DOCSLIB.ORG

State of the Field Report: Arts in Healthcare / 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
State of the Field Report: Arts in Healthcare / 2009 A young patient enjoys percussion lessons through the Snow City Arts program at Rush University Children’s Hospital in Chicago, IL 2009/ State of the Field Report ARTS IN HEALTHCARE Arts in Healthcare is a diverse, multidisciplinary field dedicated to transforming the healthcare experience by connecting people with the power of the arts at key moments in their lives. This rapidly growing field integrates the arts, including literary, performing, and visual arts and design, into a wide variety of healthcare and community settings for therapeutic, educational, and expressive purposes. State of the Field Report: Arts in Healthcare / 2009 A March 2003 symposium, hosted by the National contributing authors Endowment for the Arts (NEA) and the Society Judy Rollins for the Arts in Healthcare, brought together 40 Jill Sonke experts in medicine, the arts, social services, Randy Cohen media, business, and government to develop a Anita Boles strategic plan for advancing cultural programming Jiahan Li in healthcare. The strategic plan aimed to help advocates raise awareness of the benefits of arts editors in healthcare, better document and disseminate Olivia Goodman research demonstrating its value, move toward Elaine Sims a national funding base, and develop adequate training to educate and train healthcare workers and sponsors administrators (NEA, 2003). The participants in this Society for the Arts in Healthcare landmark symposium included representatives from Americans for the Arts the Johnson & Johnson Foundation, the American The Joint Commission Hospital Association, Johns Hopkins University, University of Florida Center for the Arts in Americans for the Arts, National Institute on Healthcare Aging, and The Joint Commission. For a full list of participants, see: http://www.arts.endow.gov/ citation resources/Accessibility/aihr/AIHParticipants.html. State of the Field Committee. (2009). State of the field report: Arts in healthcare 2009. The following State of the Field Report offers Washington, DC: Society for the Arts in information about progress in the field since the Healthcare. symposium, which resulted in recommendations and a strategic direction to advance the arts in healthcare. © 2009 Society for the Arts in Healthcare Contents 1 Executive Summary 2 Areas of Focus 3 Prevalence of Arts in Healthcare Programs in the United States: Survey Results 4 2004 Program Prevalence Survey Summary 4 2007 Survey Summary and Comparison to 2004 8 2008 Economic Benefits Survey 11 Conclusion 12 Benefits of the Arts in Healthcare: a Sampling of Research Findings 13 Methods Used to Measure Benefits 15 Music 16 Visual Arts 17 Effects of Images 17 Design Implications 18 Dance 19 Literature, Creative Writing, and Storytelling 20 Drama 20 Health Promotion and Injury Prevention 21 Theory 22 Economic Benefits 24 Summary of Research 25 Moving Forward 26 References Executive Summary Throughout recorded history, we see evidence that pictures, stories, dances, music, and drama have been central to healing rituals. Today’s renewed focus on humanistic care is leading to resurgence in the knowledge and practice of incorporating the arts into healthcare services. Increasing numbers of clinicians and other New evidence is emerging that demonstrates that professionals from the medical community are these programs also have an economic benefit. Data working side by side with arts professionals in both show that such programs result in patients requiring healthcare and community settings, and around the shorter hospital stays, less medication, and having world the arts are emerging as an important and fewer complications—all of which translates to a integral component of healthcare. In two recent reduction in healthcare costs. However, much of the surveys, nearly half of the healthcare institutions in research focused on the economic benefits of arts the United States reported having arts in healthcare in healthcare is anecdote rich and data poor. It is programming. The majority of these programs are in hoped that future analysis of the economic benefits hospitals, with smaller percentages reported in long- of arts in healthcare programs will advance policy term care and hospice/palliative care organizations. conversations about using the arts to simultaneously The three most common types of arts programming reduce health costs and raise the quality of care. are permanent display of art, performances in public spaces, and bedside activities. Conversely, there is a rich and growing body of research connecting arts in healthcare programs to Research demonstrates the benefits of the arts improved quality of care for patients, their families, in healthcare in hospitals, nursing homes, senior and even medical staff. Studies have proven that centers, hospices, and other locations within the integrating the arts into healthcare settings helps community. Arts in healthcare programs and to cultivate a healing environment, support the creative arts therapies have been applied to a vast physical, mental, and emotional recovery of patients, array of health issues—from post-traumatic stress communicate health and recovery information, and disorder to autism, mental health, chronic illnesses, foster a positive environment for caregivers that Alzheimer’s and dementia, neurological disorders reduces stress and improves workplace satisfaction and brain injuries, premature infants, and physical and employee retention. disabilities—to improve patients’ overall health outcomes, treatment compliance, and quality of life. 1 2009 State of the Field Report: Arts in Healthcare caring for caregivers Areas of Focus Caregivers, such as family, friends, and healthcare patient care providers in hospitals, hospices, and other health The incorporation of the arts into the healthcare facilities, are faced with the realities of human experience has a positive impact on patient health suffering, illnesses, and death on a daily basis. Arts outcomes. The arts benefit patients by aiding in programming for caregivers creates a common, their physical, mental, and emotional recovery, more normative environment, and offers caregivers including relieving anxiety and decreasing the an opportunity for creativity and self-expression perception of pain. In an atmosphere where the that allows them to healthfully integrate their patient often feels out of control, the arts can serve experiences and emotions instead of carrying them as a therapeutic and healing tool, reducing stress home or into the workplace. In addition, the arts and loneliness and providing opportunities for self- give medical professionals new tools for improving expression. Art also has the power to communicate diagnostic and communication skills and can be and educate, giving it a growing role of significance used to better communicate health and recovery in healthcare institutions. In addition, research information. The arts help overcome barriers by shows that the arts can reduce patients’ use of embracing diversity, reinforcing family members’ pain medication and length of stay in the hospital, supportive role in the healing process, and changing and improve compliance with recommended the culture within the healthcare facility to one that treatments—offering substantial savings in is more supportive and humane. healthcare costs. community well-being healthcare environments Arts in healthcare can benefit communities The arts create safer, more supportive and by engaging people in arts programs aimed at functional environments in healthcare facilities. promoting prevention and wellness activities and From architectural design to art on the walls, communicating health information to improve from access to natural lighting to the inclusion of knowledge. For students in medical and other nature through landscape and healing gardens, the healthcare fields, the arts can enhance their physical environment has a significant impact on skills—improving their observational, diagnostic, reducing patient and caregiver stress, improving and empathic abilities. It helps them to understand health outcomes, enhancing patient safety and patients in a different way and connect with them overall quality of care, and reducing costs. The on a more humanizing level. physical environment also plays an important role in improving the health and safety for staff, increasing effectiveness in providing care, reducing errors, and improving job satisfaction. The following State of the Field Report was designed to present an overview of arts in healthcare in the United States. The report details the prevalence of arts in healthcare programs, makes a business case for arts in healthcare, provides a sampling of current research findings, and concludes with a look to the future. 2 2009 State of the Field Report: Arts in Healthcare Prevalence of Arts in Healthcare Programs in the United States survey results In 2004 and again in 2007, the Society for the Arts in Healthcare partnered with The Joint Commission and Americans for the Arts to conduct surveys that examine the presence of the arts in U.S. healthcare facilities. The surveys were developed collaboratively by arts in healthcare programs. The following narrative the partnering organizations and administered by will summarize all three surveys and cite several The Joint Commission to accredited healthcare noteworthy conclusions and correlations. institutions throughout the U.S. fig 1 Prevalence of Arts in Healthcare Programs The results of both surveys showed a significant presence of arts programs and practitioners
Load more

Recommended publications
  • Introduction and Methods the Field of Neuroesthetics Is a Recent Marriage
    Introduction and Methods The field of neuroesthetics is a recent marriage of the realms of neuroscience and art. The objective of neuroesthetics is to comprehend the perception and subjective experience of art in terms of their neural substrates. In this study, we examined the effect of a number of original pieces of art on the brain of the artist herself and on that of a novice as she experienced the artwork for the first time. This allowed us to compare neural responses not only amongst different visual conditions but also between an expert (i.e. the artist) and a novice. Lia Cook lent her artwork to be used in this study. The pieces, which she believes to have an innate emotional quality, are cotton and rayon textiles. All of the pieces are portraits with a somewhat abstract, pixelated appearance imparted by the medium. In order to better understand the neural effects of the woven facial images, we used several types of control images. These included (i) scrambled woven pieces, or textiles that were controlled for color, contrast, and size but contained no distinct facial forms; and (ii) photographs, which were all photographs of human faces but were printed on heavy paper and lacked the texture and unique visual appearance of the textiles. All of the pieces are 12.5 in. x 18 in. The expert and novice were each scanned with functional MRI while they viewed and touched the tapestries and photographs. The subjects completed 100 trials divided across two functional scans. Each trial lasted a total of 12 s, with jittered intervals of 4 s to 6 s between trials.
    [Show full text]
  • The Right Hemisphere in Esthetic Perception
    ORIGINAL RESEARCH ARTICLE published: 14 October 2011 HUMAN NEUROSCIENCE doi: 10.3389/fnhum.2011.00109 The right hemisphere in esthetic perception Bianca Bromberger, Rebecca Sternschein, Page Widick,William Smith II and Anjan Chatterjee* Department of Neurology, The University of Pennsylvania, Philadelphia, PA, USA Edited by: Little about the neuropsychology of art perception and evaluation is known. Most neuropsy- Idan Segev, The Hebrew University of chological approaches to art have focused on art production and have been anecdotal and Jerusalem, Israel qualitative. The field is in desperate need of quantitative methods if it is to advance. Here, Reviewed by: Juliana Yordanova, Bulgarian Academy we combine a quantitative approach to the assessment of art with modern voxel-lesion- of Sciences, Bulgaria symptom-mapping methods to determine brain–behavior relationships in art perception. Bernd Weber, We hypothesized that perception of different attributes of art are likely to be disrupted by Rheinische-Friedrich-Wilhelms damage to different regions of the brain. Twenty participants with right hemisphere dam- Universität, Germany age were given the Assessment of Art Attributes, which is designed to quantify judgments *Correspondence: Anjan Chatterjee, Department of of descriptive attributes of visual art. Each participant rated 24 paintings on 6 conceptual Neurology, The University of attributes (depictive accuracy, abstractness, emotion, symbolism, realism, and animacy) Pennsylvania, 3 West Gates, 3400 and 6 perceptual attributes (depth, color temperature, color saturation, balance, stroke, and Spryce Street, Philadelphia, PA simplicity) and their interest in and preference for these paintings. Deviation scores were 19104, USA. e-mail: [email protected] obtained for each brain-damaged participant for each attribute based on correlations with group average ratings from 30 age-matched healthy participants.
    [Show full text]
  • Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
    The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy.
    [Show full text]
  • Neuroesthetics and Healthcare Design
    Neuroesthetics and Healthcare Design AUTHOR(S) Upali Nande, PhD; Debajyoti Pati, PhD; and Katie McCurry ABSTRACT: While there is a growing consciousness about the importance of visually pleasing environments in healthcare design, little is known about the key underlying mechanisms that enable aesthetics to play an instrumental role in the caregiving process. Hence it is often one of the first items to be value engineered. Aesthetics has (rightfully) been provided preferential consideration in such pleasure settings such as museums and recreational facilities; but in healthcare settings it is often considered expendable. Should it be? In this paper the authors share evidence that visual stimuli undergo an aesthetic evaluation process in the human brain by default, even when not prompted; that responses to visual stimuli may be immediate and emotional; and that aesthetics can be a source of pleasure, a fundamental perceptual reward that can help mitigate the stress of a healthcare environment. The authors also provide examples of studies that address the role of specific visual elements and visual principles in aesthetic evaluations and emotional responses. Finally, they discuss the implications of these findings for the design of art and architecture in healthcare. FOR COMPLETE ARTICLE PLEASE FOLLOW THE LINK BELOW TO HERD JOURNAL Link: http://www.herdjournal.com/ME2/dirmod.asp?sid=&nm=&type=Abstract&mod=Pu blications%3A%3AArticle&mid=8F3A7027421841978F18BE895F87F791&tier=1 &id=ADECCB0061A6483AB6E92E9379350BCE&Author=&ReturnUrl=dirmod%2 Easp%3Fsid%3D%26nm%3D%26type%3DPublishing%26mod%3DPublications %253A%253AArticle%26mid%3D8F3A7027421841978F18BE895F87F791%26ti er%3D4%26id%3DADECCB0061A6483AB6E92E9379350BCE For a personal copy of this article please contact: t 214.969.3320 Debajyoti Pati at [email protected] www.cadreResearch.org Email: [email protected] CADRE is a nonprofit research and development initiative, supported and funded in part by HKS, Inc.
    [Show full text]
  • The Aesthetic Mind This Page Intentionally Left Blank the Aesthetic Mind Philosophy and Psychology
    The Aesthetic Mind This page intentionally left blank The Aesthetic Mind Philosophy and Psychology EDITED BY Elisabeth Schellekens and Peter Goldie 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # the several contributors 2011 The moral rights of the authors have been asserted Database right Oxford University Press (maker) First published 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–969151–7 13579108642 Contents List of Figures viii Notes on Contributors ix Introduction 1 Elisabeth Schellekens and Peter Goldie Part I.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO the Monochroidal Artist Or
    UNIVERSITY OF CALIFORNIA, SAN DIEGO The Monochroidal Artist or Noctuidae, Nematodes and Glaucomic Vision [Reading the Color of Concrete Comedy in Alphonse Allais’ Album Primo-Avrilesque (1897) through Philosopher Catherine Malabou’s The New Wounded (2012)] A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History, Theory and Criticism by Emily Verla Bovino Committee in charge: Professor Jack Greenstein, Chair Professor Norman Bryson Professor Sheldon Nodelman Professor Ricardo Dominguez Professor Rae Armantrout 2013 Copyright Emily Verla Bovino, 2013 All rights reserved. The Thesis of Emily Verla Bovino is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2013 iii EPIGRAPH PRÉFACE C’était en 18… (Ça ne nous rajeunit pas, tout cela.) Par un mien oncle, en récompense d’un troisième accessit d’instruction religieuse brillamment enlevé sur de redoutables concurrents, j’eus l’occasion de voir, avant qu’il ne partît pour l’Amérique, enlevé à coups de dollars, le célèbre tableau à la manière noire, intitulé: COMBAT DE NÈGRES DANS UNE CAVE, PENDANT LA NUIT (1) (1) On trouvera plus loin la reproduction de cette admirable toile. Nous la publions avec la permission spéciale des héritiers de l’auteur. L’impression que je ressentis à la vue de ce passionnant chef-d’oeuvre ne saurait relever d’aucune description. Ma destinée m’apparut brusquement en lettres de flammes. --Et mois aussi je serai peintre ! m’écriai-je en français (j’ignorais alors la langue italienne, en laquelle d’ailleurs je n’ai, depuis, fait aucun progrès).(1) Et quand je disais peintre, je m’entendais : je ne voulais pas parler des peintres à la façon dont on les entend les plus généralement, de ridicules artisans qui ont besoin de mille couleurs différentes pour exprimer leurs pénibles conceptions.
    [Show full text]
  • The Neural Determinants of Beauty
    bioRxiv preprint doi: https://doi.org/10.1101/2021.05.21.444999; this version posted May 21, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY-NC-ND 4.0 International license. The Neural Determinants of Beauty Taoxi Yang1*, Arusu Formuli2, Marco Paolini3, Semir Zeki1 * 1Laboratory of Neurobiology, Division of Cell & Developmental Biology, University College London, United Kingdom, 2Institute of Medical Psychology, Ludwig- Maximilians-Universität, Munich, Germany, 3 Department of Radiology, Ludwig- Maximilians-Universität, Munich, Germany *Corresponding authors: Taoxi Yang & Semir Zeki Abstract: What are the conditions that determine whether the medial orbito-frontal cortex (mOFC), in which activity correlates with the experience of beauty derived from different sources, becomes co-active with sensory areas of the brain during the experience of sensory beauty? We addressed this question by studying the neural determinants of facial beauty. The perception of faces correlates with activity in a number of brain areas, but only when a face is perceived as beautiful is the mOFC also engaged. The enquiry thus revolved around the question of whether a particular pattern of activity, within or between areas implicated in face perception, emerges when a face is perceived as beautiful, and which determines that there is, as a correlate, activity in mOFC. 17 subjects of both genders viewed and rated facial stimuli according to how beautiful they perceived them to be while the activity in their brains was imaged with functional magnetic resonance imaging (fMRI).
    [Show full text]
  • 1 Analyticity and Systematicity in Anglophone Aesthetics Taylor D. Enoch Submitted for the Examination of the Mphil Stud Degree
    Analyticity and Systematicity in Anglophone Aesthetics Taylor D. Enoch Submitted for the examination of the MPhil Stud degree September 2016 Department of Philosophy at University College London 1 2 I, Taylor D. Enoch, confirm that the work presented here is my own. Where information has been derived from other sources, I confirm that this has been indicated throughout the dissertation. Taylor D. Enoch | 01 September 2016 3 4 Abstract The scope of this project is threefold. Firstly, it is metaphilosophical, as it concerns a question of method. Secondly, it is aesthetical, as it concerns a question of method in aesthetics and the philosophy of art. Thirdly, it is historiographical, as it draws from the corpus of the philosophy of art, aesthetics and art history, and considers these texts not only by way of their ideas but also by way of their history. This dissertation entertains a significant organizational shift by adopting and adapting a narrower scope of anglophone aesthetics (AA). This shift renders AA as biphasic, admitting of earlier (EAA) and later (LAA) phases, the ‘early-late distinction’, categorized by exemplary texts per phase. Upon investigation of these texts, the EAA-LAA shift poses a constitutive methodological shift, the Problem of Systematic Inconsistency (PSI), from non-systematicity to systematicity. This inconsistency, it is argued, is merely apparent, and is explainable as a swapping of priority between analytic and systematic methods from EAA to LAA, which holds systematicity of some sort to be implicit in EAA. To elucidate this, various modes of analysis and models of system are presented. From a formalist outlook, an historiographical examination of cubism is used to concretize the proposed solution to the PSI.
    [Show full text]
  • Neuroaesthetics, Lecture 1, 18.01.13: Introduction to the Course
    Neuroaesthetics, lecture 1, 18.01.13: Introduction to the course. First of all, my name is Per Olav Folgerø. I am Associate professor at the University of Bergen Norway. I have the strange background of being neurobiologist and art historian, but this has led to the reason why I am here, namely to teach neuroaesthetics. I am very happy and grateful to be here in Saint Petersburg to present my lectures. They are a mini-version of the course that I have presented the last four years at the University of Bergen. The lectures are intended to provide insights into recent scientific works and methods in neuroaesthetics. (next) The conception of ´Neuroaesthetics` was coded in 1999 by the neuroscientist Semir Zeki, who is a professor at the Wellcome Department of Imaging Neuroscience, University College, London. Hence, it is a relatively new discipline, (next) and lies at the intersection between cognitive psychology, neurobiology and art. (next) In neuroaesthetics, models mostly deriving from cognitive psychology and modern brain scanning techniques are used in studies on how the brain responds to aesthetic stimuli. (next) Zeki’s main interest is the primate visual brain system. From 1994 onwards, his studies also included the neural basis of aesthetic appreciation of art, and in 2001 he founded the Institute of Neuroesthetics, the first of its kind in the world, at University College London. The aims of this institute are: to study the creative process as a manifestation of the functions of the brain; (next) to study the biological foundations of aesthetics; (next) to provide a scientific forum for artists; (next) to instill among neurobiologists the virtues of using the products of art to study the organization of the brain; (next) to promote the importance of learning more about the brain when approaching topics such as art, morality, religion etc.
    [Show full text]
  • VISIBLE SOUNDS Interrelationships Among Music, the Visual Arts and the Performing Arts
    Joint Research Conference of the Institute for Advanced Studies And the Israel Science Foundation Bezalel Academy of Arts and Design The Jerusalem Academy of Music and Dance VISIBLE SOUNDS Interrelationships among Music, the Visual Arts and the Performing Arts Jerusalem February 21-25, 2010 Abstracts, Speakers and Performers Sunday, February 21 15:00-18:30: Feldman Building, Room 130, The Hebrew University of Jerusalem, Givat Ram Campus Greetings Prof Eliezer Rabinovici, Director, Institute for Advanced Studies, Jerusalem Prof. Arnon Zuckerman, President, Bezalel Academy of Arts and Design, Jerusalem Prof. Ilan Schul, President, The Jerusalem Academy of Music and Dance Prof. Menachem Zur, The Jerusalem Academy of Music and Dance 1 PHILOSOPHICAL MATTERS / Chairman: Yael Kaduri Lydia Goehr Ruth HaCohen Michal Grover-Friedlander Lydia Goehr Pictures at an Exhibition: On the Possibility of Musical Ekphrasis My lecture considers a range of related questions. My Mussorgskian title interestingly relates to what Hegel writes at the end of his Phänomenologie des Geistes regarding the relation between the experience of art and the acquisition of knowledge. By reference to a history extending from Antiquity to the present, I ask in what manner, if any, music relates to poetic images beyond traditional ideals of mimesis or musical accompaniment. Is musical ekphrasis more than musical mimesis? Is musical evocation more than imitation? I also consider whether it makes sense to distinguish ekphrasis by the art of music and musical ekphrasis, given how the concept of musicality extends beyond the musical medium. Finally, I ask whether it is possible for music to describe or evoke an image that exists, no longer exists, or never existed? In this matter, I pay specific attention to the curious reference to Wagner's reference to the non-existent painting of Albrecht Dürer, according to which David slew Goliath.
    [Show full text]
  • The Cognitive-Emotional Design and Study of Architectural Space: a Scoping Review of Neuroarchitecture and Its Precursor Approaches
    sensors Review The Cognitive-Emotional Design and Study of Architectural Space: A Scoping Review of Neuroarchitecture and Its Precursor Approaches Juan Luis Higuera-Trujillo 1,2,* , Carmen Llinares 1 and Eduardo Macagno 3 1 Institute for Research and Innovation in Bioengineering (i3B), Universitat Politècnica de València, 46022 Valencia, Spain; [email protected] 2 Escuela de Arquitectura, Arte y Diseño (EAAD), Tecnologico de Monterrey, Monterrey 72453, Mexico 3 Division of Biological Sciences, University of California San Diego, La Jolla, CA 92093-0116, USA; [email protected] * Correspondence: [email protected] or [email protected]; Tel.: +34-963-877-518 Abstract: Humans respond cognitively and emotionally to the built environment. The modern possibility of recording the neural activity of subjects during exposure to environmental situations, using neuroscientific techniques and virtual reality, provides a promising framework for future design and studies of the built environment. The discipline derived is termed “neuroarchitecture”. Given neuroarchitecture’s transdisciplinary nature, it progresses needs to be reviewed in a contextualised way, together with its precursor approaches. The present article presents a scoping review, which maps out the broad areas on which the new discipline is based. The limitations, controversies, benefits, impact on the professional sectors involved, and potential of neuroarchitecture and its precursors’ approaches are critically addressed. Citation: Higuera-Trujillo, J.L.; Llinares, C.; Macagno, E. The Keywords: neuroarchitecture; emotional design; neuroscience; architecture; built environment; Cognitive-Emotional Design and review Study of Architectural Space: A Scoping Review of Neuroarchitecture and Its Precursor Approaches. Sensors 2021, 21, 2193. 1. Introduction https://doi.org/10.3390/s21062193 Architecture has various effects on people.
    [Show full text]
  • Adapting the Graphic Novel Format for Undergraduate Level Textbooks
    ADAPTING THE GRAPHIC NOVEL FORMAT FOR UNDERGRADUATE LEVEL TEXTBOOKS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Brian M. Kane, M.A. Graduate Program in Arts Administration, Education, and Policy The Ohio State University 2013 Dissertation Committee: Professor Candace Stout, Advisor Professor Clayton Funk Professor Shari Savage Professor Arthur Efland Copyright by Brian M. Kane 2013 i ABSTRACT This dissertation explores ways in which the graphic narrative (graphic novel) format for storytelling, known as sequential art, can be adapted for undergraduate-level introductory textbooks across disciplines. Currently, very few graphic textbooks exist, and many of them lack the academic rigor needed to give them credibility. My goal in this dissertation is to examine critically both the strengths and weaknesses of this art form and formulate a set of standards and procedures necessary for developing new graphic textbooks that are scholastically viable for use in college-level instruction across disciplines. To the ends of establishing these standards, I have developed a four-pronged information-gathering approach. First I read as much pre factum qualitative and quantitative data from books, articles, and Internet sources as possible in order to establish my base of inquiry. Second, I created a twelve-part dissertation blog (graphictextbooks.blogspot.com) where I was able to post my findings and establish my integrity for my research among potential interviewees. Third, I interviewed 16 professional graphic novel/graphic textbook publishers, editors, writers, artists, and scholars as well as college professors and librarians. Finally, I sent out an online survey consisting of a sample chapter of an existing graphic textbook to college professors and asked if the content of the source material was potentially effective for their own instruction in undergraduate teaching.
    [Show full text]