working towards developing suitable digital contact-tracing apps to allow the measurement of the physical distance between citizens and to alert them when contact with an infected individual has occurred. However, the adoption of digital contact-tracing apps has faced several challenges so far, including interoperability between mobile devices and users’ privacy concerns. There is a need to reach a trade-off between the achievable technical performance of new technology, false-positive rates, and social and behavioural factors. This paper reviews a wide range of factors and classifies them into three categories of technical, epidemiological and social ones, and incorporates these into a compact mathematical model. The paper evaluates the effectiveness of digital contact-tracing apps based on received signal strength measurements. The results highlight the limitations, potential and challenges of the adoption of digital contact-tracing apps.


Author(s):  
Teresa Torres Eca ◽  
Angela Saldanha ◽  
Ana Maria Barbero Franco

When engaging in contemporary community art practices, art educators question and reflect upon daily life aesthetics, creating micro-narratives and provoking actions through poesis and metaphors. Performative practices converge in political events using hybrid languages in-between the borders of various fields where educational practices may be generated through participatory research and collaborative art processes. In this chapter we describe several practices and strategies of activism related to art education research by the authors with intention of promoting socially engaged justice through artistic process in the community. The strategies employed by the authors are based on collaborative pedagogical approaches adopted from contemporary art practices and artistic tools, such as collaborative sketchbooks, kilts, drifts, drawing festivals and online exhibitions. These approaches promote shared learning experience and democratic participation through the arts, and ultimately help to develop community cohesion, solidarity and social justice.


This article presents the case of Chatterley and Clifford, the two main characters in Lady Chatterley’s Lover, to consider tenderness a basic working emotion to shape human relationships. The lack of tenderness causes emotional as well as physical distance in relation, especially that of male-female’s relation. The first part of the article reviews tenderness. The second part reviews how tenderness and lack of tenderness affect a male-female relationship in the selected novel, Lady Chatterley’s Lover. On the basis of a careful analysis of Lady Chatterley’s Lover, the present writer tries to prove that the lack of tenderness is the main culprit for the broken relationship between husband and wife: a major one of the relations between man and woman in human society and mutual tenderness elicits people awakening to a new way of living in an exterior world that is uncracking after the long winter hibernation. Lawrence, through a revelation of Connie’s gradual awakening from tenderness, has made his utmost effort to explore possible solutions to harmonious androgyny between men and women so as to revitalize the distorted human nature caused by the industrial civilization. Key words: relationship, husband and wife, tenderness, main culprit, Connie


2011 ◽  
Vol 1 (1) ◽  
pp. 36-50 ◽  
Author(s):  
Dinah Birch

The contested values associated with the term ‘Victorian’ call for fresh and informed consideration in the light of far-reaching changes brought about by the global economic downturn. Victorian writers engaged with public questions that were often associated with the issues we must now address, and their vigorously contentious responses reflect a drive to influence a wide audience with their ideas. Fiction of the period, including the sensation novels of the 1860s, provide telling examples of these developments in mid-Victorian writing; but non-fictional texts, including those of the philosopher and political economist John Stuart Mill and the critic John Ruskin, also question the foundations of social thought. As they challenged traditional genre boundaries through the innovative forms that emerged across a range of diverse works, many Victorian authors argued for closer links between the discourses of emotion and those of logic. These are difficult times for researchers and critics, but the stringencies we find ourselves confronting can provide opportunities to create connections of the kind that the Victorians chose to make, bringing together different genres of writing and disciplines of thought, and arguing for a more generous understanding of our responsibilities towards each other.


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