Objective: To describe the psychological mechanisms that underlie biased self-assessment and suggest pedagogical techniques to counter them. Findings: Since the psychological mechanisms that underlie bias self-assessment occur below awareness, strategies that attempt to address bias directly are unlikely to succeed. A more effective approach may be to structure students’ learning experiences in ways that prevent the unconscious biasing mechanisms from operating efficiently. Summary: Given the importance of accurate self-knowledge for professional students and clinicians, as well as its difficulty to attain, an understanding of the psychological mechanisms that contribute the most common forms of biased self-assessment is essential for creating and implementing effective mitigation strategies.

In this dissertation, we aimed at better understanding the role of learning in shaping the contents of consciousness. To capture variations in consciousness, we took subjective measures as a starting point, and we performed several studies measuring their relation to human behavior, peripheral physiology and brain physiology in about 160 participants. We first focused on the learning mechanisms implicated in learning with feedback from the body, and then investigated how autonomic responses related to several aspects of awareness in associative learning tasks. Our results provide evidence that people can improve in their sensitivity to discriminate between mental states, while their confidence in doing so is unaffected. Our results also indicate no evidence for the malleability of phasic heart rate response by implicit knowledge. Taken together, these results suggest that consciousness is not easily influenced by learning with external feedback from the body. At a more abstract conceptual level, we explored several methodological considerations when interpreting changes in subjective reports and separated the potential contributions of knowledge and direct perception. Finally, we presented a novel taxonomy for categorizing neurofeedback paradigms, which may be of help to disentangle the learning process that is implicated in neurofeedback. / Doctorat en Sciences psychologiques et de l'éducation / info:eu-repo/semantics/nonPublished

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I aim to move the viewer through a system that consists of science fiction, of world building, with themes of nature, technology, and a subtle allusion to comic book aesthetics. Removing customary sci-fi and comic book narrative in favor of concept, self-awareness, and open-ended exploration, the outcome creates a complex setting. The report herein documents the various methods used to create this multifaceted installation space, which was the focus of my selected project.

The researcher set out to investigate the effectiveness of a specific phototherapy intervention on counselor-in-training’s empathy, self-awareness, and self-disclosure development through participation in a personal growth group using Davis’ (1980) Interpersonal Reactivity Index (IRI) Govern and Marsch’s (2001) Situational Self-Awareness Scale, and behavioral observations. The study also explored the relationship between the three factors. The study looked to see if there was a difference in the change over time between the group receiving the phototherapy intervention and those participants who did not receive the intervention. The data was collected and measured through a (a) repeated measures MANOVA, (b) independent samples t-test, and (c) Pearson product correlation. The study used 41 participants who were currently enrolled in a group counseling course at a CACREP-accredited master’s program in the Southeast. The students were either on a marriage and family, mental health, or school track. Both the treatment and the comparison group consisted of four groups and met weekly for a total of 10 meetings. Each group used a manualized treatment developed by the researcher with the treatment group incorporating the use of images. The findings showed that the phototherapy intervention did not have a significant impact on affective empathy or selfawareness when compared to the comparison group. Cognitive empathy showed a significant difference between the two groups over the course of the study. There was no difference between the observations of self-disclosure for the treatment and comparison groups, and the factors of empathy, self-awareness, and self-disclosure were not correlated. The results did show a significant change for both groups when looking at self-awareness. As a whole the study iv attempted to fill a gap in the literature surrounding how the factors of empathy, self-awareness, and self-disclosure are taught in counselor training programs and proposed next steps for future studies.

The purpose of this instrumental case study was to be able to define and describe ways in which professional musicians self-assess their own jazz improvisations in a jazz combo setting. Participants included four experienced jazz musicians who performed together regularly and had developed deep social and musical connections with one another prior to the study. Data were collected in five phases: 1) a rehearsal observation, 2) a group interview, 3) a second rehearsal observation, 4) a journaling session, and 5) a focus group. Five themes were developed from the data—“Empathy,” “Self-Doubt,” “Transcendence,” “Prior Knowledge,” and “Self-Awareness.” Self-Awareness served as a meta-theme to which the other four themes were connected. Further analysis of the themes indicated that the participants utilized self-assessment through non-verbal communication, deep listening, connecting to their past experiences, incorporating musical constraints such as form and harmony, using Norgaard’s (2008) tools of evaluative monitoring and sketch planning, and through empathetic attunement (Seddon, 2005). The participants actively tried not to be consciously self-aware while they were improvising, because they felt that it hampered their creativity. Finally, the musicians integrated self-assessment practices specifically to help them release their self-doubt, with the intention of practicing empathy to connect with one another and achieve a transcendent state while performing.

Indiana University-Purdue University Indianapolis (IUPUI) / Social work has deep roots in and a commitment to social justice and eliminating and addressing the oppression of people of diverse backgrounds. This commitment is based on the National Association of Social Work 2021 Code of Ethics. In order for social workers to learn how to ethically challenge social injustice with cultural humility, they need to develop a high level of self-awareness, or critical consciousness (Freire, 2003) and commitment to marginalized groups. This makes the role of a social work educator a critical one. Social work educators have their own biases and experiences of oppression and privilege. In order to support and prepare social work students with the skills of self-awareness and cultural humility, the educator must analyze their pedagogy, such as the inclusion of Black, Indigenous, and People of color (BIPOC) authors, the use of open dialogue, and engagement in creating and supporting brave spaces, while accurately describing social work history. Specifically, social work educators need to be aware of their social positioning in which oppression and/or privilege shape their realities, since this impacts their sense of self and teaching practices. This proposal seeks to apply qualitative research methods to investigate whether social work educators' social positioning and the associated privilege or oppressive experiences are important to understand their pedagogical and instructional practices/strategies relative to antiracism.

I detta arbete undersöks den musikaliska medvetenheten med hjälp av inspelningsutrustning, genom att identifiera aspekter i ens spel som inte märktes förrän genomlyssning i efterhand. Den moderna musikerns förutsättningar skiljer sig markant från tidigare, där det nu är enklare än någonsin att göra en inspelning med mobilmikrofonen. Genom att spela in stycken, lyssna på dem och föra anteckningar, identifierades flertal konkreta aspekter i pianospelet som inte märktes vid själva genomspelningen. Dessa tilldelades kategorierna: ”precision”, ”balans”, ”kroppsspråk”, ”agogik och tolkning”, ”frasering" och ”tempo och rytm". Vad gäller precision och balans erhölls inga större insikter utöver att feltoners betydelse kunde underskattas vid enstaka fall samt att jämnhet i anslaget var viktigt. I kroppsspråket fanns det en generell tendens att positiva rörelser gjordes i underdrift och de rytmiska aspekterna berörde ofta instabiliteter av olika slag, exempelvis ojämna rubato eller plötsliga tempoändringar. Slutligen handlade det agogiska och interpretativa ofta om att tydliggöra musikaliska strukturer, vilket gav en signifikant förbättring i upplevelse. Genom att aktivt arbeta med denna analysmetod märktes på sikt en förbättring i ens musikaliska självinsikt, där medvetenheten blev allt bättre med tiden. / In this project, my musical self-awareness is examined with the help of various recording devices, by identifying different aspects in the music that weren’t noticed until the recording was listened to. The possibilities given to the modern musician differ significantly from earlier times, where it is now easier than ever to make a recording with your mobile device. By recording pieces, listening to them and taking notes, several concrete aspects in my piano playing that weren’t noticed when playing through were identified. These were assigned the categories: ”precision”, ”balance", ”body language”, ”agogic and interpretation”, ”phrasing” and ”tempo and rhythm”. When it comes to precision and balance, no interesting insights were made apart from the significance of certain wrong notes as well as the importance of evenness in touch. The body language had the general tendency of not being exaggerated enough and the rhythmical aspects often concerned different instabilities, such as uneven rubato or sudden tempo changes. Lastly, the key to improving agogic and interpretation often lied in making musical structures more clear. By actively working with this method of analysis, one’s musical self-awareness was gradually improved through time. / <p>Den klingande delen är arkiverad.</p>

This single-session feasibility trial aimed to examine the effects of Directed-Imaginal Music Psychotherapy (DIMP) on self-awareness in relation to change in adults being treated for substance use disorder. DIMP is a two-part protocol. The first part is a live music, receptive intervention in which a trained music therapist plays a specified harmony sequence on guitar accompanied by verbal guidance to promote imagery and sensory experiences in participants. The verbal guidance is based on participant-defined “Comforts” in each of their five primary senses. The music and imagery component was followed by group verbal processing to discuss physical, emotional, or cognitive changes participant’s experience and gauge an understanding of insights into treatment gained by the participants. Participants completed the Self-Awareness Outcomes Questionnaire (SAOQ; Sutton, 2016) before and after the intervention to measure possible change in self-awareness in relation to change in their recovery. The Wilcoxon signed rank test indicated statically significant improvements in self-awareness scores from 3.37 pre-test to 3.77 post-test. Fieldnotes and transcripts from audio recordings were also used in thematic analysis. Deductive themes of Insight, Mindfulness, Reflection, and Rumination were taken from Sutton’s (2016) SAOQ study. Inductive themes of Disconnection/Connection, Safety & Comfort, Independence/Isolation, and Goal Orientation emerged from the qualitative data. Feasibility for implementation was considered through the lenses of adoption, reach fidelity, and sustainability (Pearson et al., 2020). The study found that DIMP is feasible for implementation (Bowen et al., 2009). Considerations for future research and clinical practice were identified. / Music Therapy

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