In gesprek met het Kaasmonster: Voice Dialogue in de ggz voor therapeuten, psychologen en coaches

Hoe kunnen we de menselijke maat weer terugbrengen in de behandelkamer? De Voice Dialogue methode, ontwikkeld door psychologen echtpaar Dr. Hal & Dr. Sidra Stone leent zich hier perfect voor. Uitgangspunt is dat ieder mens meerdere en vaak tegengestelde kanten of subpersonen in zichzelf heeft. Die kunnen conflicten en stress veroorzaken, maar je kunt er ook mee leren ‘dansen’. Hiervoor is bewustzijnsgroei nodig, de ontwikkeling van een Bewust Ego om onderliggende kwetsbaarheden te leren beschermen, verzorgen of dragen. Of het nu gaat om burn-out, verslaving, stemmen horen, SOLK, angst, depressie, trauma, slaapstoornissen of rouw, Voice Dialogue biedt hier handvatten voor. Het boek behandelt per thema zeer levendig beschreven, leerzame en inspirerende praktijkvoorbeelden –zoals die van het kaasmonster. Het biedt de lezer inzicht en schetst de grenzeloze mogelijkheden én effectiviteit in deze counselings- en therapiemethode. Ook geeft het de inspiratie zelf met deze elegante methode aan de slag te gaan. 'In gesprek met het Kaasmonster' is bedoeld voor psychiaters, psychologen, therapeuten, maar ook ervaringsdeskundigen, therapeutisch werkende coaches en alle andere vaardige begeleiders, die graag hun arsenaal aan therapeutische vaardigheden willen uitbreiden. Het boek is geschreven door Robert Stamboliev (psycholoog en grondlegger van Voice Dialogue in Europa), Anita Roelands (Registerpsycholoog NIP Arbeid & Organisatie en burn-outspecialist), Gert Haringsma (GZ psycholoog NIP/LVVP) en Henriette Deckers (GZ psycholoog, Eerstelijnspsycholoog NIP).

Introduction

Over the past three decades, the study of the film soundtrack has developed into a rich scholarly discipline, characterized by diverse approaches and methodologies drawn from such fields as musicology, music theory, film and media studies, and sound studies. As an object of theoretical focus, the voice has helped correct the long-standing ocularcentrism of film theory discourse. Yet, the voice as a narrow concept is itself problematic in that it limits our understanding of how it functions among the various components of the soundtrack. Traditionally, the voice has been given great deference in production, even as dialogue has been denigrated in film theory. This has led to a curious conceptual framework for the soundtrack where the default state of synchronized dialogue in filmmaking is treated as a merely redundant figure or even as a profoundly ideological delusion in film theory. Understood as part of an integrated soundtrack—that is, a soundtrack where the various components have a sense of being planned or composed and where sound design and music are blended into a kind of conceptual unity—the voice (dialogue in particular) assumes a somewhat different role and allows for a more complex and interpretively richer conceptual framework. Many films—and increasingly in contemporary cinema of all sorts—downplay the centrality of dialogue even as the soundtrack as a whole assumes a crucial role in these films’ spectacle. This volume aims to reconsider and broaden our notion of what the voice as a concept can do for studies of film music and sound....

Application of cognitive technologies for the formation of speech dialogue management models

Purpose of research. The aim of the study is the use of cognitive technologies for the formation of speech dialogue management models. At present, for the development of the Internet of things, the expansion of communicative opportunities for their interaction, it is important to improve speech dialogue management models in many areas. The need for dialogue can arise between cyber-physical systems, between a person and cyber-physical systems, between users, developers, and administrators. The speech dialogue management models covers many issues related to processing a speech signal, semantic analysis, understanding the meaning of speech, using cognitive mechanisms for interaction, and some others. A special place among them is occupied by the problem of building a speech dialogue between users, developers, and cyberphysical systems. This article is devoted to the consideration of the use of speech dialogue management models of intelligent systems, as well as users, developers, administrators.Materials and methods of research. New approaches and methods are required to solve the problems within the framework of the Industry 4.0. The industry 4.0 concept represents a variety of technologies, including the creation of cyber-physical systems, a variety of different protocols for their interaction. One of its main directions is the Internet of things. Cognitive mechanisms associated with the formation and application of concrete sensory images, concepts-representations, concepts-frames are used to solve the problems of model formation. To form the abilities and speech skills for the communicative activities of the participants of the interaction within the framework of the Industry 4.0 concept, the methods associated with mastering foreign language technologies were used. The ultimate goal of their use is to achieve the ability to master spontaneous speech in both everyday and professional situations. Mastering a foreign language involves the use of cognitive technologies, which allows you to develop the structure of mental operations.Results. Some features of the formation of a voice dialogue management model for intelligent systems and the preparation of interaction participants in the framework of the concept — users, developers, and industrial system administrators – are considered. The application of cognitive mechanisms for organizing and using the model of speech dialogue management is shown. The use of conceptual representations and scripting concepts in intelligent systems allows us to develop the structure of the world model. The application of cognitive mechanisms for training interaction participants, within the framework of the Industry 4.0 concept, improves their training by improving understanding of the material being studied by building logical connections and a mental model of the material. Using concepts allows you to build mental models of your own thoughts. At the end of all mental operations, participants in the interaction acquire the ability to form speech dialogue management models.Conclusion. The use of cognitive technologies makes it possible, both for intelligent systems and for interaction participants, to use generalized static structures of concepts, situations, and dynamic structures for real and mental operations. The active use of such structures makes it possible to better understand the current situation and successfully formulate and use voice dialogue management models for solving problems arising during the development of the Industry 4.0 concept.

Perancangan Media Animasi Merintis Penemuan Sejarah Lamuri

<p>Lamreh, one of Aceh Besar regency areas, formerly had a kingdom called Lamuri Sultanate Kingdom. This Sultanate is the forerunner to the Sultanate of Aceh Darussalam. So that the history of Lamuri does not disappear, the writer is interested in providing information about the historical discovery of the kingdom of Lamuri in the form of animation. Lamuri's historical animation is designed in the form of 3-dimensional object visualization with easy-to-understand voice dialogue. Animation uses 3 software in the form of Iclone, Sketchup, and Corel pro x6. This animation amounts to 10 scenes with a duration of 5 minutes 45 seconds. Hopefully, this animation can provide information to the public about the forerunner of the history of Lamuri.</p>

“Students Can Write!”

One purpose of this article is to shed light upon the concept of voice in writing, related to genres and sources in humanities. Another purpose is to participate in the academic discussion on voice. We want to raise awareness about the use of voice, in general, among students and supervisors. We want to inspire and motivate students to voice their texts explicitly and naturally – by using different genres and by entering into dialogue with central sources. Such sources can be used to create new meaning and for sense making, but they do not carry a given answer (Dervin, 1999; Holliday & Rogers, 2013). The variation and complexity of voice is present in the variety of sources students find and use, such as articles, textbooks, dissertations, interviews, films, pictures, etc. Voices are explicit or implicit in all kind of sources used. Voices emerge as authoritative and experienced within academia, for instance in textbooks and articles. Voices may be creative and inviting. Some are attractive and believable, others hesitant or uncertain, as voices in many texts written by students. Students, at all academic levels, express insecurity when working with academic writing and genres. However, by analysing and practicing different academic genres and by attending to voice(s) in others’ texts, students are empowered to explore genres and sources and to voice their own texts. By using and entering into dialogue with various sources, students make choices about how to present and interact with sources. In these ways, students develop their voices and improve their texts. Our theoretical point of departure deals with voice, dialogue (Elbow, 2007; Bakhtin, 1986) and the use of sources combined with the search for information (Dervin, 1999; Holliday & Rogers, 2013). We analyse and compare two examples of the use of sources in academic texts, in order to show how texts representing two genres, use voices and sources in different ways. We present supervisors’ guidance strategies, representing supervisors’ voices. We – and supervisors – mention students’ general challenges with academic writing. Finally, we present dialogic strategies and propose a new dialogic strategy. This new strategy combines and unites reading and writing in different genres, drawing on and entering into dialogue with central sources, with different and clear ways of voicing; explicit and implicit voicing. Our dialogic strategy – and other intended dialogic strategies – can be used by students and all supervisors who assist students in writing, when dealing with voice(s) and sources.