Positive staff interactions with clients can be difficult to maintain when working with adults with developmental disabilities who display challenging behavior. Research findings have demonstrated a common display of challenging behaviors within this population and some of the staff that work with these individuals display less than positive interactions which has led researchers to investigate the use of several behavioral approaches to improve staff interactions. One intervention that has been explored is Acceptance and Commitment Therapy (ACT); however, there is limited research in applying ACT to this problem. Therefore, the purpose of this study was to evaluate the effectiveness of ACT, specifically the use of mindfulness techniques in improving staff interactions towards developmentally disabled clients. Results of this study revealed that mindfulness techniques were effective at improving staff interactions towards clients, as indicated by an increased number of positive staff interactions, with continued practice of these behaviors during maintenance probes.

No description available.

Il existe deux approches, culturelle et cinématographique, dans les recherches sur Ozu. En réponse au conflit entre les deux, nous proposons de retourner plus profondément aux idées essentielles du bouddhisme Zen qui affectent la culture et l’esthétique traditionnelles japonaises, pour obtenir un nouveau regard sur la richesse et la profondeur de son cinéma. Le style du « ni s’attacher ni quitter » d’Ozu vient de la pensée bouddhiste « La couleur même est la vacuité. » « Couleur » signifie « phénomène », le bouddhisme affirme que dans l’univers de vacuité, tout phénomène est changeant et temporaire, à savoir impermanent. Dans notre recherche, nous analyserons comment Ozu nous permet d’apercevoir et de comprendre la réalité de l’impermanence de l’univers et de la vie, à travers l’arrangement d’éléments du vide et du plein, et nous inspire à chérir la compagnie des émotions humaines dans la vie impermanente. Nous constaterons que c’est juste l’interpénétration entre le vide et le plein, entre l’absence et la présence, qui fait naître dans le cinéma d’Ozu une tension qui nous touche. Et son cinéma est pour ainsi dire une manifestation de « la couleur de la vacuité ». / There are two approaches, cultural and cinematographic, in the study of Yasujiro Ozu’s films. In response to the conflict between the two, and to view the richness and depth of Ozu’s works from a new perspective, I propose to return to Zen Buddhism ideas, which are deeply rooted in Japanese culture and aethetics. Ozu’s style of “neither attaching nor quitting" comes from the Buddhist idea that "Color is Emptiness”. "Color" means "phenomenon"; Buddhism asserts that in the universe of Emptiness, all phenomena are changeable and temporary, namely, impermanent. In my research, I will analyze how Ozu, by arranging elements of emptiness and fullness, reveals to us that impermanence is the reality of universe and life, and inspires us to cherish our companies in the impermanent life. We will find that it is the interpenetration of emptiness and fullness, of absence and presence, which give rise to the tension in Ozu’s films. And these films are the manifestation of “the Color of Emptiness”.

The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.

No description available.