Arts Design & Architecture
Arts Design & Architecture
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(2010) Kelly, Angela; Worth, Heather; Man, N.; Nosi, S.; Emori, R.; Mek, A.; Akuani, F.; Kupul, M.; Kepa, B.; Walizopa, L.; Pirpir, L.; Cangah , B.; Siba , P.; Frankland, Andrew; Rawstorne, PatrickJournal ArticlePapua New Guinea (PNG) is in a phase of scaling up access to antiretroviral therapy (ART), and adherence to the newly available drug therapy is becoming an important issue. This paper examines adherence to ART in a sample of 374 HIV-positive people in six provinces in PNG. Participants were recruited to the study using non-probability sampling. Sixty-two % of participants reported complete adherence (no missed or late doses in the past week) and 79% reported not missing any doses in the last week. Revival church members were significantly more likely to report having missing a treatment dose(s) (66%). Those living in the Highlands and those attending Catholic health clinics were significantly more likely to be adherent to their treatment. Age, gender, marital status, education level and employment type did not show significant association with treatment adherence. Adherence rates in PNG are not alarming, indicating that people with HIV can adhere to treatment despite the challenges of living in PNG.
(2022) Macdonald, DianeThesisThe agency of women with disability is undermined by long-held ideas of what women with disability can or should be. These narrow, reductive views of their identity are limiting and harmful, and lead to exclusionary practices. My research used a feminist framework to challenge these views. My research addressed the social inclusion of women with physical disability in two stages. First, it investigated identity and inclusion through photographic self-portraits by women with physical disability. Second, my research examined the role of arts-based research in shifting negative community attitudes about disability. In the first stage, six women with physical disability photographed aspects of themselves using the photovoice method to focus on their strengths and issues affecting them. Photos, stories, interviews and discussions were analysed thematically. Findings from the first stage indicate that these six women engage in the ‘work of disability’. They articulated identity through their depictions of gender and disability. They challenged expectations through portraits of strength, sexuality and connection. They illustrated the gendered realities of daily life with disability that explain disability to non-disabled others. This research emphasised the personal capacity of the women to critically challenge how women with disability are portrayed. In the second stage, I explored the extent to which a public exhibition of disability self-portraits could be an effective platform to provoke social change. Audiences responded to open-ended questions about their thoughts and feelings after viewing the exhibition. I employed interpretive thematic analysis through a generic social processes framework to analyse responses. My findings indicate that audiences acknowledged underlying conscious or unconscious biases that contribute to their negative attitudes about disability. Audiences connected with the exhibition in ways that not only explored the women’s stories, but also led to better understandings of their own value sets. Audiences reassessed their assumptions about disability as a direct result of viewing the exhibition. My research findings demonstrate the valuable role of arts-based research. The agency expressed through self-portraits and stories helped shift negative attitudes and perceptions of disability to counter prejudice and promote equality. My research reveals a new pathway for the public to see women as they see themselves through art.
(2022) Watfern, ChloeThesisThere are studios all over the world where neurodiverse artists work together in a supportive way. This thesis is an inquiry into how art works in two of these organisations—Studio A in Sydney, Australia, and Project Art Works in Hastings, UK. It draws from traditions of narrative inquiry and ethnography to understand the lived experiences of the people at the heart of these studios, and the role that art has played in their storied lives. As such, the thesis contributes to knowledge in three ways: 1) It documents the important practices of makers and organisations whose work has not yet received significant critical or academic attention. It explores the dimensions of these practices that hold potential for reshaping normative understandings of both art and disability; 2) It conceptualises the role of art as a point of connection between neurodiverse people, and as a way of coming to express and understand lived experience. It maps the resonances across different fields that help articulate empathic encounters with and through art; 3) It demonstrates, through its written form, an ecological mode of creative inquiry that resists reductionism—an inquiry that is, like the practices it studies, embodied and relational. It interrogates the value, and ethical implications, of this mode of research. To contribute to knowledge in this way, the thesis assembles many forms of pre-existing knowledge, including the lived experience of its subjects, and the academic literature preceding it. It is grounded in an ecological understanding of cognition, informed by theories that help situate thought in the world, as a dynamic system of relationships between self, others, and the environment. It draws links between disability aesthetics, care ethics, and an ecological approach to empathy, through detailed insights into the social and aesthetic dynamics operating in the work of the two studios. These insights were built up over three years of fieldwork, including over one hundred interviews, and hundreds of hours spent looking, listening, and making alongside artists in the studio. This thesis is an invitation to enter the world of the studios, and of some of the people who work there. It offers a way of paying attention to art, and to other people, that is attuned to the senses, and that allows us to be comfortable with not knowing—or, knowing differently. It argues that this is a practice of ethical importance, in a world where both disability and art are still poorly understood.