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Impact of chronic war trauma exposure on PTSD diagnosis from 2006 -2021: a longitudinal study in Palestine
Get PDFBackground
Trauma and Post-Traumatic Stress Disorders (PTSD) are a common result of the occurrence of natural and man-made disasters, the refugees are one of these traumas in which some resulted from political conficts. Today, Palestinians are the largest refugee population in the world after the Nakba in 1948. This study aims to discover the impact of chronic war traumas on PTSD diagnosis and symptoms from 2006 to 2021. The current study is a follow-up of 607 adolescents and adults, aged between 10–30 years of which are also those children who participated in the 2006 study. This research used an adapted PTSD scale (PTSD-SRII, 33 items) from a validated original questionnaire developed by Altawil in 2008 to measure PTSD based on symptoms reported in DSM-IV and ICD-10.
Results
The main fndings show at least 97.2% of participants had experienced at least 6 traumatic experiences up to the year 2006 and 100% of the participants were exposed to traumas in 2021. This study found four categories of responses to chronic war trauma: (a) Acute group (n = 321, 52.9%) shows high PTSD symptoms in 2006 and in 2021; (b) Remitters group (n = 54, 8.9%) shows high PTSD symptoms in 2006 but did not show signifcant PTSD symptoms in 2021; (c) Delayed group (n = 204, 33.6%) shows no PTSD symptoms in 2006 but showed signifcant PTSD symp‑ toms in 2021; (d) Resilient group (n = 28, 4.6%) had no PTSD symptoms in 2006 and did not show PTSD symptoms in 2021.
Conclusions
The authors conclude that Palestinian children, youth, adults and their families in the Gaza Strip are continually at a huge risk of developing PTSD and other psychological problems. This means that Palestinians will suffer for a long time from PTSD, which should be called Chronic Traumatic Stress Disorder (CTSD) rather than PTSD. This PTSD or CTSD cannot be changed unless the root of the problem is solved by ending the 74 years of living under occupation
Mapping trends and best practice in climate action and sustainability in the arts
Get PDFThe British Council has commissioned this scoping research to shape and inform its longer-term Culture Responds to Global Challenges programme responding to climate action and sustainability in the arts. In addition, it supports the British Council’s active role as a knowledgeable contributor creating opportunities for international cultural relations around the climate crisis, one of the most urgent issues we face globally.
This report, developed by researchers at the University of the Arts London (UAL), seeks to map out what’s happening in this space across the British arts and cultural sectors. Thematically structured, it includes suggestions of best practice and links to practical resources for cultural organisations and activists across the world
William Blake’s “London”(1794) and Covid-19 London (2020): Discovering spaces for death in the city’s history
Get PDFThis text is on a unique, trans-disciplinary project (Architecture, Literature, Mathematics) which weaves the voices of three academics to associate manifestations of death in William Blake’s time with those prevalent in the years of lockdowns (2020-21). It explores spaces traditionally associated with death via a reading of Blake’s ‘London’ (1794). The project, which proposes a methodology with which to access the rich palimpsest of the city, documents a collaborative practice of collective place/text reading that relies on translation as a mode of communication. It explores the visual and visionary dimensions of urban space in the aftermath of the Covid-19 pandemic
Dressing the Part: Ellen Terry (1847-1928)
Get PDFEllen Terry (1847-1928) was one of the most popular and celebrated English actresses of her generation. She achieved this status in spite of a professional career and personal life, which directly challenged conventional Victorian morality and social codes: encompassing three marriages, two illegitimate children, and at least two long term love affairs.
Terry has been repeatedly characterised as an actress who was ‘more concerned with her dresses than with Shakespeare’s lines’ (Holroyd, 2008), and as a woman content to sacrifice her own stage ambitions to support the career of her long-term stage partner, Sir Henry Irving (1838-1905).
This paper outlines how my sartorial biography of Terry - shaped around, and narrated through her dress - challenges such portrayals. It argues that Terry was highly attuned to the ‘meanings’ carried by clothing, and consistently used her garments to both reaffirm, and challenge, her public and private identity.
Each chapter takes a specific garment from Terry’s personal or theatrical wardrobe as its starting point. Selected because they encapsulate a key moment in her life or career, the close analysis and contextualisation of these garments will highlight the intimate insights they offer into the life of their wearer whilst also addressing the artistic, cultural and social context which shaped their creation.
As this paper demonstrates, centring the narrative around Terry’s clothing offers a new – and intimate – perspective on her life: One that focuses on the embodied experience of wearing these garments, their tactile qualities, and the memories and ‘magic’ they carry in their fibres
A celebration of sans
Get PDFA review of Sébastien Morlighem’s book Sans 1628–1924 for international graphic design magazine Eye
Deep Mediatisation and the Datafication of Fashion
Get PDFMediatisation has established itself as a significant notion for understanding contemporary social processes. It is a “sensitizing concept” that helps researchers interrogate the intensification of the influence of media tech- nologies and institutions on various social spheres (Jansson, 2015, pp. 14– 15; Hepp, 2020, p. 9). A meta- process, it “points to the changed dynamics and dimensionality of the (whole) social world in a media age” whereby the media increasingly mould practices and experiences (Couldry, 2014a, p. 231; Krotz, 2007; Hepp, 2013).
However, contexts of mediatisation need to be fully qualified to account for its dimension as a differentiated and historically situated process that is “domain specific” (Hepp and Hasebrink, 2018, p. 23; Landerer, 2013; Strömbäck and Dimitrova, 2014). The Bourdieuian notion of field allows for this qualifying and contextualising. In this conceptual chapter, I focus on the field of fashion, also concentrating on digital media the better to inter- rogate the differentiated nature of mediatisation (sections I and II). In doing so, I bring Bourdieu’s field theory in dialogue with mediatisation theory, contributing to the small body of work that has started drawing conceptual links between the two theories. I do so through the notion of logic, turning, in particular, towards the recent literature on deep mediatisation as a new stage of mediatisation (sections I and II).
At the core of deep mediatisation is datafication, the process whereby everyday practices and experiences are increasingly turned into data. Drawing on critical data studies scholarship, a body of research that gen- erally fails to engage with mediatisation theory, I explore manifestations of the datafication of fashion, and discuss datafication as a key logic of the field of fashion (section III). In dialogue with Bourdieu’s conceptual frame- work, I reflect on the role of data as capital and on that of algorithms as key players and gatekeepers of the field of fashion (section III)
I am a research-based practitioner, not a practice-based researcher: A laudation of the everyday and the in-between
Get PDFThis essay addresses multimodal researchers thinking of working with practitioners or artists/researchers looking to use prototypes for research and identifies the struggles of positioning such research, as well as highlighting principles and benefits of practice when treated as main methodology. While the importance of practice in research areas related to artistic creation is acknowledged, I observe a culture where practice is analysed and narrated to underpin it as research. I studied Fashion (BA) and Design Interactions (MA) and have worked commercially in both fields before starting my own studio. Today, my work aligns to what commonly is considered design practice, but it also caters to the scientific analysis and data gathering of research. Rather than resulting in either products or new conclusions however, the work explores, tinkers, dares and tries, and sometimes fails. This sitting in between applied practice and more formal forms of research has great advantages, some of which I will discuss in the following. The dualism established between practice and research when treated as separate processes however sits uncomfortably with me. It feels like a return to the mind-body dualism. This text is a reflection and an account of the commonalities I detect throughout working with other practitioners and in my own rites and patterns of creating, directing, or producing. I identify underlying principles and concerns of practice that the discussion around practice would benefit from engaging with
Hair ageing in Black women (age>59): impact on personal and social identity and subjective wellbeing
Get PDFThis interdisciplinary study explores the evolution of hair management practices of Black women from age-related biological, personal and social perspectives. It seeks to clarify if and how any changes impact the subjective wellbeing of women. The study focuses on Black women living in the UK who are 59 years old and over as biological changes to hair become more prominent after menopause. The study contributes to raising the visibility of this group of women who appear underrepresented in the research fields of hair science, well-being and ageing as well as in the media
Walking the Elephant: Drawing as enactment of community
Get PDFThe Elephant and Castle neighbourhood in London is well known as a centre for the Latin American community in the UK. The drastic demolition of the site threatens their continued presence. This article chronicles my work as an illustrator on a project that sought to represent this migrant community, their vibrancy, and vitality on the cusp of the site’s erasure. Through a series of participatory, creative workshops a range of illustrative documents were produced that, ultimately, became archival records. Working on the project enabled a reflection on the role of the illustrator in the context of cultural devastation, and retrieval and preservation of the relationship between migrants and the spaces they occupy. This gave rise to a deeper set of questions about the nature of community as such. Drawing on Jean-Luc Nancy’s philosophical work on community and Hannah Arendt’s writing on the public realm, I argue that this illustration project visualises and materialises experiences and expressions of community at a moment when this sociality was itself under threat
On Responding On Reading On Stein
No full textMercurius Magazine Reviews Editor, Richard Capener, asked a handful of writers to respond to a 1978 feature in L=A=N=G=U=A=G=E Magazine, ‘Reading Stein’. The original piece gave poets three excerpts from Tender Buttons and asked them to reflect on their readings. Following this, he asked writers to respond to these responses.
For my piece I created an erasure/punctuation piece, using the text of one of the original respondees