The thesis analyzes how a theoretical framework and method can be formulated to make mental illness visible in photographs posted on social media. The aim is to create a basis for further research. The framework is built on time, conversation, and language. Based on Susan Sontag, Roland Barthes and W J T Mitchells thoughts, a timeline is drawn. On it, both emotions and bodies are constantly present. Jon Kabat-Zinns mindfulness method is used to give an insight into how emotions can be handled with inspiration from eastern meditation techniques. The typical “yoga image” is analyzed. It is characterized by a woman doing a yoga pose, often placed in the middle of the image surface in an exotic place. The body ideal is recognized from other fitness contexts. The material is from @kinoyoga which is run by the yoga profile Kino MacGregor. Examining photographs that communicate perfect health puts this thesis questions at the forefront. The study shows that photographs on social media are not static objects but are parts in an ongoing documentation where meaning is not given. Instead meaning keeps transforming and is contently renegotiated. When the boundaries between the physical and digital realities are blurred, it becomes difficult to distinguish the needs of the image from one’s own. The emotional experiences of shortcomings and desires can occur and start to interact. As Instagram's algorithms exploit these emotions, it becomes difficult to break the vicious circle. Instagram users are forced to abide by the app's rules. The responsibility for the ill health generated should be the owners of for-profit companies and political institutions with the power to legislate.

Le début de la scolarisation implique de nombreuses contraintes, qui ne sont pas toujours adaptées à de jeunes enfants, notamment quant aux attentes attentionnelles irréalistes. Dans une optique préventive, il importe d’outiller les jeunes apprenants à faire face aux différents défis qu’ils rencontrent à leur entrée à l’école. Le yoga semble des plus bénéfiques pour étayer les élèves à cet égard puisque cette discipline permet de développer une aptitude permettant de demeurer dans l’instant présent, en ne se laissant plus distraire par les pensées ou stimuli externes, ce qui soutiendrait ainsi les enfants à s’engager dans leurs apprentissages. L’intervention mise en œuvre dans ce mémoire s’appuie sur l’ensemble des branches du yoga définies par Patanjali, sans omettre l’aspect éthique de cette pratique ancestrale travaillé grâce à la littérature jeunesse, élément fréquemment délaissé dans l’occidentalisation du yoga qui ne retient souvent que les postures physiques. Le modèle du Bucheton et Soulé (2009) a servi de bases pour appréhender la pratique enseignante, dans une optique réflexive de l’action enseignante, de manière à peaufiner l’intervention. L’approche retenue est principalement qualitative, bien que certains outils quantitatifs aient été retenus. Ces derniers ne se sont pas avérés significatifs étant donné la brève durée de l’intervention de 3 mois. Pour examiner l’impact sur l’attention et la régulation émotionnelle, des études de cas ont été réalisées. Il en ressort que l’intervention s’est révélée efficace pour l’ensemble des participants (N=8) de manière variable selon leur tempérament et leurs besoins prioritaires. Les retombées des résultats ont conduit à énoncer 16 recommandations pour une pratique du yoga en contexte de classe. / The beginning of schooling involves many constraints, which are not always suitable for young children, notably in regard to unrealistic attention expectations. From a preventive perspective, it is essential to tool young learners to face the different challenges they encounter upon entering school. Yoga seems to be most beneficial for supporting students. Since this discipline allows them to develop an ability to remain in the present moment, by not being distracted by external thoughts or stimuli, which would thus support children to engage in their learning. The intervention implemented in this thesis is based on the branches of yoga defined by Patanjali, without omitting the ethical aspect of this ancestral practice developed through children’s literature, an element often neglected in the westernization of yoga, who often only retains physical postures. The Bucheton and Soulé model (2009) served as the basis to grasp the teaching practice, from a reflective perspective of the teaching action, so to refine the intervention. The approach adopted is mainly qualitative, although certain quantitative tools have been retained. The latter were not found to be significant given the short duration of the 3 months intervention. To examine the impact on attention and emotional regulation, case studies were carried out. It turns out that the intervention was effective for all participants (N=8) in varying ways depending on their temperament and their priority needs. The impact of the results led to the formulation of 16 recommendations for a yoga practice in the classroom context.

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[EN] We begin at chapter 1, an introduction to the formulation of the hypothesis, we mention the history and current status of the topic, as well as a presentation of the contents. At chapter 2, we expose a detailed discussion of the methodology, based on the seven characteristics of Zen painting discoverd by Shinishi Hisamatsu. These characteristics are: 1 - Asymmetry, 2 - Simplicity, 3 - Austere Sublimity or Lofty Dryness, 4 - Naturalness, 5 - Subtle Profundity or Deep Reserve, 6 - Freedom from Attachment, and 7 - Tranquility. At the 2.1 the essential elements of philosophy and practice of Zen Buddhism and Taoism are established. At chapter 3, we analyze four Chinese artists and three Japanese artists as examples of the seven characteristics of Zen painting. Some biographical information of the painters is exposed, especially that connected with the artistic production and the practice of Zen. At the 3.1 we study the first two principles of Chinese painting by Hsie He, they are important to understand the Chinese traditional painting's aesthetic: 1 - Circulation of the ch'i produces life movement, 2 - Brush creates structure. We see these first two principles, as fundamental to the traditional Chinese painting, ch'i or life energy, is not found in the external appearance of objects, this ch'i, is transmitted through the structural brushstrokes in which the opposites yin-yang are involved. We analyze how these principles are linked with characteristics of Zen painting such as Simplicity, Naturalness and Tranquility, as well as with the expression of the Formless Self. Thus in 3.2, we enter into the analysis of the art works of two Chinese painters of the Southern Song Dynasty who embodied and shaped the Zen aesthetic: Mu Xi and Liang Khai. At the 3.3, we explore the art works of Shitao and Zhu Da and, with the help of the seven characteristics. In Shitao we also analyze fragments of his theoretical texts, and the formulation of the concept of the single brushstroke. At the 3.4, we see the art works of the Japanese painter Sesshu T¿y¿ and we analyze three fundamental styles: one more detailed and soft, another of thick lines, hard and more energetic, and a third one, synthetic and spontaneous called hatsu boku or splashed ink. At the 3.5 we study the Japanese painters Hakuin Ekaku and Sengai Gibon. The 4 is a support chapter, an introduction to some Western works of the twentieth century where the seven characteristics of Zen painting are evident. At the 5 we study the mainly monochromatic paintings of Tomás Sánchez and Leandro Soto on the light of Zen painting's characteristics. We also expose an aesthetical link with the Chinese and Japanese paintings analyzed in previous chapters. At the art works of Tomás Sánchez we can see a better relationship with the Simplicity, the Austere Sublimity or Lofty Dryness and the Subtle Profundity or Deep Reserve, while at the art works of Leandro Soto, we appreciate more the Asymmetry, Naturalness and Freedom from Attachment. Excerpts from an interview with each of the artists, are a corroboration of the above criteria. Finally, chapter 6 is dedicated to art works by the author of this thesis, in which the seven characteristics are found. It is introduced with an explanation of the practice of sumi-e ink painting, which is summarized in three stages of the practice: 1 - beginning full of illusions, ingenuity and a certain arrogance, 2 - intensive practice of rules and discipline, 3 - forgetting about oneself and overcoming the rule. At chapter 7 we explain the conclusions in order to corroborate the initial hypothesis. / [ES] Comenzamos en el apartado 1 de introducción con la formulación de la hipótesis, mención de los antecedentes y estado actual del tema, así como una exposición de los contenidos. En el 2, aparece una exposición detallada de la metodología a utilizar, basada en las siete características de la pintura vinculada al Zen de Shinishi Hisamatsu. Estas características son las siguientes: 1 - Asimetría, 2 - Simplicidad, 3 - Austera Sublimidad o Majestuosa Sequedad, 4 - Naturalidad, 5 - Sutil Profundidad o Reserva Honda, 6 - Libertad de Apegos, y 7 - Tranquilidad. En el apartado 2.1 se exponen elementos esenciales de la filosofía y la práctica del Budismo Zen, así como su vinculación al Taoísmo. En el apartado 3, se analizan obras de cuatro pintores chinos y tres japoneses donde se evidencian las siete características de la pintura vinculada al Zen. Se presentan algunos datos biográficos de los autores, especialmente los que tengan que ver con la producción pictórica y su vinculación a la práctica del Zen. Previamente en el 3.1, estudiamos los dos primeros principios de la pintura china de Hsie He, éstos son necesarios para la comprensión de la estética pictórica china tradicional: 1 - La circulación del ch'i produce el movimiento de la vida, 2 - El pincel crea la estructura. Vemos mediante estos dos primeros principios, como lo fundamental para la pintura china tradicional, es la captación del ch'i o energía vital, y no la apariencia externa de los objetos, este ch'i, es transmitido gracias a la pincelada estructural en la cual está implicada la dualidad de opuestos yin-yang. Analizamos como estos principios están vinculados con características de la pintura Zen como la Simplicidad, la Naturalidad y la Tranquilidad, así como con la expresión del Ser Sin Forma. De este modo en el 3.2, entramos en el análisis de obras de dos pintores chinos de la dinastía Song del Sur que encarnaron y dieron forma a la estética Zen: Mu Xi y Liang Khai. En el 3.3, exploramos obras de Zhu Da y Shitao, a la luz de las siete características. De Shitao vemos también fragmentos de sus textos teóricos, y la formulación del concepto de pincelada única. En el 3.4, vemos la obra del pintor japonés Sessh¿ T¿y¿, se muestran tres estilos fundamentales que en su versátil producción creó este maestro: uno más detallado, suave, de trazos diluidos, otro de líneas gruesas, duro, seco, definido, y uno sintético y espontáneo llamado hatsu boku o de tinta salpicada. Estudiamos en el 3.5 obras de los también japoneses Hakuin Ekaku y Sengai Gibon y su relación con el género zenga, literalmente pintura Zen. El apartado 4 es un capítulo de apoyo, una introducción a algunas obras occidentales del siglo XX donde se evidencian las siete características de la pintura vinculada al Zen. En el 5 entramos en el análisis de pinturas con predominio monocromático a la luz de las siete características de Tomás Sánchez y Leandro Soto. Vemos cómo se manifiestan vínculos estéticos con las pinturas chinas y japonesas analizadas en apartados anteriores. Finalmente, el capítulo 6, está dedicado a obras producidas por el autor de esta tesis, en las cuales están presentes las siete características. Se introduce con un texto sobre los procesos de la práctica del arte del pincel y la tinta, el cual se resume en tres etapas: 1 - comienzos llenos de ilusiones, ingenuidad y cierta arrogancia, 2 - práctica intensiva de las reglas y la disciplina, 3 - olvido de sí mismo y superación de la regla. En el apartado 7 vemos las conclusiones con un resumen. / [CA] Comencem en l'apartat 1 d'introducció amb la formulació de la hipòtesi, menció dels antecedents i estat actual del tema, així com una exposició dels continguts. En el 2, apareix una exposició detallada de la metodologia a utilitzar, basada en les set característiques de la pintura vinculada al Zen de Shinishi Hisamatsu. Estes característiques són les següents: 1 - Asimetria, 2 - Simplicitat, 3 - Austera Sublimitat o Majestuosa Sequedat, 4 - Naturalitat, 5 - Subtil Profunditat o Reserva Fonda, 6 - Llibertat d'Afeccions, i 7 - Tranquil¿litat. En l'apartat 2.1 s'exposen elements essencials de la filosofia i la pràctica del Budisme Zen, així com la seua vinculació al Taoisme. En l'apartat 3, s'analitzen obres de quatre pintors xinesos i tres japonesos on s'evidencien les set característiques de la pintura vinculada al Zen. Es presenten algunes dades biogràfiques dels autors, especialment els que tinguen a veure amb la producció pictòrica i la seua vinculació a la pràctica del Zen. Prèviament en el 3.1, estudiem els dos primers principis de la pintura xinesa de Hsie He, estos són necessaris per a la comprensió de l'estètica pictòrica xinesa tradicional: 1 - La circulació del ch'i produïx el moviment de la vida, 2 - El pinzell crega l'estructura. Veiem per mitjà d'estos dos primers principis, com el més important per a la pintura xinesa tradicional, és la captació del ch'i o energia vital, i no l'aparença externa dels objectes, este ch'i, és transmés gràcies a la pinzellada estructural en la qual està implicada la dualitat d'oposats yin-yang. Analizamos com estos principis estan vinculats amb característiques de la pintura Zen com la Simplicitat, la Naturalitat i la Tranquil¿litat, així com amb l'expressió del Ser Sense Forma. D'esta manera en el 3.2, entrem en l'anàlisi d'obres de dos pintors xinesos de la dinastia Song del Sud que van encarnar i van donar forma a l'estètica Zen: Mu Xi i Liang Khai. En el 3.3, explorem obres de Zhu Da i Shitao, a la llum de les set característiques. De Shitao veiem també fragments dels seus textos teòrics, i la formulació del concepte de pinzellada única. En el 3.4, veiem l'obra del pintor japonés Sessh¿ T¿y¿, es mostren tres estils fonamentals que en el seu versàtil producció va crear este mestre: un més detallat, suau, de traços diluïts, un altre de línies grosses, dur, sec, definit, i un sintètic i espontani cridat hatsu boku o de tinta esguitada. Estudiem en el 3.5 obres dels també japonesos Hakuin Ekaku i Sengai Gibón. L'apartat 4 és un capítol de suport, una introducció a algunes obres occidentals del segle XX on s'evidencien les set característiques de la pintura vinculada al Zen. En el 5 entrem en l'anàlisi de pintures amb predomini monocromàtic a la llum de les set característiques de Tomás Sánchez i Leandro Soto. Veiem com es manifesten vincles estètics amb les pintures xineses i japoneses analitzades en apartats anteriors. En les obres de Tomás Sánchez podem veure una major relació amb la Simplicitat, l'Austera Sublimitat, la Reserva Fonda i la Tranquil¿litat, mentres que en els treballs de Leandro Soto, s'aprecien més la Asimetria, la Naturalitat i la Llibertat d'Afeccions. Finalment, el capítol 6, està dedicat a obres produïdes per l'autor d'esta tesi, en les quals estan presents les set característiques. S'introduïx amb un text sobre els processos de la pràctica de l'art del pinzell i la tinta, el qual es resumix en tres etapes: 1 - començaments plens d'il¿lusions, ingenuïtat i una certa arrogància, 2 - pràctica intensiva de les regles i la disciplina, 3 - oblit de si mateix i superació de la regla. En l'apartat 7 veiem les conclusions amb un resum del camí seguit per a arribar a corroborar la hipòtesi inicial. / Fuentes González, R. (2015). INFLUENCIAS ZEN DE LAS PINTURAS MONOCROMAS ORIENTALES EN OBRAS DE LOS ARTISTAS CUBANOS TOMÁS SÁNCHEZ, LEANDRO SOTO, Y RUBÉN FUENTES [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/53631

Various forms of complementary and alternative medicine (CAM) are increasingly being used in the United States and globally over time. Among CAM, natural products, including herbal medicines, are the most used type. However, the increase in the use of CAM has gone on with minimal or without a corresponding increase in the rate of disclosure of use to the health care providers. The theories of care-seeking behavior and the behavioral model of health services use guided most of the study. Data from the 2012 National Health Interview Survey were analyzed to determine the health factors that affect the nondisclosure of herbal medicine usage by respondents (N = 423) who used herbs as their first choice of CAM therapy. Data were analyzed using descriptive statistics and a binary logistic model. About one quarter of herb users did not disclose their use of herbs to the health care provider. Nondisclosures were likely to be associated with herb users who also used homeopathy and those who used herbs to treat diseases that are usually short-term. The nondisclosure rate of the use of CAM, including herbal therapy, remains a recurring concern. As part of the practical implications, the study creates and supports the awareness of health factors associated with CAM and herbal medicine use nondisclosure issues that inform health professionals about mitigating the problem and improving health practice and medical consultations.

This dissertation is devoted to study of complex systems in human physiology particularly heartbeats and brain dynamics. We have studied the dynamics of heartbeats that has been a subject of investigation of two independent groups. The first group emphasized the multifractal nature of the heartbeat dynamics of healthy subjects, whereas the second group had established a close connection between healthy subjects and the occurrence of crucial events. We have analyzed the same set of data and established that in fact the heartbeats are characterized by the occurrence of crucial and Poisson events. An increase in the percentage of crucial events makes the multifractal spectrum broader, thereby bridging the results of the former group with the results of the latter group. The crucial events are characterized by a power index that signals the occurrence of 1/f noise for complex systems in the best physiological condition. These results led us to focus our analysis on the statistical properties of crucial events. We have adopted the same statistical analysis to study the statistical properties of the heartbeat dynamics of subjects practicing meditation. The heartbeats of people doing meditation are known to produce coherent fluctuations. In addition to this effect, we made the surprising discovery that meditation makes the heartbeat depart from the ideal condition of 1/f noise. We also discussed how to combine the wave-like nature of the dynamics of the brain with the existence of crucial events that are responsible for the 1/f noise. We showed that the anomalous scaling generated by the crucial events could be established by means of a direct analysis of raw data. The efficiency of the direct analysis procedure is made possible by the fact that periodicity and crucial events is the product of a spontaneous process of self-organization. We argue that the results of this study can be used to shed light into the nature of this process of self-organization.

This thesis examines the traces of theological and broader religious discourses in selected works of three major twentieth-century poets. Each of the texts examined in this thesis encodes within its poetics a distinct, theologically derived conception of the ontological status of the self in relation to the Absolute. Yeats primarily envisions the relation as one of essential identity, Jones regards it as defined by alterity, and Eliot depicts it as dialectical and paradoxical. Critics have underestimated the impact on Yeats’s late work of his final and most sustained engagement with Indic traditions, which issued from his friendship and collaboration with Shri Purohit Swami. Though Yeats projected Theosophical notions on the Indic texts and traditions he studied with Purohit, he successfully incorporated principles of Classical Yoga and Tantra into his later poetry. Much of Yeats’s late poetics reflects his struggle to situate the individuated self ontologically in light of traditions that devalue that self in favor of an impersonal, cosmic subjectivity. David Jones’s The Anathemata encodes a religious position opposed to that of Yeats. For Jones, a devout Roman Catholic committed to the bodily, God is Wholly Other. The self is fallen and circumscribed, and must connect with the divine chiefly through the mediation of the sacraments. In The Anathemata, the poet functions as a kind of lay priest attempting sacramentally to recuperate sacred signs. Because, according to Jones’s exoteric theology, the self must love God through fellow creatures, The Anathemata is not only circular, forming a verbal templum around the Cross; it is also built of massive, rich elaborations of creaturely detail, including highly embroidered and historicized voices and discourses. Critics have long noted the influence of Christian mystical texts on Eliot’s Four Quartets, but some have also detected a countercurrent within the later three Quartets, one that resists the timeless even as the poem valorizes transcending time. This tension, central to Four Quartets, reflects Eliot’s engagement with the dialectical theology of Karl Barth. Eliot’s deployment of paradox and negation does not merely echo the apophatic theology of the mystical texts that figure in the poem; it also reflects the discursive strategies of Barth’s theology. The self in Four Quartets is dialectical and paradoxical: suspended between time and eternity, it can transcend its own finitude only by embracing it.

Psykologiska    processer    där    identifikationen    med    jaget    och medvetandets innehåll upphör kan tänkas utgöra en hälsosam motvikt i  dagens  samhällskultur  där  centrering  kring  jaget,  stress,  depression och meningsförlust, ofta förekommer. Självtranscendens har beskrivits som en expansion av medvetandet och en rörelse bortom gränserna för ens självmedvetenhet och självuppfattning, antingen tillfälligtvis eller som  en  relativt  stabil  perspektivförändring  som  utvecklats  under livsloppet.  Sex  personer  mellan  54  och  100  år  med  erfarenhet  av självtranscendenta   perspektiv   intervjuades   i   studien   i   syfte   att induktivt  generera  mer  kunskap  om  hur  självtranscendens  kunde upplevas, utvecklas och förändra en människas perspektiv. Genom en tematisk    analys    framkom    att    en    regelbunden    aktivering    av självtranscendenta     medvetandetillstånd     särskilt     inverkade     på utvecklingen   och   kopplades   till   principer   om   neuroplasticitet. Självtranscendensutvecklingen     medförde     även     förändringar     i respondenternas perception av inre och yttre fenomen exempelvis vad gäller   känslighet,   jagupplevelse   och   möjlighet   till   distans   och objektivitet, vilket även bidrog till psykologisk hälsa.

Mindfulness meditation programs, benefits, and outcomes were examined through research previously conducted and published by professionals within five differing disciplines: health and wellness, psychology, elementary education, exceptional education, and medicine. The goal was to find common themes within the differing disciplines in order to gather information about the effectiveness of a mindfulness meditation program to be used in an elementary classroom. In this thesis, the chapter of Health and Wellness is a review of literature that tells the benefits found within meditators, which are not found within non-meditators. The chapter of Psychology explains the social-emotional needs of students, the causes of stress and anxieties amongst students, and the benefits that meditation provides in order to counter the negative effects of stress, anxiety, poverty, etc. The chapter of Elementary Education reviews research literature on the existing mindfulness meditation programs within the United States. This chapter also describes the implementation of such a program in an elementary school, as well as the documented data of the outcomes of the programs. The chapter of Exceptional Education is a review of the research literature on the benefits mindfulness meditation has on students with exceptionalities, such as specific learning disabilities, attention deficit hyperactivity disorder, and autism spectrum disorder. The chapter of Medicine is a retelling of previously published scholarly articles that list the neurological benefits of meditation, and also references the negative side effects to the currently prescribed medications that are being used in the treatment of ADHD.

The assignment is an architecture and urban planning study of a sports and recreation center. The solved area is located in the town of Vsetín, in the part called Ohrada. Nowdays, the area is obsolete, unfunctional and also unmodern. My project is mainly focused to create a concept that responds to the environment, offers outdoor and indoor spaces for all generations. It allows better connection with nature, variable use, and division of area by function. The design is defined by the river Bečva on the west side and a busy 1st class road on the east side. It was important to separate pedestrians and cyclists from motor vehicles. The response to this restriction is to direct traffic in the area to the west, towards the river. This creates a terrain works that optically deflects the design in a quieter direction. Buildings are placed in the line and oriented in the western direction. After creating the terrain, I divided the area into several segments according to functionality. In the heart of the area, a multifunctional central hall with an inner climbing wall is set in the terrain. In front of it is a public space for meetings, sports and recreation. On the other side, there is a basketball court, a workout playground, a children's playground in front of the hall and a rest area of ??greenery closer to the river. If we continue southerly down, another cube set into the terrain is a building with a restaurant and a cafe. The southernmost building is a tennis club with facilities for athletes and squash. In front of the building there is a 9x tennis court with a grandstand. Closer to the river and the bike path there is an outdoor climbing wall. From the newly created embankment, the area is divided by a cycle path around the river. Behind the bridge is a green belt separated area which, unlike the previous ones, is tuned in a calmer spirit. We will find a building of a yoga and meditation center.