No description available.

Researchers have found evidence that when clinicians use an evidence-based feedback system that uses Clinical Support Tools (CST) for not-on-track clients, deterioration rates fall and success rates improve (Shimokawa et al., 2010). Despite multiple studies finding evidence in support of using the CST, there has been a discrepancy between effect sizes (i.e., d = 0.5; Simon et al., 2012). As such, further replicate of these past studies is needed to discover if small effect sizes still persist and if so, what possible variables may contribute to inconsistent findings. For the current study, it was predicted that the use of the CST would result in significantly lower OQ-45 scores at treatment termination after controlling for the intake OQ-45 score. Additionally, previous research indicated that the combined intervention of the progress feedback plus CST would significantly reduce deterioration rates with those NOT. Out of 1,122 participants, 172 were randomly assigned to one of two conditions: The CST feedback group (n = 71) and the no CST feedback group (n = 101). There was not a significant difference in the mean OQ-45 scores for the CST feedback group (M = 2.39, SD = 20.95) and the no CST feedback group (M = 4.17, SD = 19.74). The results of this study raise questions about how regularly the therapists were monitoring their clients' progress feedback and whether the CST are effective. Additionally, the author evaluates the timing of when the CST were administered to clients and when therapists reviewed the feedback.

No description available.

Aujourd’hui nous pouvons être à un endroit du monde et réaliser des prises de vues à des centaines de kilomètres. La distance, qui jusqu’à présent se limitait à celle de la perception de notre œil, n’a aujourd’hui plus de limites, grâce aux nouvelles technologies. Cette thèse étudie la situation de l’artiste, dans le traitement du paysage, face à ces choix offerts à lui, entre l’analogique et le numérique. Ce serait la multiplicité de ce qu’offrent les technologies qui, par la main de l’artiste, permettraient de faire muter le paysage contemporain. Selon notre hypothèse, les Mutation(s) du paysage contemporain ne se joueraient pas uniquement sur une continuité temporelle, suivant l’évolution des technologies, oubliant progressivement l’analogique au profit du numérique. Il y aurait bien cet Entre qui se révèlerait être au cœur de nos questionnements. La thèse se développe en trois parties, comme une sorte de triptyque : Hors-champ, Instants, Non-lieu, en prenant appui sur notre pratique d’artiste. Partant de nos origines bretonnes, nous irons puiser dans des légendes et cultures celtes (l’Anaon, l’intersigne, etc.) qui nous entraîneront vers l’Asie (les évaporés au Japon, etc.), naviguant entre les technologies, entre le visible et l’invisible, entre le réel et le virtuel. En définitive, la mutation (au pluriel) est une et multiple à la fois. Cette figure complexe (au sens d’Edgar Morin) rappelle celle du Yi-Jin, dont sa définition suggère des mises en rapport de signes. Elle n’est pas sans proximité avec l’écriture oghamique, qui est un alphabet antique celte. Notre thèse est que l’Ogham, en connivence avec le Yi-Jin, participerait d’une nouvelle définition du paysage contemporain. / We can be in one place in the world and take pictures of places located at hundreds of kilometers away. The distance, that up to now, used to be limited to our eyes’ perception, has no more limits, thanks to new technologies. This thesis analyzes the position of the artist in the treatment of landscape in view of the choices offered between analogue and digital.This would be the multiplicity of the technological possibilities, that through the hands of the artist, allows to mutate the contemporary landscape. According to our hypothesis, the Mutation(s) of contemporary landscape, would not be based exclusively on a temporal continuity, following the technological evolution, that progressively forgets the analogue in favor of the digital. There would be this In Between that would be at the center of our questioning. The thesis develops itself in 3 parts, like a sort a tryptique: off-track - instants - out of place, based on our practice as artist. Departing from our Brittany origins, we will immerse into the Celtic legends (the “Anaon”, the “intersigne”, etc.) and cultures that will take us to Asia (the “evaporated” in Japan, etc.), shifting between the technologies, between the visible and the invisible, between the real and the virtual.In the end, the mutation (in plural) is one and many at the same time. This complex representation (in the sense of Edgar Morin) reminds that of Yi-Jin, of which his definition suggests the relationship between signs. It is not without the proximity of the Oghamic writing, that is an ancient Celtic alphabet. Our position is that the Ogham, in connection with the Yi-Jin, would be part of a new definition of the contemporary landscape.

Qualitative and quantitative research methods were used to study instances of sudden gains within the case load of a private practice practitioner. Five clients whose progress was marked by such changes were contrasted with the views of five clients whose progress was marked by significant setbacks. Results from the quantitative analyses indicated that clients who experienced sudden gains during therapy tended to retain their therapeutic gains over a 2-year time period. In contrast, individuals who experienced setbacks in therapy generally continued to be distressed at the 2-year reassessment. Clients who experienced sudden gains were more distressed prior to treatment and were more satisfied with their experience looking back. A stronger working alliance was found amongst those who experienced sudden gains, although there was no difference between the groups' ratings regarding the strength of the therapeutic bond. Qualitative results suggested that therapy was helpful in bringing about many changes in clients' lives, but clients who experienced sudden gains generally recalled more positive aspects of therapy, demonstrated greater utilization of therapeutic techniques, endorsed more long-term changes, accepted more responsibility for their treatment outcomes, and were less likely to react negatively to therapeutic techniques. Clients who experienced setbacks in therapy were generally less optimistic about the future, felt that they had regressed since termination, and demonstrated more resistance to therapeutic techniques.