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What is ‘doll therapy’ for people with dementia? And is it backed by science?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/nikki-anne-wilson-342631">Nikki-Anne Wilson</a>, <a href="https://theconversation.com/institutions/unsw-sydney-1414">UNSW Sydney</a> The way people living with dementia <a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/how-dementia-changes-perception">experience the world</a> can change as the disease progresses. Their sense of reality or place in time can become distorted, which can cause <a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/restlessness">agitation and distress</a>. One of the best ways to support people experiencing changes in perception and behaviour is to <a href="https://www.dementia.org.au/professionals/designing-dementia-friendly-care-environments">manage their environment</a>. This can have profound benefits including <a href="https://www.agedcarequality.gov.au/resource-library/reducing-use-sedatives-aged-care-video">reducing the need for sedatives</a>. One such strategy is the use of dolls as comfort aids. <h2>What is ‘doll therapy’?</h2> More appropriately referred to as “<a href="https://www.dementia.com.au/resource-hub/the-use-of-dolls-in-dementia-care">child representation</a>”, lifelike dolls (also known as empathy dolls) can provide comfort for some people with dementia. Memories from the <a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/symptoms/memory-loss#:%7E:text=Older%20memories%20%E2%80%93%20which%20have%20been,detailed%20memories%20from%20earlier%20life.">distant past</a> are often more salient than more recent events in dementia. This means that past experiences of parenthood and caring for young children may feel more “real” to a person with dementia than where they are now. <a href="https://www.alzheimers.org.uk/about-dementia/symptoms-and-diagnosis/hallucinations#:%7E:text=Visual%20hallucinations%20are%20more%20common,hallucinating%20and%20how%20others%20respond.">Hallucinations or delusions</a> may also occur, where a person hears a baby crying or fears they have lost their baby. Providing a doll can be a tangible way of reducing distress without invalidating the experience of the person with dementia. <h2>Some people believe the doll is real</h2> A recent case involving <a href="https://www.theguardian.com/australia-news/2024/nov/06/deplorable-nurse-slammed-therapy-doll-dementia-patient-believed-was-real-baby-on-table-nsw-tribunal-hears">an aged care nurse mistreating a dementia patient’s therapy doll</a> highlights the importance of appropriate training and support for care workers in this area. For those who do become attached to a therapeutic doll, they will treat the doll as a real baby needing care and may therefore have a profound emotional response if the doll is mishandled. It’s important to be guided by the person with dementia and only act as if it’s a real baby if the person themselves believes that is the case. <h2>What does the evidence say about their use?</h2> Evidence shows the use of empathy dolls may help <a href="https://www.sciencedirect.com/science/article/pii/S0197457223002677">reduce agitation and anxiety</a> and <a href="https://www.mdpi.com/2039-4403/14/4/200">improve overall quality of life</a> in people living with dementia. Child representation therapy falls under the banner of <a href="https://www.sciencedirect.com/science/article/pii/S0149763423004761">non-pharmacological approaches to dementia care</a>. More specifically, the attachment to the doll may act as a form of <a href="https://pmc.ncbi.nlm.nih.gov/articles/PMC6494367/">reminiscence therapy</a>, which involves using prompts to reconnect with past experiences. Interacting with the dolls may also act as a form of <a href="https://www.health.vic.gov.au/dementia-friendly-environments/sensory-stimulation">sensory stimulation</a>, where the person with dementia may gain comfort from touching and holding the doll. Sensory stimulation may <a href="https://onlinelibrary.wiley.com/doi/full/10.1111/jocn.13169?casa_token=ro96fxe2VPoAAAAA%3AKOS10VkTdcrf0yTI_F9p6cI5Kpbj85ZTFq13PQ56YHxi0i3-5BOnFQfW1WFWqiCZ8-mk5sp_EGkGtKM">support emotional well-being and aid commnication</a>. However, not all people living with dementia will respond to an empathy doll. The <a href="https://www.alzheimerswa.org.au/wp-content/uploads/2017/07/2.00-Guidlines-for-Use-of-Dolls-and-Mechanized-Pets-as-a-Therapeutic-Tool-4-pages.pdf">introduction of a therapeutic doll</a> needs to be done in conjunction with careful observation and consideration of the person’s background. Empathy dolls may be inappropriate or less effective for those who have not previously cared for children or who may have experienced past birth trauma or the loss of a child. Be guided by the person with dementia and how they respond to the doll. <h2>Are there downsides?</h2> The approach has <a href="https://pubmed.ncbi.nlm.nih.gov/33125455/">attracted some controversy</a>. It has been suggested that child representation therapy “infantilises” people living with dementia and may increase negative stigma. Further, the attachment may become so strong that the person with dementia will <a href="https://www.dementiauk.org/information-and-support/living-with-dementia/doll-therapy/">become upset if someone else picks the doll up</a>. This may create some difficulties in the presence of grandchildren or when cleaning the doll. The introduction of child representation therapy may also require additional staff training and time. Non-pharmacological interventions such as child representation, however, have been shown to be <a href="https://pmc.ncbi.nlm.nih.gov/articles/PMC10180718/">cost-effective</a>. <h2>Could robots be the future?</h2> The use of more <a href="https://pmc.ncbi.nlm.nih.gov/articles/PMC8247474/#:%7E:text=Therefore%2C%20an%20interactive%20baby%20robot,mental%20support%20for%20older%20adults.">interactive empathy dolls</a> and <a href="https://journals.sagepub.com/doi/full/10.1177/14713012231155985">pet-like robots</a> is also gaining popularity. While robots have been shown to be <a href="https://www.sciencedirect.com/science/article/pii/S1568163722000757">feasible and acceptable in dementia care</a>, there remains some contention about their benefits. While some studies have shown <a href="https://academic.oup.com/innovateage/article/5/2/igab013/6249558?login=false">positive outcomes</a>, including reduced agitation, others show <a href="https://www.sciencedirect.com/science/article/pii/S1568163722000757">no improvement</a> in cognition, behaviour or quality of life among people with dementia. Advances in artificial intelligence are also being used to help support people living with dementia and <a href="https://journals.sagepub.com/doi/full/10.1177/1471301221998888">inform</a> the community. <a href="https://feel-lab.org/research_projects/ai-viv-and-friends/">Viv and Friends</a>, for example, are AI companions who appear on a screen and can interact with the person with dementia in real time. The AI character Viv has dementia and was co-created with women living with dementia using verbatim scripts of their words, insights and experiences. While Viv can share her experience of living with dementia, she can also be programmed to talk about common interests, such as gardening. These companions are currently being trialled in some residential aged care facilities and to help educate people on the lived experience of dementia. <h2>How should you respond to your loved one’s empathy doll?</h2> While child representation can be a useful adjunct in dementia care, it requires sensitivity and appropriate consideration of the person’s needs. People living with dementia <a href="https://pubmed.ncbi.nlm.nih.gov/38325063/">may not perceive the social world the same way</a> as a person without dementia. But a person living with dementia is not a child and should never be treated as one. Ensure all family, friends and care workers are <a href="https://www.alzheimerswa.org.au/wp-content/uploads/2017/07/2.00-Guidlines-for-Use-of-Dolls-and-Mechanized-Pets-as-a-Therapeutic-Tool-4-pages.pdf">informed about the attachment to the empathy doll</a> to help avoid unintentionally causing distress from inappropriate handling of the doll. If using an interactive doll, ensure spare batteries are on hand. Finally, it is important to reassess the attachment over time as the person’s response to the empathy doll may change.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/243589/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/nikki-anne-wilson-342631">Nikki-Anne Wilson</a>, Postdoctoral Research Fellow, Neuroscience Research Australia (NeuRA), <a href="https://theconversation.com/institutions/unsw-sydney-1414">UNSW Sydney</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-is-doll-therapy-for-people-with-dementia-and-is-it-backed-by-science-243589">original article</a>. </div>

Mind

Doctor defies terminal cancer diagnosis with breakthrough therapy

Dr Tina Willits was told she had just 24 months to live after being diagnosed with breast cancer, but against all odds she is now in remission. The mother-of-five's disease was "everywhere" with three golf-ball sized tumors in her breast and cancerous masses in her ribs, spine, lymph nodes and legs. "When my cancer was detected, it was pretty past a stage four diagnosis and I was too far gone for a mastectomy," she told the Daily Mail. She was placed on end-of-care chemotherapy and was told to "enjoy the time you have left". That was nearly three years ago. Now, the 53-year-old US mum is in remission thanks to a breakthrough cancer therapy that uses cold gases and the body's own cells to freeze and fight tumors. "I was devastated, but I was also like no, I was not ok with that diagnosis. I felt I had to do something," she recalled. "I was just really determined that I did not want to live my life with this cancer, even if they could stop it progressing, I didn't want that, I just wanted it gone." Dr Willits' cancer was HER2 positive, which account for about 20 percent of all diagnoses, and she had no family history of the disease. She underwent four rounds of chemotherapy before she sought alternative treatment at the Williams Cancer Institute. The institute sent her a list of supplements to begin taking and advised her to avoid sugar, which some researchers believe can help reduce inflammation and slow down the growth of cancer cells. She then underwent a treatment regimen that is not yet fully approved in the US, with cryoablation as the first step. Cryoablation is the process where doctors insert a small metal probe through the skin and into the tumor, extremely cold gasses are then released directly into the mass to kill its cells. In the second phase of her treatment, she received immunotherapy, where eight drugs were administered directly into her tumor, which doctors say can prompt the immune system to recognise cancer cells as a threat and trigger an immune response. Dr Willits told the Dailymail that she was shocked when she got the results from her six-week scan after the treatment. "There were none, no tumors. They were just completely gone," she said. "All the metastasis (cancerous growths outside the breast) had completely healed, and the cancer in my lymph nodes was no longer there." After the treatment she had another four rounds of chemotherapy, and still undergoes PET scans every six months. So far the cancer has not been detected in her body since the treatment, and will need to wait for five years of clear results before she can be declared cancer free. Dr Williams, the founder of the institute, developed the treatment regimen over several years, and believes it could offer a better way to treat cancer. He is currently running a trial of the treatment in hard-to-treat prostate cancer patients, although he did not reveal how long the study had been going on for or how many rounds of treatment the patients had received. Since going into remission Dr Willits has travelled to Honduras and Colorado, tried mountain biking and is training for a 5k marathon for breast cancer awareness. "I wouldn't appreciate life like this if I had not gone through the cancer," she said. "No one on their deathbed says I wish I had worked more or got that job, you all say I wish I had spent more time with my parents and kids or gone to that place I had always wanted to." Images: DailyMail

Caring

2024 Wildlife Photographer of the Year revealed

The finalists of the 2024 Wildlife Photographer of the Year competition have been revealed, with the talented photographers capturing the magic of the animal kingdom. The competition, run by the Natural History Museum, saw its largest number of entries yet, with 59,228 entries from 117 countries and territories. Shane Gross, a Canadian photojournalist, was the overall winner of Wildlife Photographer of the Year for his captivating image capturing the "magical underwater world of western toad tadpoles." Kathy Moran, Chair of the Jury and Editor said: "The jury was captivated by the mix of light, energy and connectivity between the environment and tadpoles. We were equally excited by the addition of a new species to the Wildlife Photographer of the Year archive." A few other winners included a photo of a "curious" leopard seal looking into the camera, a sleeping baby monkey, and a "wrestle" between an anaconda and caiman. Dr Doug Gurr, Director of the Natural History Museum said: "Wildlife Photographer of the Year's longevity is a testament to the vital importance and growing appreciation of our natural world." "We are delighted to feature such inspiring images in this year's portfolio - these are photographs that not only encourage further wildlife conservation efforts, but that spark the creation of real advocates for our planet on a global scale." <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">Take a look at some of this year's best entries below. <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">Images: Wildlife Photographer of the Year <p style="box-sizing: border-box; margin-top: 0px; margin-bottom: 1rem; color: #212529; font-family: -apple-system, 'system-ui', 'Segoe UI', Roboto, 'Helvetica Neue', Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol', 'Noto Color Emoji'; font-size: 16px; background-color: #ffffff;">

International Travel

Making art is a uniquely human act, and one that provides a wellspring of health benefits

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/girija-kaimal-1486183">Girija Kaimal</a>, <a href="https://theconversation.com/institutions/drexel-university-1074">Drexel University</a> When you think about the word “art,” what comes to mind? A child’s artwork pinned to the fridge? A favorite artist whose work always inspires? Abstract art that is hard to understand? Each of these assumes that making art is something that other people do, such as children or “those with talent.” However, as I explain in my book “<a href="https://global.oup.com/academic/product/the-expressive-instinct-9780197646229?q=the%20expressive%20instinct&lang=en&cc=ca">The Expressive Instinct</a>,” art is intrinsic to human evolution and history. Just as sports or workouts exercise the body, creating art exercises the imagination and is essential to mental as well as physical well-being. I am a <a href="https://scholar.google.com/citations?user=C8R2XOYAAAAJ&hl=en">professor of art therapy</a> who studies how creative self-expression affects physical and emotional health. In our clinical research studies, my colleagues and I are finding that any form of creative self-expression – including drawing, painting, fiber arts, woodworking or photography – can <a href="https://doi.org/10.1080/08322473.2017.1375827">reduce stress</a>, improve mood and increase self-confidence. As a sickly child who needed to stay home from school a lot, I found that making art helped me cope. Today, creating art is my sanctuary. I use it as a sounding board to better understand myself and a way to recharge and learn from the challenges of life. <h2>The uniquely human attribute of creativity</h2> Although everyone has their own concept of what defines art, one thing is universally true: Creativity is a defining feature of the human species. How so? Well, human brains are not computers processing data. They are biological prediction machines that perceive the environment through memories and the senses, with the capacity to <a href="https://doi.org/10.3389/fnhum.2010.00025">use that information to imagine</a> plausible future scenarios. These inherent predictive and imaginative capacities are the wellspring of humanity’s abilities to survive and thrive – because self-expression is a safety valve that helps us cope with uncertainty. No one truly knows the future; they must live each day not sure of what will happen tomorrow. Art can help us all practice this imaginative muscle in a useful way. In our study examining brain activity while using virtual reality tools to create 3-D digital artwork, my team demonstrated that <a href="https://doi.org/10.1080/07421656.2021.1957341">creative expression is a natural state of being</a>. The brain naturally uses fewer cognitive resources to be expressive and creative, compared with the <a href="https://doi.org/10.1080/07421656.2021.1957341">brain power needed to do a rote task</a> that requires conscious effort. Seemingly ordinary everyday activities can provide opportunities to tap into one’s natural creativity and imagination: whipping up a meal from leftovers, figuring out an alternate route to work, dancing a little jig in response to hearing a song, or planting and tending a garden. We have repeatedly found in our studies that even a single session of real and honest self-expression can improve self-confidence and <a href="https://doi.org/10.1177/1534735420912835">reduce feelings of stress</a>, <a href="https://doi.org/10.1016/j.ejon.2019.08.006">anxiety and burnout</a>. This is partly because <a href="https://doi.org/10.1016/j.aip.2017.05.004">creativity activates reward pathways</a> in the brain. Using our hands and bodies to express ourselves activates dopamine pathways and helps us feel good. Dopamine is a neural messenger that is associated with feeling a <a href="https://doi.org/10.1016%2Fj.ajpath.2015.09.023">sense of hope, accomplishment or reward</a>. Our brains are wired to secrete <a href="https://theconversation.com/why-does-experiencing-flow-feel-so-good-a-communication-scientist-explains-173505">feel-good hormones whenever we move</a>, create something or engage in any type of expressive activity. Tapping into the creative resources within is <a href="https://theconversation.com/drawing-making-music-and-writing-poetry-can-support-healing-and-bring-more-humanity-to-health-care-in-us-hospitals-204684">one of the most underrated seeds of well-being</a> in the world. By comparison, bottling up or <a href="https://www.scientificamerican.com/article/why-the-secrets-you-keep-are-hurting-you/">denying these feelings can cause distress</a>, anxiety and fear because we have not processed and expressed them. This is probably one of the reasons why every community around the world has its own creative and expressive practices. Even our ancestors in Indigenous communities all around the world intuitively knew that <a href="https://doi.org/10.1016/j.aip.2021.101879">self-expression was essential</a> to emotional health and social connection. Being unable to share our lives, <a href="https://www.scientificamerican.com/article/why-the-secrets-you-keep-are-hurting-you/">keeping secrets</a> and feeling isolated and lonely tend <a href="https://doi.org/10.1016/j.neubiorev.2020.02.002">to worsen our health</a>. To our brains, social isolation feels like a chronic disease because it interprets this loneliness and inability to express as a threat to survival. Since creative expression can engage the senses, it can also be a body workout: a sensual as well as emotional and cognitive experience. Being active in expression – be it art, music, dance, drama, writing, culinary arts or working with nature – imparts a sense of confidence and hope that <a href="https://global.oup.com/academic/product/the-expressive-instinct-9780197646229?q=the%20expressive%20instinct&lang=en&cc=ca">challenges can be navigated and overcome</a>. <h2>The role of art therapy</h2> Given the integral role of art in our lives, it makes sense that making art can help people manage transitions, adversity and trauma, such as the stresses of puberty, the death of a loved one or <a href="https://doi.org/10.1016/j.ejon.2019.08.006">experiencing a serious illness</a>. According to a global study, 1 in 2 people will experience a <a href="https://doi.org/10.1016/S2215-0366(23)00193-1">mental-health-related challenge in their lifetime</a>, whether from life’s challenges, genetic predispositions or a combination of the two. This is where art therapy can come in. Art therapy is <a href="https://arttherapy.org/about-art-therapy/">a regulated mental health profession</a> in which clinical psychotherapists with extensive clinical training offer psychotherapy to patients with diagnosed mental health needs. The origins of art therapy go back to <a href="https://doi.org/10.1136/bmjopen-2017-021448">attempts to treat soldiers struggling with post-traumatic stress</a> during the 20th century’s two world wars. Today there is evidence that traumatic experiences tend to be stored as <a href="http://orcid.org/0000-0002-7316-0473">sounds, images and physical sensations</a> in the brain. When someone <a href="https://doi.org/10.1001/jama.2019.20825">lacks the words</a> to process these experiences through traditional talk therapy, art therapy can provide an indirect way to express and externalize those feelings and memories. <figure><iframe src="https://www.youtube.com/embed/e-IiUcUVAwk?wmode=transparent&start=3" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The process of making art can help people process feelings that they aren’t able to put into words.</figcaption></figure> One of art therapy’s unique strengths is that it provides nonverbal ways of communicating, processing and eventually managing the symptoms of post-traumatic stress disorder, or PTSD. In fact, in a recent study, my team has found that a personal history of trauma is related to <a href="https://doi.org/10.3389/fpsyg.2024.1337927">how people react to evocative images</a>. Images of distress and pain resonate with us when we have known similar kinds of distress ourselves. This implies that our life stories make us sensitized to distress in others and even personalize it more. Creative self-expression is especially relevant in coping with trauma because it provides an outlet through which a person <a href="https://doi.org/10.1177/1534735420912835">can regain a sense of agency</a> and control. <h2>How to bring creativity into daily life</h2> For those new to exploring art as a creative pursuit or for well-being reasons, engaging in creative activities begins with letting go of unrealistic expectations. Being creative isn’t about becoming a famous artist or even a mediocre one. It is about allowing ourselves to flex the creative muscle that we all have and enjoying all the sensory and emotional aspects of imagining. Next, think about activities that made you feel free to explore when you were a child. Did you like singing, playing in the outdoors, dancing, making up pretend plays, or writing little tales? Allow yourself to indulge in any and all of these creative pursuits that made you feel relaxed and joyful. A <a href="https://doi.org/10.1016/j.aip.2021.101879">cultural tradition</a>, tinkering with electronics, making a gift for someone or simply paying attention to everyday beauty – any of these can be a creative activity. And just like any muscle, the more you exercise it, the stronger it becomes. Over time, you will notice yourself getting more confident and adventurous in your creative practices. Whatever it is, make time for this creative pursuit every week – which is possibly the hardest step of them all. If it seems “unimportant” compared with the demands of daily life, such as work or family, try thinking of it as another form of sustenance. Remember that creativity is just as critical to human health as <a href="https://theconversation.com/helping-children-eat-healthier-foods-may-begin-with-getting-parents-to-do-the-same-research-suggests-225157">eating nutritious meals</a> or <a href="https://theconversation.com/yoga-modern-research-shows-a-variety-of-benefits-to-both-body-and-mind-from-the-ancient-practice-197662">getting exercise</a> and <a href="https://theconversation.com/whats-the-best-diet-for-healthy-sleep-a-nutritional-epidemiologist-explains-what-food-choices-will-help-you-get-more-restful-zs-219955">good rest</a>. So as the Latin saying goes: “Plene vivere.” Live fully.  <a href="https://theconversation.com/profiles/girija-kaimal-1486183">Girija Kaimal</a>, Professor of Art Therapy Research, <a href="https://theconversation.com/institutions/drexel-university-1074">Drexel University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/making-art-is-a-uniquely-human-act-and-one-that-provides-a-wellspring-of-health-benefits-219091">original article</a>. </div>

Mind

How you can get the official Australian portraits of The King and Queen

Royal fans nationwide can now request a special keepsake online for free. All Australians are entitled to their very own free portrait of King Charles and Queen Camilla. The way one can obtain the monarchy keepsake is through sending an email to their local federal MP requesting one. The initiative comes under the constituents' request program, which allows registered Australian voters to receive their own printed portrait of the royals. Official portraits of the King and Queen were provided to the Australian Government by Buckingham Palace in July and are available for public access. Photos available include a photo of the royal couple standing together, and seperate ones of the monarch and her majesty posing alone. In the photos the King and Queen both donned royal blue outfits and their Commonwealth Insignia, with the King wearing The Sovereign's Badge of the Order of Australia and the Queen wearing the Wattle Brooch. The portraits were taken by royal photographer Millie Pilkington in Buckingham Palace's White Drawing Room in June. The digital images can be downloaded for free from the Department of the Prime Minister and Cabinet <a href="https://www.pmc.gov.au/government/official-australian-portraits-king-and-queen" target="_blank" rel="noopener">website</a> for private use. Those who want a physical copy can request printed versions through their Federal Member of the House of Representatives or Senator in their state or territory via email. The government-funded program, introduced in the Parliamentary Entitles Act 1990, is available for Australian citizens only. Image: Department of the Prime Minister and Cabinet/ Millie Pilkington

Art

"Laughably bad": New sculpture of Queen Elizabeth and Prince Philip divides opinion

A newly unveiled bronze sculpture of the late Queen Elizabeth II and Prince Philip has received somewhat mixed reviews from the public, with many criticising the piece for looking "nothing like" them. The artwork was unveiled at Antrim Castle Gardens in Northern Ireland on Friday, and was commissioned by Antrim and Newtownabbey Borough Council, which said the piece “captures Her Majesty in a dignified pose, reflecting her grace, steadfastness and lifelong dedication to public service”. It also depicts two of her famous corgis at her feet and her husband, Philip standing behind her with his hands behind his back. While the local council told CNN that the bronze statue of the Queen "has been warmly received by most who have seen it in person," many have ridiculed the statue for looking nothing like them. One user wrote on X that it was "laughably bad", adding: "It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness?" <blockquote class="twitter-tweet"> It doesn't even look an iota like her, does it? Am I blind, or is that just nothing like the Queen? Surely they pay a fortune for these commissioned pieces - is there no requirement that there actually be a likeness? Why is everything so shit, now? — Dr Dani Sulikowski (@DrDaniS) <a href="https://twitter.com/DrDaniS/status/1832347891433927015?ref_src=twsrc%5Etfw">September 7, 2024</a></blockquote> Another user on X wrote: “It is awful...It looks nothing like the Queen or the Prince.. Terrible..Dreadful..Melt it down and start again”. One person commented on the council's announcement of the artwork that while it was "beautiful" the statue didn't "look like our late queen or represent how she always dressed". "Even the corgi is confused," another user wrote. “Would you know this was the late Queen if I didn't tell you?" another wrote on X. Following the wave of criticism, the council acknowledged that at "art can sometimes spark diverse opinions" but said that it "was particularly pleased with how the (Elizabeth) sculpture complements its surroundings, standing adjacent to the statue of Prince Philip, Duke of Edinburgh, and accompanied by two lovingly crafted corgis." Images: Antrim and Newtownabbey Borough Council

Art

How to know when it’s time to start therapy

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/simon-sherry-557487">Simon Sherry</a>, <a href="https://theconversation.com/institutions/dalhousie-university-1329">Dalhousie University</a> People go to therapy for many reasons. A challenging life event, trauma, volatile emotions, relationship problems, poor mental health: all can prompt someone to seek it out. Whatever the reason, it can be difficult to decide when and if therapy is right for you. If you’re reading this, now’s probably the right time. If you’re considering therapy, something is likely bothering you and you want help. Consider this your sign to reach out. If you’re still unsure, keep reading. <h2>Why therapy?</h2> Sometimes, our minds work against us. Therapy can help you understand why you think, feel, or act how you do and give you the skills you need to think, feel, or act in healthier ways. This includes helping you: <ul> <li> identify, understand, and overcome internal obstacles </li> <li> identify and challenge thought patterns and beliefs that are holding you back </li> <li> improve your mental health </li> <li> cope with mental illness </li> <li> and create lasting changes to your thoughts and behaviour that can improve all areas of your life. </li> </ul> <h2>When your mental health is suffering</h2> Everyone experiences negative emotions in difficult situations — like sadness after a breakup or anxiety before a big life event. But when do these feelings become problematic? When you have <a href="https://www.canada.ca/en/public-health/services/about-mental-health.html">poor mental health</a>. Mental health and mental illness <a href="https://cmha.ca/news/mental-health-what-is-it-really/">are distinct</a>, but related, concepts. <a href="https://dictionary.apa.org/mental-health">Mental health</a> refers to the inner resources you have to handle life’s ups and downs. You have good mental health if you enjoy life; feel connected to others; cope well with stress; and have a sense of purpose, a sense of self and strong relationships. If you have poor mental health, it can be hard to adapt to changes like a breakup, move, loss or parenthood. Therapy can help you improve your mental health, develop resilience and maintain a state of well-being. <a href="https://www.canada.ca/en/public-health/services/about-mental-illness.html">Mental illness</a> refers to distressing disturbances in thoughts, feelings and perceptions that interfere with daily life. There are <a href="https://cmha.ca/brochure/mental-illnesses/">different kinds</a> of mental illness, each characterized by different thoughts, feelings and behaviours. Mental illness may feel like: <ul> <li> Hopelessness — feeling stuck, unmotivated or helpless. </li> <li> Apathy — feeling uninterested in things that used to give you satisfaction or pleasure. </li> <li> Anger — feeling rage or resentment, especially frequently or disproportionately. </li> <li> Stress — feeling overwhelmed, unable to cope, unwilling to rest or like everything is hard (even if you know it shouldn’t be). </li> <li> Guilt — feeling ashamed, undeserving of good things or deserving of bad things. </li> <li> Anxiety — worrying about what has or might happen or having disturbing intrusive thoughts. </li> <li> Exhaustion — sleeping more than usual, having difficulty getting out of bed or lacking energy during the day. </li> <li> <a href="https://doi.org/10.1016/S2215-0366(20)30136-X">Insomnia</a> — having difficulty falling or staying asleep. </li> </ul> Both poor mental health and mental illness are equally good reasons to seek therapy. Ask yourself: Am I having trouble dealing with life challenges? If the answer is yes, therapy might be for you. People often cope with the feelings listed above in different ways. <a href="https://www.nami.org/wp-content/uploads/2023/11/NAMI-Warning-Signs-FINAL.pdf">Some gain or lose a lot of weight</a>. Others might seek out or do things that are unhealthy for them, like entering a toxic relationship, engaging in dangerous activities, developing an unhealthy habit or procrastinating. Others might isolate themselves from friends and family, or catastrophize and <a href="https://pubmed.ncbi.nlm.nih.gov/22468242">ruminate on negative experiences</a>. However it manifests, <a href="https://namica.org/what-is-mental-illness/">mental illness often gets worse if left untreated</a>. It can have very real impacts on your life, potentially leading to unemployment, broken relationships, poor physical health, substance abuse, homelessness, incarceration or even suicide. Ask yourself: Is mental illness negatively affecting my functioning or well-being? If the answer is yes, therapy might be for you. <h2>What if therapy didn’t work before?</h2> Many people put off going to therapy because they don’t think their problems are serious enough, but you don’t need a big, deep reason to start therapy. Some people go to therapy to learn more about themselves. Some, to improve their skills, relationships or productivity. Others go for help reaching their goals or because they aren’t happy and don’t know why. Any of these are good reasons to start therapy, even if they don’t seem like “problems” in a traditional sense. You can go to therapy just because there’s something about yourself or your life you’d like to explore. Therapy is a process. Whether psychotherapy works for you depends on many factors, such as time, effort and your psychologist. There’s no quick fix for mental health. Symptoms can take weeks, months or even years to improve. Although this can be frustrating or disheartening, for therapy to work, you have to give it time. Sometimes people go to therapy, but are skeptical or resistant. Therapy won’t work if you aren’t invested in it. For therapy to work, you have to put in the work. Therapy is a vulnerable process, so finding a psychologist you trust and relate well with is crucial. Psychologists also have different specialities and approaches. For therapy to work, you have to find the right therapist for you. <h2>What if I’m not ready?</h2> There are several reasons why now might not be the right time for you to start therapy. Maybe therapy isn’t in the budget. Maybe you have other priorities. Maybe you’re scared to relive trauma. That’s okay. Therapy can be expensive and difficult, but also rewarding. Just because now isn’t a good time, doesn’t mean there will never be a good time. If you don’t want to start therapy, don’t. However, it can be helpful to determine why you don’t want to. Maybe you don’t want to go to therapy because you’re worried what others might think. If so, remember that people are often <a href="https://www.camh.ca/en/driving-change/the-crisis-is-real/mental-health-statistics">more understanding</a> than we anticipate, and there is nothing wrong with investing in your health or happiness. If you’re struggling with your mental health, know that you’re not alone. Mental health issues are common. Having them or attending therapy does not mean there is something “wrong” with you. Mental illness affects <a href="https://www.who.int/news-room/fact-sheets/detail/mental-disorders">970 million people</a> and is the leading cause of disability worldwide. <a href="https://www.camh.ca/en/driving-change/the-crisis-is-real/mental-health-statistics">One in five</a> <a href="https://www.nami.org/about-mental-illness/mental-health-by-the-numbers/">adults</a> and more than <a href="https://doi.org/10.1001/jamapsychiatry.2023.5051">one in 10 children and youths</a> have mental illness. About <a href="https://health-infobase.canada.ca/datalab/mental-illness-blog.html">15 per cent of Canadians</a> use mental health services each year. Don’t let stigma keep you from bettering your life and well-being. Everyone deserves to live a healthy, fulfilling life. Therapy can help you get there.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/234078/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/simon-sherry-557487">Simon Sherry</a>, Clinical Psychologist and Professor in the Department of Psychology and Neuroscience, <a href="https://theconversation.com/institutions/dalhousie-university-1329">Dalhousie University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-to-know-when-its-time-to-start-therapy-234078">original article</a>. </div>

Mind

Drawings by teen Queen Victoria to go up for auction

A set of 19th century drawings made by a teenage Queen Victoria will be put up for sale at the Old Master, British and European Pictures auction in Roseberys, London next week. A few of the sketches were made when the royal - who reigned from 1837 until her death in 1901 - was still a princess and just 14 years old. Dated July 1833, the drawings depict a knight, a woman, and a veiled woman on a horseback. The fourth drawing was made a year after she ascended the throne, and depicted a woman sitting with a crown and sash, similar to herself, with the inscription: "by Her Majesty." Charlotte Russell, Head of Sales at the auction house, said: "These slightly early drawings show that maybe she was still learning a lot, that she was still honing her craft." "She was very curious and keen as an artist," Russell told CNN. Roseberys set an estimated sale price of £1,500 to £2,500 ($AU2853 to $4755) for the album with the four sketches, as well as works by other artists. Russel added that the album was likely assembled by Augusta Hayter, daughter-in-law of George Hayter, who was the Queen's court painter and painted her coronation portrait. The album also features royal ephemera, including an invitation to the coronation of King George IV at Westminster Abbey in 1821. "I'm interested to see how it performs," Russell said. Queen Victoria was very passionate about art, receiving her first drawing lesson at just eight years old. She went on to be tutored by renowned artists like Edwin Landseer, William Leighton Leitch and Franz Xaver Winterhalter. "She is known to have experimented quite a lot with different subjects," Russel said, adding that Victoria would make "little sketches of costumes of people in the areas" where she travelled. Images: Roseberys Fine Art Auctioneers & Valuers via CNN/ Shutterstock

Art

Who really was Mona Lisa? More than 500 years on, there’s good reason to think we got it wrong

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> In the pantheon of Renaissance art, Leonardo da Vinci’s Mona Lisa stands as an unrivalled icon. This half-length portrait is more than just an artistic masterpiece; it embodies the allure of an era marked by unparalleled cultural flourishing. Yet, beneath the surface of the Mona Lisa’s elusive smile lies a debate that touches the very essence of the Renaissance, its politics and the role of women in history. <h2>A mystery woman</h2> The intrigue of the Mona Lisa, also known as <a href="https://archiv.ub.uni-heidelberg.de/artdok/4207/1/Zoellner_Leonardos_portrait_of_Mona_Lisa_1993.pdf">La Gioconda</a>, isn’t solely due to Leonardo’s revolutionary painting techniques. It’s also because the identity of the subject is unconfirmed to this day. More than half a millennium since it was first painted, the real identity of the Mona Lisa remains one of art’s greatest mysteries, intriguing scholars and enthusiasts alike. The painting has traditionally been associated with Lisa Gherardini, the wife of Florentine silk merchant Francesco del Giocondo. But another compelling theory suggests a different sitter: Isabella of Aragon. Isabella of Aragon was born into the illustrious House of Aragon in Naples, in 1470. She was a princess who was deeply entwined in the political and cultural fabric of the Renaissance. Her 1490 marriage to Gian Galeazzo Sforza, Duke of Milan, positioned Isabella at the heart of Italian politics. And this role was both complicated and elevated by the ambitions and machinations of Ludovico Sforza (also called Ludovico il Moro), her husband’s uncle and usurper of the Milanese dukedom. <h2>Scholarly perspectives</h2> The theory that Isabella is the real Mona Lisa is supported by a combination of stylistic analyses, historical connections and reinterpretations of Leonardo’s intent as an artist. In his <a href="https://www.bookstellyouwhy.com/pages/books/51791/robert-payne/leonardo-1st-edition-1st-printing">biography of Leonardo</a>, author Robert Payne points to <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">preliminary studies</a> by the artist that bear a striking resemblances to Isabella around age 20. Payne suggests Leonardo captured Isabella <a href="https://emuseum.hydecollection.org/objects/94/study-of-the-mona-lisa?ctx=760b87fd-efbf-4468-b579-42f98e9712d2&idx=0">across different life stages</a>, including during widowhood, as depicted in the Mona Lisa. US artist Lillian F. Schwartz’s <a href="https://www.sciencedirect.com/science/article/pii/0097849395000317">1988 study</a> used x-rays to reveal an initial sketch of a woman hidden beneath Leonardo’s painting. This sketch was then painted over with Leonardo’s own likeness. Schwartz believes the woman in the sketch is Isabella, because of its similarity with a cartoon Leonardo made of the princess. She proposes the work was made by integrating specific features of the initial model with Leonardo’s own features. This hypothesis is further supported by art historians Jerzy Kulski and <a href="https://www.youtube.com/watch?v=owjJWxcnKrE">Maike Vogt-Luerssen</a>. According to Vogt-Luerssen’s <a href="https://www.kleio.org/de/buecher/wer-ist-mona-lisa/">detailed analysis</a> of the Mona Lisa, the symbols of the Sforza house and the depiction of mourning garb both align with Isabella’s known life circumstances. They suggest the Mona Lisa isn’t a commissioned portrait, but a nuanced representation of a woman’s journey through triumph and tragedy. Similarly, Kulski highlights the <a href="https://www.academia.edu/40147186/The_Mona_Lisa_Portrait_Leonardos_Personal_and_Political_Tribute_to_Isabella_Aragon_Sforza_the_Duchess_of_Milan">portrait’s heraldic designs</a>, which would be atypical for a silk merchant’s wife. He, too, suggests the painting shows Isabella mourning her late husband. The Mona Lisa’s enigmatic expression also captures Isabella’s self-described state post-1500 of being “<a href="https://onlinelibrary.wiley.com/doi/full/10.1111/1468-0424.12683">alone in misfortune</a>”. Contrary to representing a wealthy, recently married woman, the portrait exudes the aura of a virtuous widow. Late professor of art history <a href="https://brill.com/display/book/edcoll/9789004304130/B9789004304130_014.xml?language=en">Joanna Woods-Marsden</a> suggested the Mona Lisa transcends traditional portraiture and embodies Leonardo’s ideal, rather than being a straightforward commission. This perspective frames the work as a deeply personal project for Leonardo, possibly signifying a special connection between him and Isabella. Leonardo’s reluctance to part with the work also indicates a deeper, personal investment in it. <h2>Beyond the canvas</h2> The theory that Isabella of Aragon could be the true Mona Lisa is a profound reevaluation of the painting’s context, opening up new avenues through which to appreciate the work. It elevates Isabella from a figure overshadowed by the men in her life, to a woman of courage and complexity who deserves recognition in her own right. Through her strategic marriage and political savvy, <a href="https://www.scopus.com/record/display.uri?eid=2-s2.0-85147429412&origin=resultslist">Isabella played a crucial role in the alliances and conflicts</a> that defined the Italian Renaissance. By possibly choosing her as his subject, Leonardo immortalised her and also made a profound statement on the complexity and agency of women in a male-dominated society. The ongoing debate over Mona Lisa’s identity underscores this work’s significance as a cultural and historical artefact. It also invites us to reflect on the roles of women in the Renaissance and challenge common narratives that minimise them. In this light, it becomes a legacy of the women who shaped the Renaissance.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/220666/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/darius-von-guttner-sporzynski-112147">Darius von Guttner Sporzynski</a>, Historian, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Xinhua News Agency/Shutterstock Editorial This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/who-really-was-mona-lisa-more-than-500-years-on-theres-good-reason-to-think-we-got-it-wrong-220666">original article</a>. </div>

Art

Exercise, therapy and diet can all improve life during cancer treatment and boost survival. Here’s how

<div class="theconversation-article-body"> <a href="https://theconversation.com/profiles/rob-newton-12124">Rob Newton</a>, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> With so many high-profile people <a href="https://www.theguardian.com/uk-news/2024/mar/23/cancer-charities-princess-of-wales-speaking-about-diagnosis">diagnosed with cancer</a> we are confronted with the stark reality the disease can strike any of us at any time. There are also reports certain cancers are <a href="https://www.cancer.org/research/acs-research-news/facts-and-figures-2024.html">increasing among younger people</a> in their 30s and 40s. On the positive side, medical treatments for cancer are advancing very rapidly. Survival rates are <a href="https://acsjournals.onlinelibrary.wiley.com/doi/10.3322/caac.21763">improving greatly</a> and some cancers are now being managed more as <a href="https://www.cancer.org/cancer/survivorship/long-term-health-concerns/cancer-as-a-chronic-illness.html">long-term chronic diseases</a> rather than illnesses that will rapidly claim a patient’s life. The <a href="https://www.cancer.org/cancer/managing-cancer/treatment-types.html">mainstays of cancer treatment</a> remain surgery, chemotherapy, radiation therapy, immunotherapy, targeted therapy and hormone therapy. But there are other treatments and strategies – “adjunct” or supportive cancer care – that can have a powerful impact on a patient’s quality of life, survival and experience during cancer treatment. <h2>Keep moving if you can</h2> Physical exercise is now recognised as a <a href="https://www.exerciseismedicine.org/">medicine</a>. It can be tailored to the patient and their health issues to stimulate the body and build an internal environment where <a href="https://wchh.onlinelibrary.wiley.com/doi/full/10.1002/tre.884">cancer is less likely to flourish</a>. It does this in a number of ways. Exercise provides a strong stimulus to our immune system, increasing the number of cancer-fighting immune cells in our blood circulation and infusing these into the tumour tissue <a href="https://jitc.bmj.com/content/9/7/e001872">to identify and kill cancer cells</a>. Our skeletal muscles (those attached to bone for movement) release signalling molecules called <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7288608/">myokines</a>. The larger the muscle mass, the more myokines are released – even when a person is at rest. However, during and immediately after bouts of exercise, a further surge of myokines is secreted into the bloodstream. Myokines attach to immune cells, stimulating them to be better “hunter-killers”. Myokines also signal directly to cancer cells <a href="https://www.sciencedirect.com/science/article/pii/S2095254623001175">slowing their growth and causing cell death</a>. Exercise can also greatly <a href="https://wchh.onlinelibrary.wiley.com/doi/full/10.1002/tre.884">reduce the side effects of cancer treatment</a> such as fatigue, muscle and bone loss, and fat gain. And it reduces the risk of <a href="https://doi.org/10.2337/diacare.27.7.1812">developing other chronic diseases</a> such as heart disease and type 2 diabetes. Exercise can maintain or improve quality of life and mental health <a href="https://www.hindawi.com/journals/tbj/2022/9921575/">for patients with cancer</a>. Emerging research evidence indicates exercise might increase the effectiveness of mainstream treatments such as <a href="https://aacrjournals.org/cancerres/article/81/19/4889/670308/Effects-of-Exercise-on-Cancer-Treatment-Efficacy-A">chemotherapy</a> and <a href="https://www.nature.com/articles/s41391-020-0245-z">radiation therapy</a>. Exercise is certainly essential for preparing the patient for any surgery to increase cardio-respiratory fitness, reduce systemic inflammation, and increase muscle mass, strength and physical function, and then <a href="https://www.jsams.org/article/S1440-2440(18)31270-2/fulltext">rehabilitating them after surgery</a>. These mechanisms explain why cancer patients who are physically active have much <a href="https://journals.lww.com/acsm-msse/fulltext/2019/06000/physical_activity_in_cancer_prevention_and.20.aspx">better survival outcomes</a> with the relative risk of death from cancer <a href="https://journals.lww.com/acsm-msse/fulltext/2019/06000/physical_activity_in_cancer_prevention_and.20.aspx">reduced by as much as 40–50%</a>. <h2>Mental health helps</h2> The second “tool” which has a major role in cancer management is <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6016045/">psycho-oncology</a>. It involves the psychological, social, behavioural and emotional aspects of cancer for not only the patient but also their carers and family. The aim is to maintain or improve quality of life and mental health aspects such as emotional distress, anxiety, depression, sexual health, coping strategies, personal identity and relationships. Supporting quality of life and happiness is important on their own, but these barometers <a href="https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2024.1349880/full">can also impact</a> a patient’s physical health, response to exercise medicine, resilience to disease and to treatments. If a patient is highly distressed or anxious, their body can enter a flight or fight response. This creates an internal environment that is actually supportive of cancer progression <a href="https://www.cancer.gov/about-cancer/coping/feelings/stress-fact-sheet">through hormonal and inflammatory mechanisms</a>. So it’s essential their mental health is supported. <h2>Putting the good things in: diet</h2> A third therapy in the supportive cancer care toolbox is diet. A healthy diet <a href="https://www.cancer.org/cancer/survivorship/coping/nutrition/benefits.html">can support the body</a> to fight cancer and help it tolerate and recover from medical or surgical treatments. Inflammation provides a more fertile environment <a href="https://www.cancer.gov/news-events/cancer-currents-blog/2022/reducing-inflammation-to-treat-cancer">for cancer cells</a>. If a patient is overweight with excessive fat tissue then a diet to reduce fat which is also anti-inflammatory can be very helpful. This <a href="https://www.frontiersin.org/articles/10.3389/fnut.2021.709435/full">generally means</a> avoiding processed foods and eating predominantly fresh food, locally sourced and mostly plant based. Muscle loss is <a href="https://onlinelibrary.wiley.com/doi/10.1002/rco2.56">a side effect of all cancer treatments</a>. Resistance training exercise can help but people may need protein supplements or diet changes to make sure they get enough protein to build muscle. Older age and cancer treatments may reduce both the intake of protein and compromise absorption so <a href="https://www.sciencedirect.com/science/article/pii/S0261561421005422">supplementation may be indicated</a>. Depending on the cancer and treatment, some patients may require highly specialised diet therapy. Some cancers such as pancreatic, stomach, esophageal, and lung cancer can cause rapid and uncontrolled drops in body weight. This is called <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8233663/">cachexia and needs careful management</a>. Other cancers and treatments such as hormone therapy can cause rapid weight gain. This also needs careful monitoring and guidance so that, when a patient is clear of cancer, they are not left with higher risks of other health problems such as cardiovascular disease and metabolic syndrome (a cluster of conditions that boost your risk of heart disease, stroke and type 2 diabetes). <h2>Working as a team</h2> These are three of the most powerful tools in the supportive care toolbox for people with cancer. None of them are “cures” for cancer, alone or together. But they can work in tandem with medical treatments to greatly improve outcomes for patients. If you or someone you care about has cancer, national and state cancer councils and cancer-specific organisations can provide support. For exercise medicine support it is best to consult with an <a href="https://www.essa.org.au/Public/Public/Consumer_Information/What_is_an_Accredited_Exercise_Physiologist_.aspx">accredited exercise physiologist</a>, for diet therapy an <a href="https://dietitiansaustralia.org.au/working-dietetics/standards-and-scope/role-accredited-practising-dietitian">accredited practising dietitian</a> and mental health support with a <a href="https://psychology.org.au/psychology/about-psychology/what-is-psychology">registered psychologist</a>. Some of these services are supported through Medicare on referral from a general practitioner. <hr /> For free and confidential cancer support call the <a href="https://www.cancer.org.au/support-and-services/cancer-council-13-11-20">Cancer Council</a> on 13 11 20.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/226720/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rob-newton-12124">Rob Newton</a>, Professor of Exercise Medicine, <a href="https://theconversation.com/institutions/edith-cowan-university-720">Edith Cowan University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/exercise-therapy-and-diet-can-all-improve-life-during-cancer-treatment-and-boost-survival-heres-how-226720">original article</a>. </div>

Caring

"Looks nothing like her": Kate Middleton portrait ridiculed

A painted portrait of Kate Middleton has gone viral for all the wrong reasons, after royal fans everywhere claimed the artwork "looks nothing like" the Princess of Wales. The image, created by artist Hannah Uzor, appeared on the front cover of UK magazine Tatler, as the artist recreated Middleton's appearance at a banquet held in South Africa in 2022. The Princess wore a white beaded Jenny Packham gown, and also donned her famous tiara, the Lover’s Knot, which was previously worn by Princess Diana. Uzor explained that in creating the artwork, she was inspired by the composure and bravery demonstrated by the royal mum-of-three in her emotional cancer diagnosis video in March. “A moment of dealing with something difficult, speaking from the heart, having the courage to tackle it head-on,” she explained in awe. However, many royal fans slated the artist on social media, simply asking, “are you kidding me?”. <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/C7Qy93EtBeT/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Tatler (@tatlermagazine)</a> </div> </blockquote> “This is just plain weird, looks nothing like her,” one person commented. “What have they done to her face,” asked another. A third agreed: “Doesn’t look like Catherine at all. If she wasn’t wearing that dress I’d have no clue as to who it’s meant to be.” “Are you kidding me? … You must be joking,” scorned someone else. Others slated the artwork by saying they believed it looked “like it was created by a child”. “It’s absolutely dreadful and should never have seen the light of day, let alone appear on the cover,” agreed another. Hannah Uzor defended her artwork, saying she had to draw on other sources as she was not able to meet the Princess directly to create her portrait. She said, “When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?" “[Kate] has really risen up to her role – she was born for this. She carries herself with such dignity, elegance and grace." Image credits: Tatler Magazine / Chris Jackson/WPA Pool/Shutterstock Editorial

Art

Royal artist reveals King Charles' reaction to official portrait

Jonathan Yeo, who is known for his portraits of royal family members, has revealed the King and Queen's reaction to the most recent <a href="https://www.oversixty.com.au/entertainment/art/king-charles-unveils-first-post-coronation-portrait" target="_blank" rel="noopener">portrait of King Charles</a> which made headlines. The portrait, which was done in four sittings from 2020, featured the King in his crimson Welsh Guards uniform, with a butterfly hovering above his shoulder. "People don't know their own faces, so it's much more useful to see the reaction of someone who knows that person well because they know in a split second if you've captured them," he told The Times. "Sometimes they'll say it, but more often you see it in their face – amazement, pleasure or recognition." He recalled how during his and Charles' final sitting in November, Camilla told him: "Yes, you've got him," with a look of recognition across her face. Yeo also revealed that the King saw the portrait when it was half completed and despite the surprise at the intense colour, he smiled at the painting and said: "It is remarkable how it has turned out." The artist said that the King and Queen were prepared for the mixed reactions from the public. "They knew what to expect," he told the publication, before revealing that the King appeared in good health despite his recent cancer diagnosis. "[Our last sitting] was before his diagnosis. He didn't look remotely ill to me, and he looked amazingly well on Tuesday." "We already had a bit of a rapport and that definitely makes it easier," Yeo said of the painting process. "He was really relaxed and I think it helped that he is interested in the process. We spent a lot of time talking about art and artists, as well as the environment." Image: Aaron Chown-PA/POOL supplied by Splash News/ Shutterstock Editorial

Art

Can you control your image? Gina Rinehart, King Charles and ‘moral portraits'

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> “She’s no oil painting”. Those were the unkind words of a colleague commenting on the subject of Vincent Namatjira’s acrylic painting, Gina. Every one of the prominent Australians and cultural heroes in Namatjira’s ensemble <a href="https://theconversation.com/vincent-namatjiras-paintbrush-is-his-weapon-with-an-infectious-energy-and-wry-humour-nothing-is-off-limits-217361">Australia in Colour</a> (2021) is subject to his trademark distortions. When the painter gets to work interpreting the press photographs that his main source, resemblance is always stretched. No one comes out unscathed: Tony Abbott looks just as scary as Angus Young from AC/DC; a grimacing Queen Elizabeth as grisly as a roaring Cathy Freeman. Indeed, in the <a href="https://thamesandhudson.com.au/product/vincent-namatjira/">2023 volume on Namatjira</a> there are no fewer than four paintings of Gina Rinehart – and they look like four different people. Do we expect a portrait to be a moral <a href="https://en.wikipedia.org/wiki/Physiognomy">physiognomy</a>, the ancient pseudoscience that assumes the way someone has lived their life shapes their features and appearance? Roman emperors were shown to be ideal types: the heroic portrait. Who knows what these men actually looked like? In the case of King Charles III, whose <a href="https://www.bbc.com/news/entertainment-arts-68981200">new portrait</a> by Jonathon Yeo was unveiled this week, we can compare his likeness to the myriad photographic and filmic images. Newspaper caricature, <a href="https://firstamendmentmuseum.org/exhibits/virtual-exhibits/art-politics-300-years-of-political-cartoons/political-cartoons-part-1-1720-1800/">popular since the 1700s</a>, works hard to point out imperfections, posit animal likenesses, and exaggerate specific facial features to satirise public figures. Namatjira brushes with caricature even when depicting himself. <h2>Can you control your image?</h2> I think Rinehart should be flattered to be one of Namatjira’s favourites. The wits in the twittersphere have in the past 24 hours shown several more of his Ginas, and it turns out there are also at least half a dozen colour portraits of her by other artists. They range from <a href="https://scottmarsh.com.au/products/mothers-milk">Scottie Marsh’s mural</a> on a Sydney wall of a matronly Rinehart giving the breast to infant Barnaby Joyce (with apologies to Raphael), to Xavier Ghazi’s demonic hard-hatted Gina <a href="https://citynews.com.au/2023/bald-archy-prize-heading-for-immortality/">giving Australians the finger</a> – it’s in newspaper caricature mode, his entry in the Bald Archies competition for 2023. Although Rinehart has reportedly called for Namatjira’s painting to be taken down, the initiative <a href="https://www.theage.com.au/culture/art-and-design/gold-medallist-led-campaign-to-take-down-gina-rinehart-portrait-20240516-p5je1y.html">apparently comes</a> from members of the Australian swimming team and their former coach (Rinehart is that sport’s major private sponsor). I suspect their discomfort comes from reading Namatjira’s Gina as a moral portrait; that is, ugliness of appearance projects an ugly spirit (whereas for them she is the epitome of generosity). It’s an interesting idea that the fresh-faced teenage daughter of Lang Hancock in <a href="https://www.smh.com.au/entertainment/tv-and-radio/abcs-australian-story-focuses-on-gina-rineharts-bond-with-father-lang-hancock-20150706-gi6h1f.html">old news photos</a> has changed not just because times takes beauty away (as we all know), but because of the impact of things she inherited from her father: not just the extreme wealth and the jawline, but the conservative views, and the ways she has used her money and power. Her control of vast tracts of (unceded) grazing land across western and central Australia give reason to reflect on what Western Aranda man Namatjira might think of her. <h2>And yet what about commissions?</h2> When can a sitter control their portrait image? Only when they commission the work. Art history has plenty of cases in which a sitter has rejected their portrait. Monet in the 1860s painted his brother Leon, who so disliked the canvas he locked it in an attic, from which it emerged 150 years later. Portrait paintings have had to be altered, payment refused, or be paid for then destroyed. The commissioned portrait, it’s assumed, must flatter the sitter or at least offer a fair and non-judgemental likeness. The British royal family has historically been very forgiving about portraits, and has the sophistication to know it is futile to protest a likeness. Doing so invokes the perverse “<a href="https://en.wikipedia.org/wiki/Streisand_effect">Streisand effect</a>”, as we see happening with Namatjira’s Gina. There are dozens of depictions of Elizabeth II and Charles III in Namatjira’s pantheon – including one of the late queen alongside Rinehart in Australia in Colour. Namatjira has a family link to Elizabeth and Prince Philip, who met Albert Namatjira (the painter’s great grandfather) on their 1954 tour of Australia. But no one is asking for Queen Bess to be removed from the National Gallery of Australia. As a mark of noblesse oblige, King Charles has accepted the newly unveiled commissioned portrait of himself by Jonathon Yeo. It is an absolute shocker, and he should have sent it back. The King, de-aged by 20 years, looks pleasantly out at us from a floor-to-ceiling fog of strawberry- and cerise-coloured paint that covers his dress uniform. The joke, of course, is that the red colouration can be read as a reference to “<a href="https://time.com/6226657/crown-charles-camilla-tampongate/">tampongate</a>”, the product of an infamous case of tabloid phone-hacking in 1993. It’s a case of a portrait generating an unintended consequence – just as Namatjira surely did not expect to provoke international headlines today with his Gina, whom he’s been depicting for years. Fittingly, wise heads have rejected calls for the gallery to remove the canvas, starting with director Nick Mitzevich’s <a href="https://amp.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">measured statement</a>, seconded by the National Association for the Visual Arts whose <a href="https://visualarts.net.au/news-opinion/2024/nava-defends-vincent-namatjiras-artistic-freedom-amid-demands-removal-nga/">press release</a> insists on freedom of expression. Finally, late yesterday, Namatjira, resisting myriad calls for interviews, issued a statement in the pithy mode of his book texts. Let him have the last word: <blockquote> I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/230297/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> </blockquote> <a href="https://theconversation.com/profiles/roger-benjamin-119535">Roger Benjamin</a>, Professor in Art History, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: X (Twitter) This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/can-you-control-your-image-gina-rinehart-king-charles-and-moral-portraits-230297">original article</a>. </div>

Art

5 reasons art therapy is great for your mental health as you age

We know how important it is to look after our <a style="color: blue;" href="https://www.betterhealth.vic.gov.au/health/servicesandsupport/healthy-and-active-ageing">physical health</a> as we age, but our mental health is equally important. <a style="color: blue;" href="https://aifs.gov.au/resources/short-articles/normalising-mental-illness-older-adults-barrier-care">Studies have shown</a> that besides the immediate impact on wellbeing, older people with untreated mental ill health are at risk of poorer overall health, increased hospital admissions, and an earlier transition into aged care. Art therapy is an excellent way to boost our mental wellbeing. In a nutshell, this type of therapy is when visual art, such as drawing, sculpting, or collage, is used in a <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">therapeutic context</a>. And don’t be put off if you haven’t picked up a paintbrush since you were a kid. Art therapy is not about creating works of beauty but about the process. It’s a completely <a style="color: blue;" href="https://cata.org.au/faqs-myth-busters/#:~:text=The%20focus%20of%20Creative%20Art,%2C%20growth%20and%20self%2Dawareness.&text=Reality%3A%20Creative%20Art%20Therapy%20does,to%20affect%20change%20and%20growth.">judgement free zone</a>! Emotional release: Growing up, many of us were never taught that it was okay to express how we’re feeling, especially emotions like anger and sadness. In that way, art therapy can be ideal us older folks who often feel stuck when it comes to expressing ourselves. Art therapy provides the opportunity to express our <a style="color: blue;" href="https://creativityintherapy.com/2017/06/expressing-emotions-creativity-6-step-art-process/">inner experiences</a> in a visual way. Through the act of creation, we can release pent-up feelings, reduce stress, and experience emotional release. Another challenging emotion that art therapy can help with is grief. As we age, we are more likely to experience the <a style="color: blue;" href="https://www.nari.net.au/the-impact-of-prolonged-grief-in-older-people">loss of a loved one</a> and we don’t get ‘used to it’. The hole it leaves in our hearts is just as dark. Through <a style="color: blue;" href="https://www.vivianpaans.com.au/blog/healing-through-art-how-art-therapy-can-help-with-grief-and-wellbeing">creating art</a> we can explore the feelings of grief and sadness in a safe, judgement-free space. It can also foster a sense of self-compassion and when we have more compassion for ourselves, it becomes easier to accept our emotions. Stress relief: <a style="color: blue;" href="https://www.sane.org/information-and-resources/facts-and-guides/facts-mental-health-issues">Anxiety, depression, and past traumas</a> can heavily impact on our daily lives. Risk factors over our lifespans may change but they don’t magically disappear once we hit a certain age. Illness, grief, financial stress, social isolation, and life transitions such as menopause can all be <a style="color: blue;" href="https://www.healthdirect.gov.au/older-people-and-mental-health">contributing factors</a> of poor mental health for older adults. Creating art can ease symptoms as we refocus on what we’re creating and move thoughts away from overthinking and worry. Creating art releases <a style="color: blue;" href="https://www.rtor.org/2018/07/10/benefits-of-art-therapy/">dopamine,</a> the chemical responsible for allowing us to feel pleasure and satisfaction. This further reduces bothersome symptoms of anxiety and depression. Also, participating in art therapy leads to a more creative brain. A creative brain is better equipped to create stress-relieving techniques for other areas of our lives. Through creating art, we draw the fears that are inside our minds. This takes them out of our heads and places them away from us, helping us feel more in control. Recovering from <a style="color: blue;" href="https://www.interrelate.org.au/news-media/blogs/november-2021/how-art-can-heal-trauma">trauma</a> can be a lifelong process for many, and it’s important for someone dealing with it to find tools that will help this process. Art therapy can be one of those as it can give a sense of agency and self-understanding through the ability to express feelings symbolically. This can give <a style="color: blue;" href="https://anzacata.org/About-CAT">new perspectives</a> of ourselves and our worldview which is essential in the recovery process. It can also help connect with deeply stored emotions and help process them. Self-discovery: When we are younger we are often so busy working, socialising, and raising a family many of us never get a chance to take the time out for <a style="color: blue;" href="https://www.visionpsychology.com/starting-the-process-of-self-discovery/">self-discovery</a>. Self-discovery is important in our lives as it gives us a clearer sense of purpose and direction in life. In turn, this leads to making better decisions that lead to our overall happiness. Some of us see our kids leave home and suddenly we’re left wondering, who am I when I don’t have a family to care for? Creating art can help us acknowledge and recognise feelings that have been suppressed in our subconscious. Through learning to use different techniques of art our minds open up to thinking more freely. Self-discovery comes from both the finished product we create as well as the process of making it. Self-esteem: As we age, it’s easy to look in the mirror and struggle to recognise the person we see. Our bodies are changing, and it can often feel like society doesn’t value us as much as when we were young. It can be a major shift in the way we view ourselves and lead to poor self-esteem. Art therapy teaches us how to use a variety of media to create something new. We can develop talents and see strengths as we master new materials and see the completion of projects. This sense of accomplishment can be a big leg up to our <a style="color: blue;" href="https://artbusinessnews.com/2022/01/benefits-of-art-therapy/">self-esteem.</a> A sense of community: <a style="color: blue;" href="https://likefamily.com.au/blog/what-is-loneliness-and-how-does-it-affect-someone/">Loneliness</a> is a big contributor to poor mental health. <a style="color: blue;" href="https://www.psychiatrist.com/news/study-why-older-people-feel-so-lonely/">Studies</a> show two groups of people are most at risk: young adults and older people. With factors at our age such as children leaving home, not working as much or at all, living alone, and chronic illness, it’s easy to see how loneliness can creep into our lives. Group art therapy is a wonderful way to connect with others. We share a space with those who have similar interests, and it gives us a sense of belonging. For those who can't make a session in person due to distance or illness, some therapists offer <a style="color: blue;" href="https://www.artandplaytherapytraining.com.au/art_therapy">online group art therapy</a>. You don’t need to see an art therapist to get the mental health benefits of creating art. But the advantage of that is they have the skills to work out what best suits your needs. They’ll also work with you through any tough emotions that may arise from your art therapy. So maybe it’s time to hide those new coloured pencils from the little ones, crack them open, and enjoy them yourself! If you’d like to find out more about art therapy sessions, the links below are helpful. They offer online, in person and group sessions. <a style="color: blue;" href="https://www.zevaarttherapy.com/" target="_blank" rel="noopener">https://www.zevaarttherapy.com/</a> <a style="color: blue;" href="https://www.alliedarttherapy.com.au/" target="_blank" rel="noopener">https://www.alliedarttherapy.com.au/</a> <a style="color: blue;" href="https://www.solacecreativetherapies.com.au/" target="_blank" rel="noopener">https://www.solacecreativetherapies.com.au/</a> <a style="color: blue;" href="https://cata.org.au/programs-ndis/online-creative-art-therapy/" target="_blank" rel="noopener">https://cata.org.au/programs-ndis/online-creative-art-therapy/</a> And for some more ideas on dabbling in art therapy on your own (or with a friend), check out Shelley Klammer’s amazing resources. She is US-based but has some online workshops that are also amazing: <a style="color: blue;" href="https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/" target="_blank" rel="noopener">https://www.expressiveartworkshops.com/expressive-art-resources/100-art-therapy-exercises/</a> Article written by Kylie Carberry Image: Shutterstock

Mind

Royal photographers weigh in on photo editing fiasco

Royal photographers, brothers Zak and Samir Hussein have opened up about the realities of altering royal images - including what is and isn't allowed. "It's pretty clear what we're allowed to do – we're allowed to basically use darkroom techniques," Samir - who has also taken official portraits of members of the royal family - told 9Honey. He then explained what darkroom techniques entail: "So what photographers in the days when they were shooting film used to do in the dark rooms. "We're pretty limited in what we can do, it's sort of a basic crop, maybe a bit of colour correcting and that's how we edit our photos basically. "Sometimes you look at picture and you think 'Oh, if I crop it like this, it will stand out more, this will be more impactful'. So it's usually, if I'm honest, when looking back at the picture that's taken, that's the first thing I look at – how can this be cropped to make it have the impact that it should really." Zak, who has taken many photos of Prince Harry and Meghan as well as other royal family members agreed and said that the photographers do their best to get the shot right to reduce the need for editing. "You try and get it right first time around when you're taking the picture," he told 9Honey. "Ideally, you don't want to have to do too much to the picture but yeah, it's very basic what we do. "I think cropping is really important because you're trying to find the best version of that picture, so if it means cropping in tighter to make it a nice portrait or keeping it wider to show more in what's going on in the event. "It's pretty basic what we do to the picture because it's all about when you take the picture, you're looking through the viewfinder [and] that's when you want to get it right." The topic of re-touching royal photos sensationally <a href="https://www.oversixty.com.au/lifestyle/family-pets/princess-kate-sensationally-speaks-out-over-photo-fiasco" target="_blank" rel="noopener">made headlines</a> over a manipulated image posted by Kate Middleton, and has now made its way back into the spotlight following the launch of the <a href="https://www.oversixty.com.au/entertainment/art/incredible-treasure-trove-of-unseen-royal-images" target="_blank" rel="noopener">new exhibition</a> at The King's Gallery exhibition in the Buckingham Palace. The exhibition which runs until October 6 has noted darkroom techniques including cropping and framing out backgrounds or brightening up levels in a few of the negatives, including one label that read: "retouching is an essential part of photography. "Analogue retouching can occur at three stages: Modifying the negative, Manipulating the image during printing, direct retouching on the final print." Image: 9Honey/ Royal Collection Trust / © His Majesty King Charles III 2024.

Art

Gina Rinehart demands for National Gallery to remove her portrait

Gina Rinehart has demanded that her portriat be removed from the National Gallery of Australia in Canberra because she doesn't like it. The portrait of Australia's richest woman appears alongside many others, including Queen Elizabeth and former Prime Minister Julia Gillard, in an exhibition by acclaimed Archibald Prize-winning Indigenous artist Vincent Namatjira. Namatjira's works are known for having cartoon-like qualities, as he often paints famous figures as caricatures. <a title="www.smh.com.au" href="https://www.smh.com.au/culture/art-and-design/portrait-gina-rinehart-doesn-t-want-you-to-see-mogul-demands-national-gallery-remove-her-image-20240513-p5jd59.html">Nine Newspapers </a>have the National Gallery of Australia (NGA) have been flooded with a dozen complaints about the portrait of Rinehart, including some from athletes she sponsors through her company Hancock Prospecting. <blockquote class="twitter-tweet"> Australia’s richest person, Gina Rinehart, has demanded the National Gallery of Australia remove a portrait of her from an exhibition by Archibald Prize-winning Indigenous artist Vincent Namatjira. THAT’S A GOOD REASON TO SHARE THE PORTRAIT WIDELY. <a href="https://t.co/pYoMh6vQcW">pic.twitter.com/pYoMh6vQcW</a> — Maurie Mulheron (@maurie_mulheron) <a href="https://twitter.com/maurie_mulheron/status/1790621641502036239?ref_src=twsrc%5Etfw">May 15, 2024</a></blockquote> One complaint allegedly accused the NGA of “doing the bidding of the Chinese Communist Party” with the portrait of Ms Rinehart. On the NGA website, Ms Rinehart is listed as a “friend” of the gallery, as she historically has donated up to $9999. The NGA has refused to take the painting down, and the artwork will be on display until July 21st. “Since 1973, when the National Gallery acquired Jackson Pollack’s Blue Poles, there has been a dynamic discussion on the artistic merits of works in the national collection, and/or on display at the gallery,” the NGA said in a statement. “We present works of art to the Australian public to inspire people to explore, experience and learn about art.” In response to the demand to have the painting removed, Namatjira released a statement saying, “I paint the world as I see it. People don’t have to like my paintings, but I hope they take the time to look and think, ‘why has this Aboriginal bloke painted these powerful people? What is he trying to say?’" "I paint people who are wealthy, powerful, or significant – people who have had an influence on this country, and on me personally, whether directly or indirectly, whether for good or for bad. Some people might not like it, other people might find it funny, but I hope people look beneath the surface and see the serious side too.” Image credits: Getty Images / X (Twitter)

Art

15,000 squares, 500 hours, 19 months: how I used embroidery to make sense of Australia’s catastrophic fires

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> I slip the needle through a small loop of black thread, pull it tight and snip. Done. I have just tied off the very last stitch on an embroidered scroll that has taken me more than 500 hours across 19 months to complete. All of my artwork is extremely labour-intensive. But I have to admit, this is a bit excessive, even for me. It’s not surprising that I have been asked more than once “why not just outsource the labour?” and even “what is the point?” I always sigh and think enviously of plumbers. I am 100% sure hardworking tradies are never asked to justify the point of their work. Why do I work so hard? There is no one easy answer, it’s different every time. The labour intensity of my processes adds time into the equation and this both carries meaning and can change the meaning of the work as it goes on (and on and on). I always learn something unexpected. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=800&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=800&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=800&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1005&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1005&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590597/original/file-20240426-17-sg7esy.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1005&fit=crop&dpr=3 2262w" alt="A finger points to a knot on the back of a messy abstract embroidery done in black, red, orange and yellow" /></a><figcaption>The last stitch! Tracey Clement</figcaption></figure> I put my little scissors down and, before busting out the bubbles, I snap a picture for Instagram because #selfpromotion, but also because this is news, albeit of a very slow-breaking kind. This is what I’ve learned after stitching for seemingly endless hours: while no news may be good news, “slow news” is even better. My embroidered scroll is titled Impossible Numbers. It started as my attempt to memorialise <a href="https://wwf.org.au/what-we-do/australian-bushfires/in-depth-australian-bushfires">the estimated 3,000,000,000 non-human lives lost</a> in the devastating bushfires of 2019–20, a number impossible to actually comprehend. <h2>Doomscrolling an emergency</h2> During that long and awful summer Sydney was often shrouded in an eerie orange haze. You could smell smoke. Ash fell. But, like many Australians, I experienced the worst of it by <a href="https://dictionary.cambridge.org/dictionary/english/doomscrolling">doomscrolling</a> fast news. I was both horrified and fascinated by images of fires so huge and hot they generated their own weather, by pictures of houses reduced to smoking skeletal outlines that somehow remained standing, by headlines comparing the fires to <a href="https://www.theguardian.com/australia-news/2019/dec/31/mallacoota-fire-mayhem-armageddon-bushfires-rage-victoria-east-gippsland">armageddon</a> and <a href="https://www.theguardian.com/australia-news/2020/oct/30/australia-must-prepare-for-future-shaped-by-extreme-climate-bushfire-royal-commission-report-warns">the apocalypse</a>. This hyperbolic language implies we are locked in a war of good versus evil. Even headlines in the vein of “Firefighters battle blazes” pit us (people) against them (the forces of nature). And in the heat of the moment the language of war feels right. <a href="https://traceyclement.com/2020/04/21/apocalypse-now">I’ve succumbed to it myself</a>. But it is dangerous. This language reinforces the idea we can dominate nature; it frames the fires as a conflict that we can end by winning. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=1432&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=1432&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=1432&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1800&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1800&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590572/original/file-20240426-21-7mbf5w.JPG?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1800&fit=crop&dpr=3 2262w" alt="A hand holds a phone taking a picture of a long abstract embroidery in black, red, orange and yellow." /></a><figcaption>Viewing the world through the phone. Tracey Clement</figcaption></figure> I will admit watching a goat-toting woman <a href="https://www.abc.net.au/news/2020-01-03/scott-morrison-got-bushfire-welcome-he-deserved-says-liberal-mp/11838476">berate a sitting prime minister</a> left me with a short-lived, but mildly satisfying, feeling of shared righteous indignation. But mostly doomscrolling just fuelled my sorrow and left me feeling impotent as, inevitably, the fast news cycled on to the next crisis (and the next, and the next). <h2>Slowing it down</h2> In October 2022, I finally stopped trying to process the bushfires, and all their terrifying implications, through the fast-news language of war. I picked up a needle instead. Of course 3,000,000,000 stitches would be too many, even for me, so I decided to stitch a grid of some 15,000 squares, which I filled with innumerable stitches – a nod to the endless stream of pixels that usually deliver our news. I started wanting to honour the 3 billion dead, that impossible number, but after months of stitching I realised I was “writing” a kind of slow-news story. It may sound ridiculous, but this tactic has been used before. The <a href="https://www.bayeuxmuseum.com/en/the-bayeux-tapestry">Bayeux Tapestry</a> is a slow-news story that documents the Norman conquest of England through embroidery. It took years to stitch, and some 950 years later it is still in circulation. As an alternative to doomscrolling easily digestible fast-news stories of good triumphing (or not) over evil, I have created an actual fabric scroll which depicts a stylised firestorm building in intensity until it becomes all-consuming. <figure class="align-center zoomable"><a href="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&fit=clip" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px" srcset="https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=600&h=799&fit=crop&dpr=1 600w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=600&h=799&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=600&h=799&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=45&auto=format&w=754&h=1004&fit=crop&dpr=1 754w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=30&auto=format&w=754&h=1004&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/590574/original/file-20240426-16-lk14qm.jpg?ixlib=rb-4.1.0&q=15&auto=format&w=754&h=1004&fit=crop&dpr=3 2262w" alt="A middle-aged white woman peeks out from behind a very long abstract embroidery in black, red, orange and yellow." /></a><figcaption>The artist with Impossible Numbers. Tracey Clement</figcaption></figure> Despite mimicking pixels, Impossible Numbers is resolutely handmade. It is too messy, too crude, to be anything else. It is bleedingly obvious (and there was blood) the will of a person is inextricably stitched into this image of devastating fire. Human labour is literally entangled in this artwork; it shows us as part of the picture, part of nature. And this is good news Impossible Numbers doesn’t have a victorious ending, or any ending at all. The scroll is not fully unrolled. There is no end in sight: the story isn’t over, it’s ongoing. In this way it points to the future; a future in which we are not fighting nature. And this is good news too. If you don’t have a spare 500 hours to process the news into slow news, don’t worry. By the time I finally tied my last knot, I found I had transformed my fear and rage into something tangible, something both magnificent and beautiful (if I do say so myself), no longer about me. It is now a slow-news story that is no longer about a particular event; something everyone can share. This is why I do the work. Impossible Numbers is on display as part of <a href="https://www.casulapowerhouse.com/prizes/the-blake-art-prize">The Blake Prize</a> at the Casula Powerhouse, Sydney, until July 7. <hr /> This article is part of <a href="https://theconversation.com/au/topics/making-art-work-126611">Making Art Work</a>, our series on what inspires artists and the process of their work.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/227907/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/tracey-clement-1518268">Tracey Clement</a>, Lecturer in Visual Art and McGlade Gallery Director, <a href="https://theconversation.com/institutions/australian-catholic-university-747">Australian Catholic University</a> Image credits: Instagram This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/15-000-squares-500-hours-19-months-how-i-used-embroidery-to-make-sense-of-australias-catastrophic-fires-227907">original article</a>. </div>

Art

King Charles unveils first post-coronation portrait

King Charles has unveiled his first post-coronation portrait in a special ceremony at Buckingham Palace. The painting by Jonathan Yeo - known for portraits of celebrities including Nicole Kidman, Paris Hilton and Grayson Perry - was commissioned in 2020 to celebrate the then Prince of Wales’ 50 years as a member of charitable institution The Drapers’ Company. Yeo had four sittings with the King, with the first sitting when Charles was still Prince of Wales in June 2021 at his country home in Highgrove, and the last sitting in November 2023 at Clarence house. The portrait – approximately 2.6 metres by 2 metres framed – depicts King Charles wearing the uniform of the Welsh Guard. “It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation,” the artist said. “When I started this project, His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed. “I do my best to capture the life experiences etched into any individual sitter’s face. “In this case, my aim was also to make reference to the traditions of Royal portraiture but in a way that reflects a 21st century monarchy and, above all else, to communicate the subject’s deep humanity,” said Mr Yeo. “I’m unimaginably grateful for the opportunity to capture such an extraordinary and unique person, especially at the historic moment of becoming King.” The King and Queen met The Master of The Drapers’ Company, Tom Harris and Past Master, William Charnley on Tuesday at Buckingham Palace. The portrait will go on public display for a month at the Philip Mould Gallery in London, from May 16 until June 14 and will be displayed at Drapers’ Hall from the end of August. Images: news.com.au

Art

What are the most common symptoms of menopause? And which can hormone therapy treat?

<a href="https://theconversation.com/profiles/susan-davis-10376">Susan Davis</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> Despite decades of research, navigating menopause seems to have become harder – with conflicting information on the internet, in the media, and from health care providers and researchers. Adding to the uncertainty, a recent <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)00462-8/fulltext">series in the Lancet</a> medical journal challenged some beliefs about the symptoms of menopause and which ones menopausal hormone therapy (also known as hormone replacement therapy) can realistically alleviate. So what symptoms reliably indicate the start of perimenopause or menopause? And which symptoms can menopause hormone therapy help with? Here’s what the evidence says. <h2>Remind me, what exactly is menopause?</h2> Menopause, simply put, is complete loss of female fertility. Menopause is traditionally defined as the final menstrual period of a woman (or person female at birth) who previously menstruated. Menopause is diagnosed after 12 months of no further bleeding (unless you’ve had your ovaries removed, which is surgically induced menopause). Perimenopause starts when menstrual cycles first vary in length by seven or more days, and ends when there has been no bleeding for 12 months. Both perimenopause and menopause are hard to identify if a person has had a hysterectomy but their ovaries remain, or if natural menstruation is suppressed by a treatment (such as hormonal contraception) or a health condition (such as an eating disorder). <h2>What are the most common symptoms of menopause?</h2> <a href="https://srh.bmj.com/content/early/2024/02/21/bmjsrh-2023-202099.long">Our study</a> of the highest quality menopause-care guidelines found the internationally recognised symptoms of the perimenopause and menopause are: <ul> <li>hot flushes and night sweats (known as vasomotor symptoms)</li> <li>disturbed sleep</li> <li>musculoskeletal pain</li> <li>decreased sexual function or desire</li> <li>vaginal dryness and irritation</li> <li>mood disturbance (low mood, mood changes or depressive symptoms) but not clinical depression.</li> </ul> However, none of these symptoms are menopause-specific, meaning they could have other causes. In <a href="https://journals.lww.com/menopausejournal/abstract/2015/07000/moderate_to_severe_vasomotor_and_sexual_symptoms.6.aspx">our study of Australian women</a>, 38% of pre-menopausal women, 67% of perimenopausal women and 74% of post-menopausal women aged under 55 experienced hot flushes and/or night sweats. But the severity of these symptoms <a href="https://journals.lww.com/menopausejournal/abstract/2015/07000/moderate_to_severe_vasomotor_and_sexual_symptoms.6.aspx">varies greatly</a>. Only 2.8% of pre-menopausal women reported moderate to severely bothersome hot flushes and night sweats symptoms, compared with 17.1% of perimenopausal women and 28.5% of post-menopausal women aged under 55. So bothersome hot flushes and night sweats appear a reliable indicator of perimenopause and menopause – but they’re not the only symptoms. Nor are hot flushes and night sweats a western society phenomenon, as has been suggested. Women in Asian countries are <a href="https://journals.lww.com/menopausejournal/fulltext/2022/05000/prevalence,_severity,_and_associated_factors_in.9.aspx">similarly affected</a>. Depressive symptoms and anxiety are also often linked to menopause but they’re less menopause-specific than hot flushes and night sweats, as they’re common across the entire adult life span. The <a href="https://srh.bmj.com/content/early/2024/02/21/bmjsrh-2023-202099.long">most robust guidelines</a> do not stipulate women must have hot flushes or night sweats to be considered as having perimenopausal or post-menopausal symptoms. They acknowledge that new mood disturbances may be a primary manifestation of <a href="https://www.cell.com/cell/abstract/S0092-8674(23)00905-4?_returnURL=https%3A%2F%2Flinkinghub.elsevier.com%2Fretrieve%2Fpii%2FS0092867423009054%3Fshowall%3Dtrue">menopausal hormonal changes</a>. The extent to which menopausal hormone changes impact memory, concentration and problem solving (frequently talked about as “brain fog”) is uncertain. <a href="https://www.tandfonline.com/doi/full/10.1080/13697137.2022.2122792">Some studies</a> suggest perimenopause may impair verbal memory and resolve as women transition through menopause. But strategic thinking and planning (executive brain function) <a href="https://www.tandfonline.com/doi/full/10.1080/13697137.2022.2122792">have not been shown to change</a>. <h2>Who might benefit from hormone therapy?</h2> The Lancet papers <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)00462-8/fulltext">suggest</a> menopause hormone therapy <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(23)02799-X/fulltext">alleviates</a> hot flushes and night sweats, but the likelihood of it improving sleep, mood or “brain fog” is limited to those bothered by vasomotor symptoms (hot flushes and night sweats). In contrast, the highest quality <a href="https://srh.bmj.com/content/early/2024/02/21/bmjsrh-2023-202099.long">clinical guidelines</a> consistently identify both vasomotor symptoms and mood disturbances associated with menopause as reasons for menopause hormone therapy. In other words, you don’t need to have hot flushes or night sweats to be prescribed menopause hormone therapy. Often, menopause hormone therapy is prescribed alongside a topical vaginal oestrogen to treat vaginal symptoms (dryness, irritation or urinary frequency). However, none of these guidelines recommend menopause hormone therapy for cognitive symptoms often talked about as “brain fog”. Despite musculoskeletal pain being the most common menopausal symptom in <a href="https://journals.lww.com/menopausejournal/abstract/2016/07000/prevalence_and_severity_of_vasomotor_symptoms_and.6.aspx">some populations</a>, the effectiveness of menopause hormone therapy for this specific symptoms still needs to be studied. Some guidelines, such as an <a href="https://www.tandfonline.com/doi/full/10.1080/13697137.2023.2258783">Australian endorsed guideline</a>, support menopause hormone therapy for the prevention of osteoporosis and fracture, but not for the prevention of any other disease. <h2>What are the risks?</h2> The greatest concerns about menopause hormone therapy have been about breast cancer and an increased risk of a deep vein clot which might cause a lung clot. Oestrogen-only menopause hormone therapy is <a href="https://www.nice.org.uk/guidance/ng23">consistently considered</a> to cause little or no change in breast cancer risk. Oestrogen taken with a progestogen, which is required for women who have not had a hysterectomy, <a href="https://www.moh.gov.my/moh/resources/Penerbitan/CPG/Women%20Health/CPG_Management_of_Menopause_2022_e-version-1.pdf">has been associated with a small increase</a> in the risk of breast cancer, although any <a href="https://www.bmj.com/content/bmj/371/bmj.m3873.full.pdf">risk appears to vary</a> according to the type of therapy used, the dose and duration of use. Oestrogen taken orally has also been associated with an increased risk of a deep vein clot, although the risk varies according to the formulation used. This risk is avoided by using estrogen patches or gels <a href="https://www.bmj.com/content/bmj/364/bmj.k4810.full.pdf">prescribed at standard doses</a> <h2>What if I don’t want hormone therapy?</h2> If you can’t or don’t want to take menopause hormone therapy, there are also effective non-hormonal prescription therapies available for troublesome hot flushes and night sweats. In Australia, most of these options are “off-label”, although the new medication <a href="https://australianprescriber.tg.org.au/articles/management-of-menopause.html">fezolinetant</a> has just been <a href="https://www.tga.gov.au/resources/artg/401401">approved</a> in Australia for postmenopausal hot flushes and night sweats, and is expected to be available by mid-year. Fezolinetant, taken as a tablet, acts in the brain to stop the chemical neurokinin 3 triggering an inappropriate body heat response (flush and/or sweat). Unfortunately, most over-the-counter treatments promoted for menopause are either <a href="https://srh.bmj.com/content/early/2024/02/21/bmjsrh-2023-202099.long">ineffective or unproven</a>. However, cognitive behaviour therapy and hypnosis <a href="https://journals.lww.com/menopausejournal/abstract/2023/06000/the_2023_nonhormone_therapy_position_statement_of.4.aspx">may provide symptom relief</a>. The Australasian Menopause Society has useful <a href="https://www.menopause.org.au/health-info/fact-sheets">menopause fact sheets</a> and a <a href="https://www.menopause.org.au/health-info/find-an-ams-doctor">find-a-doctor</a> page. The <a href="https://www.tandfonline.com/doi/full/10.1080/13697137.2023.2258783">Practitioner Toolkit for Managing Menopause</a> is also freely available.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/225174/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/susan-davis-10376">Susan Davis</a>, Chair of Women's Health, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/what-are-the-most-common-symptoms-of-menopause-and-which-can-hormone-therapy-treat-225174">original article</a>.

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The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

<a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Do you remember what it was like to discover the magic of a city for the first time? Do you remember the noises, smells, flashing lights and pulsating crowds? Or do you mostly remember cities through the screen of your phone? In 1967, French philosopher and filmmaker Guy Debord <a href="https://files.libcom.org/files/The%20Society%20of%20the%20Spectacle%20Annotated%20Edition.pdf">publicised the need</a> to move away from living our lives as bystanders continually tempted by the power of images. Today, we might see this in a young person flicking from one TikTok to the next – echoing the hold images have on us. But adults aren’t adverse to this window-shopping experience, either. Debord notes we have a tendency to observe rather than engage. And this is to our detriment. Continually topping-up our image consumption leaves no space for the unplanned – the reveries to break the pattern of an ordered life. Debord was a member of a group called the <a href="https://www.britannica.com/topic/Situationist-International">Situationist International</a>, dedicated to new ways we could reflect upon and experience our cities. Active for about 15 years, they believed we should experience our cities as an act of resistance, in direct opposition to the (profit-motivated) capitalistic structures that demand our attention and productivity every waking hour. More than 50 years since the group dissolved, the Situationists’ philosophy points us to a continued need to attune ourselves – through our thoughts and senses – to the world we live in. We might consider them as early eco-warriors. And through better understanding their philosophy, we can develop a new relationship with our cities today. <h2>Understanding the ‘situation’</h2> The Situationist International movement was <a href="https://www.jstor.org/stable/j.ctt183p61x">formed</a> in 1957 in Cosio di Arroscia, Italy, and became active in several European countries. It brought together radical artists inspired by spontaneity, experimentalism, intellectualism, protest and hedonism. Central figures included Danish artist <a href="https://museumjorn.dk/en/">Asger Jorn</a>, French novelist <a href="https://mitpress.mit.edu/author/michele-bernstein-10219/">Michèle Bernstein</a> and Italian musician and composer <a href="https://en.wikipedia.org/wiki/Walter_Olmo">Walter Olmo</a>. The Situationists were driven by a <a href="https://encyclopedia.pub/entry/34141">libertarian form of Marxism</a> that resisted mass consumerism. One of the group’s early terms was “unitary urbanism”, which sought to join avant-garde art with the critique of mass production and technology. They rejected “urbanism’s” conventional emphasis on function, and instead thought about art and the environment as inexorably interrelated. By rebelling against the invasiveness of consumption, the Situationists proposed a turn towards artistically-inspired individuality and creativity. <h2>Think on your own two feet</h2> According to the 1960 <a href="https://hts3.files.wordpress.com/2010/12/situationist-international-manifesto.pdf">Situationist Manifesto</a> we are all to be artists of our own “situations”, crafting independent identities as we stand on our own two feet. They believed this could be achieved, in part, through “<a href="https://www.tate.org.uk/art/art-terms/p/psychogeography#:%7E:text=Psychogeography%20describes%20the%20effect%20of,emotions%20and%20behaviour%20of%20individuals">psychogeography</a>”: the idea that geographical locations exert a unique psychological effect on us. For instance, when you walk down a street, the architecture around you may be deliberately designed to encourage a certain kind of experience. Crossing a vibrant city square on a sunny morning evokes joy and a feeling of connection with others. There’s also usually a public event taking place. The Situationists valued drift, or dérive in French. This alludes to unplanned movement through a landscape during journeys on foot. By drifting aimlessly, we unintentionally redefine the traditional rules imposed by private or public land owners and property developers. We make ourselves open to the new unexpected and, in doing so, are liberated from the shackles of everyday routine. In <a href="https://link.springer.com/book/10.1007/978-981-10-8100-2">our research</a>, my colleagues and I consider cities as places in which “getting lost” means exposing yourself to discovering the new and taken-for-granted. <h2>Forge your own path</h2> By understanding the Situationists – by looking away from our phones and allowing ourselves to get lost – we can rediscover our cities. We can see them for what they are beneath the blankets of posters, billboards and advertisements. How might we take back the image and make it work for us? The practise of geo-tagging images on social media, and sharing our location with others, could be considered close to the spirit of the Situationists. Although it’s often met with claims of <a href="https://www.nationalgeographic.com/travel/article/when-why-not-to-use-geotagging-overtourism-security">over-fuelling tourism</a> (especially regarding idyllic or otherwise protected sites), geo-tagging could <a href="https://www.melaninbasecamp.com/trip-reports/2019/5/1/five-reasons-why-you-should-keep-geotagging">inspire us</a> to actively seek out new places through visiting the source of an image. This could lead to culturally respectful engagement, and new-found respect for the rights of traditional custodians as we experience their lands in real life, rather than just through images on our phones. Then there are uniquely personal and anarchistic forms of resistance, wherein we can learn about the world around us by interweaving ourselves with our histories. In doing so we offer a new meaning to a historical message, and a new purpose. The Situationists called this process <a href="https://www.theartstory.org/movement/situationist-international/">détournement</a>, or hijacking. For instance, from my grandfather I inherited a biscuit tin of black and white photographs I believe were taken in the 1960s. They showed images of parks and wildlife, perhaps even of the same park, and cityscapes of London with people, streets and buildings. I have spent many hours wandering the London streets tracking down the exact places these images were snapped. I was juxtaposing past with present, and experiencing both continuity and change in the dialogues I had with my grandfather. In this way, I used images to augment (rather than replace) my lived experience of the material world. Urban art installations can also be examples of detournment as they make us re-think everyday conceptions. <a href="https://www.cityartsydney.com.au/artwork/forgotten-songs/">Forgotten Songs</a> by Michael Hill is one such example. A canopy of empty birdcages commemorates the songs of 50 different birds once heard in central Sydney, but which are now lost due to habitat removal as a result of urban development. There are also a number of groups, often with a strong environmental or civic rights focus, that partake in detournment. <a href="https://popularresistance.org/dancing-revolution-how-90s-protests-used-rave-culture-to-reclaim-the-streets/">Reclaim the Streets</a> is a movement with a long history in Australia. The group advocates for communities having ownership of and agency within public spaces. They may, for instance, “invade” a highway to throw a “<a href="https://pasttenseblog.files.wordpress.com/2022/02/road-rave.pdf">road rave</a>” as an act of reclamation. <figure><iframe src="https://www.youtube.com/embed/bUL0C_T-Sqk?wmode=transparent&start=999" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> As French avant-garde philosopher <a href="https://www.themarginalian.org/2014/07/24/the-poetics-of-reverie-gaston-bachelard/">Gaston Bachelard</a> might have put it, when we’re bombarded by images there is no space left to daydream. We lose the opportunity to explore and question the world capitalism serves us through images. Perhaps now is a good time to set down the phone and follow in the Situationists’ footsteps. <img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/221606/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/stephen-dobson-1093706">Stephen Dobson</a>, Professor and Dean of Education and the Arts, <a href="https://theconversation.com/institutions/cquniversity-australia-2140">CQUniversity Australia</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/the-art-of-getting-lost-how-re-discovering-your-city-can-be-an-antidote-to-capitalism-221606">original article</a>.

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The art of ‘getting lost’: how re-discovering your city can be an antidote to capitalism

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