Rebuilding sustainable place through the embodied image of the peranakan chinese house: Study of Kidang Mas in Lasem, Indonesia through Juhani Pallasmaa’s perspective

This article is grown from a dialogue between Mr. Rudi’s childhood story as the sixth generation of Kidang Mas and the phenomenological perspective of Juhani Pallasmaa. Phenomenology by Pallasmaa is a powerful research strategy that is well suited for exploring the image within the Peranakan house of Kidang Mas. The strategy is expected to build a better understanding of the value of the Peranakan house. Pallasmaa’s perspective also proposes the “hands” to grasp the experiences through verbal sources turning into a concrete image. Verbal sources obtained from flowing and in-depth interviews supported by sensory activation, which engendered various fascinating and memorable childhood stories and activated all human senses. While the concrete images are conveyed through pictures based on the three most favorite childhood memory activities. The drawings were done using a pencil on paper. It is expected to elevate the sense of attachment of homeowners, local people, and visitors to the place which caused appreciation to the embodiment of Peranakan houses in Lasem as heritage buildings. This article gives another understanding of “rebuilding” sustainable place through the embodied image of Peranakan house in Lasem. The article also serves as a medium for disseminating knowledge about one of the Indonesian cultures to the wider audience.

CROSS-CULTURAL STORYTELLING APPROACHES IN TIKTOK'S MUSIC CHALLENGES

TikTok has created new strategies that has impacted the music industry through visual effects, stickers, filters, augmented reality, split screens, and transitions in videos no longer than 60 seconds. TikTok posts presents a mode of interdependence where users demonstrate the cultural value of music through challenge and audio memes. This study focuses on a popular social trend on TikTok known as ‘music challenges’. We focused on the significance and cultural meaning of music challenge memes through five key elements – image, audio, text, story, culture – to understand what comprises a ‘challenge’ on TikTok, how storytelling constitutes music challenges, and what cross-cultural in-group affiliations are identified in this trend. For this purpose, we developed a ‘TikTok music storytelling codebook’ informed by grounded theory, and selected 150 music challenge meme posts via manual scraping the ‘#MusicChallenge’ hashtag on TikTok 1–3 April 2021. Through a pilot analysis, we identified new modes of storytelling through audio memes related to nostalgia, fandom and humour. Beyond “put a finger down” challenges and “I know the song/I don’t know the song” lists, we found a broader significance in telling stories grounded across cultures: sharing a childhood memory, relating to a lifestyle type, and fanning after a musical genre. We noted a musical-peer group belonging trend that brings out a mixture of urban tribes and experiences via creative song-mixing that lasts seconds. To sum up, we understand that TikTok music challenges emerge as a vehicle for interdependent groups to showcase their in-group identities through playful audio-visual creations.

Childhood Memories in Eating Disorders: An Explorative Study Using Diagnostic Imagery

Together with socio-cultural components, the family environment and early parent–child interactions play a role in the development of eating disorders. The aim of this study was to explore the nature of early parent–daughter relationships in a sample of 49 female inpatients with an eating disorder. To acquire a detailed image description of the childhood experiences of the patient, we used diagnostic imagery, a schema therapy-derived experiential technique. This procedure allows exploring specific contents within the childhood memory (i.e., emotions and unmet core needs), bypassing rational control, commonly active during direct verbal questioning. Additionally, patients completed self-report measures to assess for eating disorder severity, general psychopathology, and individual and parental schemas pervasiveness. Finally, we explored possible differences in the diagnostic imagery content and self-report measures in two subgroups of patients with anorexia nervosa and bulimia nervosa. The results showed that the most frequently reported unmet needs within the childhood memories of patients were those of safety/protection, care/nurturance, and emotional expression, referred specifically to the maternal figure. Overall, mothers were described as more abandoning, but at the same time particularly enmeshed in the relationship with their daughters. Conversely, patients perceived their fathers as more emotionally inhibited and neglecting. Imagery-based techniques might represent a powerful tool to explore the nature of early life experiences in eating disorders, allowing a more detailed case conceptualization and addressing intervention on early-life vulnerability aspects in disorder treatment.

How Do Location-Based Augmented Reality Games Improve Physical and Mental Health? Evaluating the Meanings and Values of Pokémon Go Users’ Experiences through the Means-End Chain Theory

New technology has dramatically changed online games and blurred the boundary between active and passive activities. This study aims to explore the meanings and values of augmented reality online games by examining users’ Pokémon Go experiences through the means-end chain theory. Using data from interviews with 34 Pokémon Go users, this study adopts the soft laddering method to identify Pokémon Go’s potential attributes, consequences, and values, and to construct a hierarchical value map. The results indicated that Pokémon Go users pursue social relationships through play, and these relationships are triggered by the benefits of making new friends, maintaining current relationships with friends and family, and the attributes of prevalence, childhood memory, game design, and augmented reality. Subsequently, this study describes how Pokémon Go can be considered an active leisure activity because of its social, mental, and physical benefits and assesses the implications of its findings.

The Siberian Odyssey of a Zagorje Corporal

This chapter introduces Marshal Tito, who was born and raised in the Croatian village of Kumrovec and joined the Communist Party of Yugoslavia (CPY) as a worker in Kraljevica Shipyard in 1925. It describes Tito's personal history as a closely guarded secret, noting that the state he ruled while he was in power took care of it. It also tells Tito's story as a cryptic man who emerged from the Balkan mists and became one of the key protagonists of the modern history of Europe and the world. The chapter recounts Tito's earliest years in the village of Podsreda in Slovenia, on the fief of the Austrian princely family Windisch-Graetz. It cites Tito's time in Slovenia with his grandfather as his most cherished childhood memory.

Studio Project on the Sculpture Entitled Retrospection and Prodigy Series

An artwork creation requires a particular process which involves knowledge, creativity and skill. The process demands the artist’s comprehension of the work’s issue that is usually incorporated in the artwork. This article discusses the process of sculpture that applies via the studio-based research method of which the study has integrated data investigation, progression of idea, fabrication of artwork and art criticism. This study determined a series of sculptures titled Retrospection and Prodigy made by Mohd Khairi Baharom (2012) which practiced the studio-based research method. To incorporate the critical issue in the sculpture, the studio project investigated the sculptor’s center of discussion that has been used in the phenomenological study approach. The sculptor’s childhood memory lives in rural areas with limited accessibility causing the expansion of his imagination and craft skills. This matter has motivated him to use his childhood reminiscence for the aesthetic content in the sculpture. The sculpture process involved several phases of studio projects such as data compilation, concept and form development, and artwork fabrication. The additional data of sculpture criticism has also been included in the article for better interpretation.

My Grandmother Drank the Qur'an: Liquid Readings and Permeable Bodies in Bosnia

Starting with a curious childhood memory, the author considers the practices of imbibing – or otherwise transforming and internalising – sacred texts as modes of reading in their own right. At the heart of the argument is a call for a receptive apprehension of reading, open to worlds beyond substance dualism and the detachment of text and meaning residing therein. Kaleidoscopic autobiographical elements merge with and extend through a variety of transmutational, syncretic practices, such as the rituals of ‘erasure’ (e.g. kombe) across the African continent, or the magical inscriptions ( zapisi) and the ritual of ‘horror pouring’ ( salivanje strave) in Bosnia. Water appears as a particularly efficacious agent, flowing between humans and more-than-humans and connecting different bodies, religions, and forms of knowledge. Noticing that the recurring motif of such practices is healing, the author wonders if the drinking of text might be a remedy against the political ontology of inter-corporeal distance. A radically intimate engagement with text, it is suggested, requires the kind of trust that allows for permeability – an always-potential openness, a new sort of liquid critical reading.

Playing Chess

In this autoethnography, I layer a childhood memory of playing chess onto the experience of watching a video about chess. In doing so, I hope to bridge past and present to build future.

Creative Nonfiction and the Lyric Essay

This chapter is devoted to writing which falls under a recent, nearly paradoxical coinage: ‘creative nonfiction’, a phrase which raises the fundamental theoretical questions asked by Lukács and Adorno about whether the essay is better seen as art or knowledge. Stuckey-French examines both the rise of this category in creative writing programmes in universities in the United States, and the arguments of the influential theorist and anthologist of the essay John d’Agata, who rejects ‘creative nonfiction’ in favour of the ‘lyric essay’. Stuckey-French then shows how the contemporary essayists Jo Ann Beard, Eula Biss, and Claudia Rankine are both preoccupied by the boundary between fiction and reality, and often transgress it without minimizing its ethical and political significance, in respect of childhood memory, violence, or race.