한 중년여성의 자아정체성탐색 경험에 대한 예술 기반 내러티브 탐구

We have been working on the creation of media art, utilizing technologies. In this paper, we have focused on media art created based on the visualization of fluid behaviors. This area is named “fluid dynamics” and there has been a variety of research in this area. However, most of the visualization results of the fluid dynamics show only stable fluid behaviors and a lack of unstable or, in other words, unpredictable behaviors that would be significant in the creation of art. To create various unstable or unpredictable fluid behaviors, we have developed and introduced several new methods to control fluid behaviors and created two media arts called “Sound of Ikebana” and “Genesis”. Interestingly, people find and feel that there is Japanese beauty in these media arts, although they are created based on a natural phenomenon. This paper proposes the basic concept of media art based on the visualization of fluid dynamics and describes details of the methods that were developed by us to create unpredictable fluid dynamics-based phenomena. Also, we will discuss the relationship between Japanese beauty and physical phenomena represented by fluid dynamics.

Objectives: - Research in the field of meaning and trauma has failed to examine how interpersonal factors might impact on how people come to understand their experience of childhood sexual abuse, or how this meaning might change over time. This research aimed to develop a greater understanding of the meaning women develop for their experience of childhood sexual abuse over the course of their lives. A further aim was to investigate the ways in which interpersonal factors might impact on the meaning derived for these experiences and to investigate whether these meanings impacted on relationships with others. Design: - The study employed a qualitative research paradigm using a grounded theory methodology. Method: - Sixteen female participants were sought. They were recruited from selfhelp organisations and NHS mental health services. Face to face interviews were conducted using a semi-structured interview schedule. The interviews aimed to develop a greater insight into participants' current and past understandings of the abuse, explanations for changes in meaning over time (if applicable), the influence of interpersonal relationships on the meaning of the abuse, the influence of the meaning of the abuse on interpersonal relationships and the nature of the support desired to help participants manage these meanings. Results: - Participant responses were analysed using aspects of the grounded theory method. Categories and themes were generated from the data. The data suggests that different meanings were given to the experience of sexual abuse in childhood and adolescence when compared to the current time. In particular, most of the participants interviewed reported 'self-blame' and 'the self as bad or wrong' in childhood and adolescence whereas current meanings were more likely to be characterised by'perpetrator blame. The impact of the meaning of the abuse on interpersonal relationships, and the impact of interpersonal relationships on the meaning of the abuse, also differed between childhood, adolescence and the current time. In childhood and adolescence, most participants described feeling disconnected from others. In contrast, many participants reported fearing rejection and feeling worthless in relation to others in adulthood. Relationships with others were also reported to both modify and confirm abuse-related meanings, particularly in adulthood. The data generated suggests that the changes in meaning reported over time resulted from interpersonal life events and experiences, such as having children or forming close relationship with others. Conclusions and Implications: - A tentative theoretical framework was developed from participants' responses to the research questions. This incorporated the difference in meanings that were given to the experience of childhood sexual abuse in childhood and adolescence when compared to the current time, and the relationship between these meanings and interpersonal relationships. A theoretical account was also developed to account for the changes in meaning given to participants' experiences of abuse from childhood and adolescence to adulthood. Methodological and conceptual issues in the research have also been addressed and suggestions made for further research. Implications for clinical practice are considered.

This article presents practice-based research in visual arts undergraduate subjects. Pedagogical approaches in the Visual Arts strand of the Bachelor of New Media Arts (BNMA), School of Creative Arts (SoCA) are outlined as motivational strategies, where stories emerge as the basis for issue-driven projects. Curriculum design was based on the premise that visual artists in a university will access specific software programmes to suit their interests and skills. While students are required to build on skills and knowledge, the lecture programme targets creative art projects with emphasis on conceptual development and digital presentation. Teaching to develop individual pathways in creative arts practitioners at tertiary level has demonstrated benefits and students provided strong appraisal in student feedback for teaching (SFT). Lectures present ways that artists consider a story, along the lines of a plot or storyboard, providing scope for the concept that the character is to expose. Hull and Katz (2006, Crafting an Agentic Self: Cases Studies of Digital Storytelling, 41:1) refer to storytellers becoming their agentic selves in terms of personal development. One subject combines ideas about storytelling with contemporary visual arts and, in the context of relational aesthetics (Bourriaud 2002), connectivity occurs between visual and issue-driven art. The subject design involves broad issues as well as reflexivity, and merges with the scenario of how artists become involved with exposing universal concerns. Students demonstrate potential for research in artworks where visual interpretation of characters involves storytelling and documentation. Artists' statements contextualize the work on display. Students reference web links and identify Computer Learning Technologies (CLT) crucial to their work. They write about software and links to online tutorials to explicate new knowledge and technical advancement.

Our teaching of narrative inquiry, shaped by a conceptualization of narrative inquiry grounded in a Deweyan theory of experience, works from a view of experience as embodied, always in motion, and shaped and reshaped by continuous interaction among personal, social, institutional and cultural environments. Given this experiential grounding, narrative inquiry is much more than telling or analyzing stories. Our focus is on learning to think narratively, that is, on learning to think with stories. Learning to think with stories highlights the relational, multiperspectival processes in which participants and narrative inquirers inquire into their lived and told stories attentive to the dimensions of temporality, sociality and place and with a focus on retelling and reliving lived and told stories in more thoughtful and responsive ways in the future. Through a series of storied moments, we show ways in which we intentionally create small responsive communities of sustained conversation enabling students to tell aspects of their lives through engaging in diverse narrative inquiry activities. We then illuminate the transformational power of response as lives meet within the three-dimensional narrative inquiry space and each teller is supported in retelling his/her stories in more attentive ways. As students learn to attend to their experiences in narrative ways each teller awakens to new ways of knowing and becoming a narrative inquirer.

Within this chapter, I use my early experiences as a special education teacher to story and restory how Othering shapes the lives of special education teachers and their students. The disability-as-deficit model labels those students who receive special education services as less than, as outside the norm, as Other. The stories of my early teaching career offer insight into this Othering and link special education subject matter knowledge with my identity as a sibling of an individual with Down syndrome that fuels my teacher knowledge. Clandinin and Connelly’s three-dimensional narrative inquiry space provides a framework to examine the back-and-forth intersections of sibling and special educator knowledge. An autoethnographic exploration results in a critically reflexive narrative that exposes overlapping pieces of Othered identities, and explains how my teacher knowledge situates me differently than my special educator colleagues. The three-dimensional narrative inquiry space also provides the necessary tension between subject matter knowledge and teacher knowledge to create a dialogue of Othering between special education teacher and student. This dialogue pushes the idea of Least Restrictive Environments within social-personal space, and can lead to multiple Othered voices speaking as powerful bridges to span the divide between general and special education, the norm and the Other.

Purpose – The purpose of this chapter is to explore and make visible narrative thinking as an interpretive act in moving from field texts to research texts.Approach – The chapter shows a collaborative meaning-making process of three teacher educators/researchers as they inquire into their identities as teacher educators. The chapter is framed around a focus on temporality, one commonplace within the three-dimensional narrative inquiry space and also shows connections with the two other commonplaces of sociality and place.Findings – The researchers deepen the understanding of identity as situated in a continuity of experience in relation with others. They highlight how stories beget a storied response. They demonstrate that the experiential dimensions of sociality, temporality, and spatiality are interconnected. They find, through thinking narratively, that the relational is critical – both historically and in the present. Relationships shape a sense of self. This relational aspect of their research introduces ethical considerations. It is in honoring the stories they carry and the stories that are given to or shared with them that the possibility exists for shaping a responsive and attentive life.Research implications – Numerous authors have written about the relational aspects of narrative inquiry as a research methodology. This chapter shows ways in which the relational aspects of narrative inquiry shaped both our inquiry into and our understandings of our identities as teacher educators. These foundational aspects of the relational both in terms of narrative inquiry as a research methodology and in identity inquiry open up many future research possibilities which extend far beyond narrative inquiry into teacher educator identity.Value – Researchers utilizing a narrative inquiry approach will find a helpful explanation and demonstration of the process of making meaning of field texts by situating them within the three-dimensional narrative inquiry space.

The association between childhood maltreatment experiences and the onset of maltreatment perpetration in young adulthood controlling for proximal and distal risk factors

Caregivers' own childhood maltreatment experiences potentiate the risk for psychopathology and perpetration of maltreatment against one's children. In turn, both of these factors may negatively impact children's mental health. The nature of these intergenerational patterns of maltreatment may vary as a function of type of child outcome and may also be influenced by child age and sample characteristics (i.e., involvement of Child Protection Services, CPS). The present study uses a Structural Equational Model to examine cross-sectional relationships between caregiver maltreatment experiences in childhood and child-rated emotional and conduct problems and tests the mediational effect of caregiver internalizing symptoms and child maltreatment exposure. This sample is comprised of 791 children aged 3-16years (Mage = 10.6years; n = 302 3 to 8-year-olds, n = 489 9 to 16-year-olds; 51.5% male) and their caregivers (88.4% biological mothers). Children were recruited from CPS (n = 124), youth psychiatric services (n = 144), and the general population (n = 523). Results indicated indirect links between caregivers' childhood maltreatment experiences and their children's emotional and conduct problems. Specifically, caregiver-perpetrated child maltreatment predicted was related to child conduct problems, whereas both caregiver-perpetrated child maltreatment and caregiver internalizing symptoms were related to child emotional problems. Multi-group analyses revealed no moderation effect of CPS involvement. Our results highlight the importance of independent outcome-specific intergenerational patterns in prevention approaches for families with maltreatment experiences.

With the development of both media and technology, new media technology has cast a significant influence on art creation, creating an aesthetic paradigm different from that of traditional art. Meanwhile, owing to the different aesthetic appeals of the new era, basic components of art, such as content and form, are constantly changing. The ultimate goal of art is to express the artist’s emotions and communicate with the spectator in the same aesthetic flow. Additionally, new media art attempts to convey emotions to the appreciators and provide them a multidimensional aesthetic approach by subverting traditions and innovating in artistic expressions and aesthetic experience. This study aims to explore the aesthetic perception and perception-based emotions in new media art from the perspective of aesthetic experience. Specifically, it applies Dufrenne’s phenomenological aesthetic theory to analyze the aesthetic process. Through the analysis of affectivity in aesethics, the creator’s aprroaches of constructing the emotional aesthetic space, as well as the role of emotions in art creation, is reflected upon to inspire the future affective creation of new media art.

Culture movement in society has a linear relationship with the development of the art. To face the demands of the times, the artists start to integrate the arts with other disciplines in the process of the creation of works of art considered to be more able to accommodate the expression and the communication is conveyed in a work of art. This is known as new media art. New media art which is the result of undue hybridisation between pure art with technology capable of growing very rapidly. This development extends to all regions in Indonesia. In Pekanbaru, new media art was getting very enthusiasm of the pop art from a variety of backgrounds and ages, but it is unfortunate development is still lacking. This problem can be seen from the lack of facilities or container that can overshadow and accommodate creativity and introduce the work of new media art. Based on these problems, it needed a container that can overshadow the pop art new media as well as introduce new media art to the community, therefore drafted a center for creativity of new media art which can facilitate the activities in the field of new media art whether in the form of the process of creation of works of new media art and activities pertujukkan Design Creativity Center New Media Art is applying the principles of the Architecture of Deconstruction which has the meaning of freedom of the rhetorical structures of composition that is formal. The freedom of form that is a representation of the way of thinking the architecture of the deconstruction that do not want to be bound from the rules that have been there to interpret the freedom of the air-creativity, innovative and always fresh in the new media art. So in the hope Center for the arts creative media this can bring out the creativity of the artist through the architectural elements dekontruktif.

The main purpose of this study was to examine the association of family polyvictimization in childhood with the victimization or perpetration of spousal abuse and the perpetration of child abuse in adulthood. While associations between maltreatment in childhood and subsequent perpetration or victimization in adulthood are well documented, their association with polyvictimization in childhood (i.e., experiencing multiple types of victimization) has received less attention. This research aims to empirically investigate 1) whether early experiences of family polyvictimization are predictive of subsequent experience or spousal abuse or perpetration of child abuse and 2) whether there are gender differences in those associations. Through conducting Chi-square analysis and logistic regression analysis with South Korea's National Domestic Violence Survey 2019, the study found significant empirical evidence that polyvictimization is predictive of perpetration or experience of spousal abuse and perpetration of child abuse. Particularly, adults who experienced polyvictimization in childhood were more likely to perpetrate child abuse regardless of the type of abuse (p < .001). Polyvictimization in childhood was also significantly associated with perpetration and victimization of spousal abuse (p < .001). In regard to gender differences, this study found that males were more likely to be polyvictimized by family in childhood (15.11%) than females (10.23%), and polyvictimization was found to increase the likelihood of females being revictimized in adulthood. More attention should be paid to victimization by multiple types of violence within the family and its influence on intergenerational transmission of violence.

In the evolving educational landscape, integrating Media Arts into STEAM (Science, Technology, Engineering, Arts, and Mathematics) education emerges as a pivotal strategy for harmonizing traditional STEM subjects with the creative arts. This study explores the transformative potential of Media Arts in STEAM, highlighting its role in enhancing educational outcomes in an increasingly digital world. We will explore how Media Arts serves as a dynamic channel, interweaving with STEAM disciplines to enrich learning experiences and foster essential 21st-century skills. Our focus centers on innovative pedagogical strategies that utilize digital media, storytelling, and interactive technologies. These methods are instrumental in cultivating critical thinking, creativity, and problem-solving skills, which are vital in today’s interconnected and technology-driven society. The exploration includes analyzing how current policies and funding models, often skewed toward STEM, inadvertently sideline the arts, particularly Media Arts, in educational settings. This oversight underscores a gap in fostering a comprehensive STEAM education that truly encapsulates the essence of integrating arts with scientific and technological studies. Additionally, the study will reflect on the role of initiatives like the Connected Arts Network (CAN) in bridging this gap. CAN’s efforts in promoting teacher leadership and building robust Professional Learning Communities (PLCs) underscore the importance of collaborative and interdisciplinary approaches in education. Through this investigation, we aim to highlight the imperative of re-envisioning STEAM education to include Media Arts, advocating for policy shifts, and increasing funding that recognizes the invaluable contribution of the arts in shaping well-rounded, innovative, and adaptable learners.

Anxiety is originally an individual emotion, but in the context of new media, individual emotions expand into group mentality and even social problems through information dissemination. From an aesthetic perspective, this article explores the communication mechanism of art modernity anxiety in the new media era. Based on the use of various technological means, new media art creates novel artistic experiences through the fusion of multiple senses such as vision, hearing, touch, and smell, enabling the public to achieve a unique aesthetic perception. The modernity anxiety presented in new media art, as a contemporary proposition, is not only an existential state faced by art creators and aesthetic acceptors in the new era but also a new trend in modern art aesthetics. Based on the characteristics of anxiety in new media art, this paper analyzes the subjective and objective aspects of the experience of anxiety in new media art, proposes innovative artistic concepts, transforms and creates novel experiences, utilizes technological means, strengthens criticism of artistic aesthetic thinking, and provides ideas for the development of modernity anxiety in new media art.

The digital wave triggered by new technology has changed the traditional way of life. Digital media art, as the most cutting-edge part of contemporary art, has been gradually followed up with professional creation courses related to digital media in colleges and universities. Interactive device art creation course is an important practical course for digital media art major. Seek innovation points in multi-media platforms and conduct independent interdisciplinary creation, so as to learn interactive installation art creation in digital media art.At present, there are still some problems in the design of interactive device art creation course, which are mainly reflected in the following aspects:1. The teaching system is not comprehensive enough. The comprehensiveness and pioneering nature of interactive installation art make it require higher and more comprehensive professional quality of students. However, the current teaching system has problems such as single curriculum, lack of interdisciplinary integration and lack of special training.2. Lack of project management awareness. In the practical teaching of interactive installation art creation, due to the comprehensiveness and diversity of the course, students often need to organize a team to complete it. However, due to the lack of project management awareness, students are difficult to lack effective organization and management of complex projects such as interdisciplinary practice and media integration.3. The assessment and evaluation system is not comprehensive enough. The current curriculum assessment and evaluation system lacks an incentive mechanism for innovation, attaches too much importance to the training of new media art talents, and fails to assess the quality of students' innovation ability quantitatively. As a result, students have problems such as stylized creation and weak innovation consciousness, and a more perfect assessment mechanism for new media art education.In view of the above problems, by analyzing the concept of OBE and STEAM, the content and process of experimental teaching are optimized, and an online and offline experimental teaching mode of interactive installation art that integrates OBE and STEAM is constructed. This model includes two modules of basic theory and experiment, and the course development and evaluation system based on STEAM concept.Combining OBE mode with STEAM concept, the change of teaching mode pays more attention to improving students' comprehensive quality fundamentally, and attaches importance to students' learning and development. In teaching, "student-teacher-problem" should be the center. Students are given learning tasks or problems, and teachers help students with academic practice, thinking and exploration in the process of guidance, so as to achieve the purpose of understanding new knowledge.The concrete practice of the construction of the teaching model integrating the concepts of OBE and STEAM is as follows:1. Establish a teaching knowledge system based on STEAM concept, and cultivate the ability of artistic creation with STEAM concept.2. Student-centered. Student-centered is the core idea of OBE model. The STEAM concept emphasizes the nature of practice and supports students' active, independent and socialized learning by promoting their comprehensive quality.3. Project-based learning. Through project-guided learning, problem-oriented, specific open-ended questions are put forward so that students can explore answers, master methods, broaden their thinking and improve their practical ability, so as to ultimately enable students to independently develop innovative project works.4. Establish a course assessment system and works evaluation system based on the STEAM concept, and improve the overall evaluation of students' course performance and professional creation.At present, East China University of Science and Technology has successfully carried out online and offline hybrid experimental course teaching by integrating the concepts of OBE and STEAM. Students watch MOOC videos recorded by teachers through the school's online learning platform, learn the creation process of installation art online, and conduct concentrated experiments in offline basic experimental courses. In the project practice module, students gave full play to their thinking and made plans. After prototype testing and optimization, many excellent assignments were finally produced, and students got good results.The digital media Art major of East China University of Science and Technology was selected for practical verification. Through course assessment and teaching evaluation, this teaching mode has achieved good results, which can improve students' learning engagement, improve students' design innovation literacy, cross-media innovation literacy, and enhance students' learning experience and teaching satisfaction. It provides a reference for the teaching reform of interactive installation art.

Women's experience of abuse in childhood and their children's smoking and overweight.