North Georgia College & State University: Digital Commons
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[3.7] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1058/thumbnail.jp
[1.7] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1033/thumbnail.jp
[3.3] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1054/thumbnail.jp
[1.8] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1034/thumbnail.jp
[1.2] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1024/thumbnail.jp
Contributions of Motor Learning in the Physical Therapy of a Working Dog: A Case Report
Get PDFThis case report presents the unique contributions of physical therapy using principles of motor learning in the rehabilitation of a canine patient post C5-C6 ventral slot procedure and subsequent rhizotomy of C6, with a secondary central cord infarct.
This case describes an eight-year old, MN, Rottweiler who presented to the physical therapy department as tetraparetic following a diagnosis of cervical intervertebral disc disease. Baseline assessment revealed a very low functioning dog, incapable of independent voluntary motor activity and requiring maximal assistance for all transfers and activities of daily living.
Principles of motor learning were incorporated into intense physical therapy treatments to promote neuroplasticity, including part-task practice, repetitions, specificity of tasks that are novel and challenging, and neuromuscular re-education models, such as proprioceptive, balance and perturbation training. This dog returned to independence and normal activities of daily living on a horse farm with minimal residual neurologic deficits.
This report is interesting because it describes a dog with severe cervical neurological comorbidities, whose prognosis was described as ‘poor’ for return to function by referring veterinarians. Additional studies need to be conducted to better understand how various motor learning approaches affect neuroplasticity and affect the overall functional outcome of canine cervical patients
Catholic Adaptation, Irish Conversion: The Postcolonial Graham Greene in Neil Jordan’s The End of the Affair
Get PDFDuring his two-decade film career, Academy Award-winning writer/director Neil Jordan has transcended conventions and crossed national boundaries to create an oeuvre of critically acclaimed films in a variety of genres. However, despite his reputation as an internationally recognized author and filmmaker whose projects have received financing from both American and European production companies, Jordan has remained, first and foremost, an Irish artist, injecting his interpretations of the struggle for Irish identity into both his film and fiction work. In a body of films so concerned with formulating a coherent Irish identity, Jordan’s adaptation of Graham Greene’s 1951 novel The End of the Affair (1999) initially appears as an anomaly. Detailing a four-year long affair between author Maurice Bendrix and Sarah Miles, the wife of a British civil servant, against the backdrops of pre- and post-World War II London, the novel never deviates from its English setting, eschewing direct references to Britain’s relationship with the Irish and the other colonial holdings over which the waning British Empire was losing its dominion.
Yet, while Jordan’s film appears to maintain an overarching fidelity to Greene’s novel, its differential reconstruction of the source text’s London narrative serves as a strategy to interrogate the complex web of relationships between colonial discourse, Irish independence, and the global film industry. In the adaptation, Jordan cultivates a through line of imperial force from the British Empire to contemporary Hollywood, subtly altering the last two books of the novel by reframing the narrative’s preoccupations with the Catholic faith and the state of the British Empire after World War II through the lens of an Irish perspective that not only criticizes Britain’s suppression of Irish-Catholicism but also refracts literary and cinematic stereotypes of the Irish in its construction of mid-century London
Profoundly Changed: The Homecoming of Veterans from Iraq and Afghanistan
Get PDFThis phenomenological research study, conducted from 2017 to 2018, rigorously and methodologically investigated Iraq and Afghanistan (OIF/OEF) veterans’ first-person accounts of their experiences of profound change after war. This study explored the existential themes of homecoming, betrayal, grief, guilt, meaning, and truth-telling through the lens of OIF/OEF veterans. This existential investigation built on the methods of Husserl’s phenomenology, which explored human consciousness, and Heidegger and others, who deepened the phenomenological exploration to address the question of human existence. Key to the investigation of human phenomena is allowing the core encounter to emerge through rich, authentic description. In this study, OIF/OEF veterans described an experience in which they recognized that they had been profoundly changed by war. In-person interviews were recorded and transcribed. Data was analyzed using Colaizzi’s (1978) seven-step approach. The findings highlighted how profound change after war was a matrix of psychological and spiritual expansion for both the individuals and their communities. The fundamental structure of this phenomenon had three essential facets. First, experience, awareness, and impact collectively constituted one another in a circle of influence. Second, a before-deployment self stood in stark contrast to an expanded after-deployment self. Finally, profound change was enduring and had wide-sweeping implications throughout many levels of each veteran’s life. Psychological-spiritual growth may result in symptomatic behaviors that are easily attributed to psychological disorders. These results also illuminate the need for social support at the community level as well as the need for veterans to cultivate self-awareness as part of the transition process
Structural Examination of Moral Injury and PTSD and Their Associations With Suicidal Behavior Among Combat Veterans
Get PDFMoral injury and post-traumatic stress disorder are argued to be distinct yet related constructs. However, few studies have evaluated the factors distinguishing moral injury from PTSD. The present study sought to extend the work of Bryan et al. (2018) by differentiating the symptomology of moral injury and PTSD and their associations with suicidal behaviors among combat veterans. The study evaluated data from 129 combat veterans exposed to potentially morally injurious events. Exploratory structural equation modeling evaluated a measurement and structural model. Results revealed a four-factor solution, with the relevant factors being PTSD symptoms, guilt/shame, psychiatric comorbidities, and meaning in life. Guilt/shame and psychiatric comorbidities had significant positive effects on suicidal behaviors. The present findings suggest that combat veterans have a complex, dimensional response to combat trauma and pMIE exposure. These results diverged from previous research to suggest that moral injury symptoms may not constitute a single factor but rather a multifaceted constellation of symptoms. The present study also provided evidence that moral injury symptoms are both unique and overlapping with PTSD symptoms. Suicidal behaviors are a major area of concern among veterans, and the findings here implicate guilt/shame and psychiatric comorbidities as related to these suicidal behaviors