Degas' Bathers

In third grade, these were the works that would make me cover my face in my hands and hide, or turn away, embarrassed. These were women, naked, with their bodies on display. And they had these in public, in an art museum?! It seemed wrong, as if they were works meant for something else, to be viewed by one or a few people, and to be kept at home. But, with some of these works, it isn’t just the younger version of myself that questions their appearance in public. Charles Harrison, in “Degas' Bathers and Other People” questions, too, the role of Degas’ nude paintings--many of which were either of prostitutes, or likely modeled by prostitutes--and the implications of both viewing and enjoying them. Are they voyeuristic and anti-feminist, meant for the enjoyment of men and men alone, or are they art still, able to be appreciated by anyone? Harrison, to defend his own enjoyment of the art, chooses to support the second of the two, and explores ways in which enjoying these images can be more than a case of poor taste or disregard for the artist beyond the image.

The image that brought the issue to Harrison’s attention was a monotype by Degas, titled “Woman Reclining on Her Bed”. This was an image of a woman on a couch, her body exposed but her face unclear, either due to the angle, the lighting, or both. The part that really grabbed Harrison, however, was not just the work or the posing, but the fact that it was signed with a dedication instead of a signature. It was a work, indeed, never intended for galleries and public display, but a gift created for and given to a male friend--in this case, a writer and collector of modern art. As Harrison writes, “The almost inescapable suggestion is that images such as this circulated outside any public view precisely because their combination of artistry with indecency destined them for the secluded enjoyment of men of a certain sophistication. In other words, the intended function of the monotype was to supply an expensive taste for erotica.” This fact works against what Harrison hopes to argue, supporting the idea that Degas’ works are not meant to be viewed and enjoyed by all, regardless of gender.

The argument also derives from feminist ideas about the interpretation of the art, and the effects it creates on the viewer. According to the article, without thinking about the issue of gender, it is only differences in class or wealth or education that may effect a viewer’s ability to appreciate art, and these differences can be overcome. But, once the issue of gender is brought in, it can be seen that that is not so easily overcome, and that consensus or agreement in the past when it comes to the appreciation of art could easily be due to the fact women’s opinions were rarely heard. In fact, feminist Griselda Pollock described the viewing of Degas’ works, as a woman, by saying "I am forced to take up the proffered sadistic masculine position and symbolically enact the violence of Degas' representations, or identify masochistically with the bizarrely posed and cruelly drawn bodies." And so, the issue of whether or not the viewer must be male to enjoy Degas’ works is brought into question.

To confront this argument, Harrison delves into the details of a seemingly simple concern of male artists at the time: how women look. But, as Harrison reveals, it’s not as simple as it sounds. That same question can refer both to “what women look like,” as he writes, and ”what it is like for women to look.” And, the ambiguity of the term leads to what he calls a moment with “infinite social and psychological content,” when the woman being looked at looks back at the one looking at her. This brings into question the issue really at stake here: who is the imagined looker, in a painting in which the woman looks back?

In the case of Degas’ bathers, the looker was suggested by late 20th century contemporaries to be a voyeur. This was due to the fact that the women featured were assumed prostitutes, either because they were depicted as such in some works, or simply because other women would have been unlikely to allow themselves to be shown that way. And so the man, then, looking in on her, becomes the voyeur, taking his pleasure by watching her from afar, putting viewers in that uncomfortable position of looking in on her as well.

Harrison argues against this view by looking at the viewpoint and perspective used to create the paintings, looking particularly at Au Café. Instead of the conventional viewpoint, which would put the viewers outside of the picture plane, at a “socially and psychologically normative distance from its represented subject,” the position of a voyeur, he places the viewer within the picture plane. To do this, he uses a technique inspired by photography, blurring out objects nearby but leaving the woman herself sharply focused, along with having his nearest table intersect the picture plane instead of run parallel, as one might expect if the viewer was outside looking in. These techniques create the effect of being inside the painting--putting the viewers not in the position of the voyeur, but much closer to the position of the woman herself.

The paintings of Degas’ bathers use a similar kind of viewpoint. Instead of using situational cues to position the viewer--such as an open door, featured in Dancer in her Dressing Room, which puts the viewer outside the room watching the woman inside--the objects that might help orient the viewer actually “define and to qualify the sensuous self-absorption of the represented figure.” For example, in one picture a towel wraps around the body of the woman; in another, a woman bends to dry her feet, and the rim of the tub that she sits upon is positioned not to help place the viewer, but to help place the woman herself.

The final question left here is of what Degas’ intentions might be in creating those viewpoints. This comes back to the issue of looking and being looked at. While Degas and many other artists were concerned with depicting a woman being looked at, Harrison suggests that Degas was attempting to go even further with his bathers. He was, instead of depicting a woman watched, showing a woman unwatched, not looked at, “the unselfconscious possessor of her own space, her own body.” And, to do this in a painting, where the result would have to be something visual, something looked at, was a challenge. But the viewpoint, the placing of the viewer inside the work, and the depiction of a woman self-absorbed both accomplished this.

So, if we follow Harrison’s explanation, then the bathers and the works were not intended for the sole enjoyment of wealthy men. The viewers are not the voyeur, but the subject of the painting instead, occupying her space within the painting. And, because he defends it through technical properties, not just emotional reactions to the painting, it is much more convincing than the arguments of the contemporaries he is challenging. So, while my younger self might have shied away from Degas’ bathers, Degas has convinced me that there was no need to limit these works to only the private viewing of males; he has convinced me that they can, and were intended to be, viewed by anyone.


Harrison, Charles. "Degas' Bathers and Other People." Modernism/Modernity 6.3 (1999) 57-90. Web. 23 Nov. 2010.

Image: Modernism/Modernity: "Degas' Bathers"

Writing in Paint: An opinion of Bruegel

Recall, if you will, the not far gone days of high school. If your school was anything like mine you will remember that essentially everyone fell into some sort of clique. There were the jocks, the nerds, the goths, the rich kids and many more. Cliques however transcend far beyond those awkward years; surprisingly cliques can hold historical relevance when examining great artists. In his piece, Pieter Bruegel: Painter for Poets, Donald Burness addresses the issue of what artistic “clique” that he believes Pieter Bruegel the Elder should be considered a part of. In his opinion, Burness suggests that Bruegel should not be shoved into the category of either an Italian or a Flemish Renaissance painter, but that he is a special type of literary artist. Bruegel’s distinct difference of views with both Italian and Flemish painters, his attitudes towards man, and his use of literary subjects all aid in strengthening Burness’ argument.

During the period referred to today as the renaissance, two distinct schools of artistic approach were flourishing. One of the schools was Italian, and was characterized by a focus on man’s greatness as well as overall unity in the world. The other school was Flemish; realism was the driving factor for artists of this region. In his lifetime, from 1525 to 1569, Bruegel was exposed to both worlds of artistic expression as he made noted travels to the respective regions. Yet the majority of Bruegel’s work relays very little influence from either of the dominant schools. In fact, as Burness highlights, Bruegel’s art shows a distinct “unwillingness on his part to associate with either” discipline (Burness, 157). Burness suggests this aversion has its roots in the overall rejection Bruegel had of the optimistic themes found in Italian art. And while the Flemish were notably more macabre in their works, Bruegel simply resisted falling into this mold by never truly settling in his themes. It is true that a good majority of Bruegel’s best known paintings revolve around critical satires of human action, yet if he chose to, he could produce works devoid of his signature skepticism. This variety is notable in Hunters in the Snow, which somehow captures an untainted view of “an entire community in all its diversity” (Burness, 161). Again he earns the title of a “literary” painter as his work tells a whole story in a single scape.


Bruegel's Hunters in the Snow


The true heft of Bruegel’s catalogue of masterworks highlights his rather misanthropic view of human nature. As this pessimism is most notably shared by literary figures of the time, Burness asserts that Bruegel was truly a “literary artist.” To Bruegel, man was not a thing to be gilded and praised; no, mankind was naturally carnal and cruel. In many of his works, the viewer can truly almost feel the venom with which the artist painted his scene. Many of Bruegel’s works can seem at first to be jovial and even mellow, but often with a second look into the scape there is a much more dire attitude. Such is the case with Peasant Dance, which appears to be a community enjoying a festival and dancing merrily. With a closer examination however, it is clear that a fight is occurring in one corner of the scene, and faces that may have seemed merry become all too menacing. This negativity was not mirrored by other artists in his time, but was strikingly similar to texts by many noted renaissance writers. As Burness notes, Bruegel found “kindred spirits in writers of his age, such as Montaigne and Erasmus,” uniting him much more with the literary sect than either of the artistic worlds (Burness, 157).

Further Burness places Bruegel into a category as a “literary” painter by the fact that the central subjects in many of his works were from stories and aphorisms. But Bruegel does not simply paint pictures to go along with the stories that he drew from; rather, he takes characters and creates whole new stories through his own art. In this aspect, the artist is writing with his paintings as he makes the old tales his own. This is the case with one of his most well-known paintings, The Fall of Icarus. Bruegel takes the infamous figure of Icarus and adds a new view to his unfortunate flight. He makes the tragic fall of Icarus a very small part of the painting, barely more than a side note really, and focuses on the normalcy of the surrounding town. As he adapts the tale of Icarus, Bruegel again shows his symmetry with the literary pessimism of the age; no one in the countryside chooses to acknowledge the fallen boy. And now in the 21st century, Burness asserts that things have truly come full circle for Bruegel as an artist of literature. As Bruegel first drew on elder stories for his art, an incredible variety of today’s poets turn to Bruegel’s paintings for their inspiration.

Burness crafts a strong argument for Bruegel being typed as a “literary” artist. The painter’s rejection of both Italian and Flemish styles, his opinion of mankind and his tendency to select characters from literature all provide solid evidence that no other category can truly capacitate the stance of Bruegel’s art. I have always been a fan of the way Bruegel injected a bit of black humor into his paintings and this article by Burness did indeed provide me with a new view of his works. I can identify the sense of rebellion against the standard schools in Bruegel’s work and it is not difficult to see how his paintings can tell a story all their own. Burness certainly has a good point in his assertion that Bruegel was a literary artist, and for now he has made me a supporter of this position.




Sources:

Burness, Donald. "Pieter Bruegel: Painter for Poets." Art Journal 32.2 (1972): 157-162. Web. 20 Nov 2010. .

Picture: google.com/images

Monet's Cathedrals

Monet is known as an Impressionist. Well what does that mean? Well, as an Impressionist, it means he tended to focus on nature. If you were to go visit an art museum and look at Monet’s work though, you may find yourself looking at several paintings that don’t seem to involve nature at all. This may lead you to ask, if Monet is such a great Impressionist, why do several of his painting focus on such unnatural subjects? Well, in his article “Monet’s Cathedrals: A Point in Time”, Robert Knott picked out Monet’s Rouen Cathedral series as the moment that Monet’s style took a distinct turn. Monet approached the series initially as an Impressionist, trying to focus on the natural elements of the subject. Monet chose to focus on light, or rather the changing of light. Each painting in the series views the cathedral under different conditions. The time of day, the weather, to intensity of the light/shadow contrast; they all change throughout the series. However, one thing remains constant. The clock above the central archway always becomes the center of attention, especially upon viewing the series as a whole. It is the constant throughout. It is also a wonderful motif for what Monet was trying to present, as well as for his career.
Knott makes the observation that the clock is perceptively, the center of the painting. If not located in the exact center, it can be found not too far away. The layering of the painting also favors the clock. Toward the edges of many of the paintings in the series, the layering is quite thin comparatively, to suggest that it is fading away. However, the clock is always the most heavily layered aspect of the portrait. It literally stands out from the rest of the painting. The clock is so central and constant to the series that it defies the normal laws of perspective. The clock is always perfectly round, even when the cathedral is viewed from an angle. One painting in the series, “Rose Window”, illustrates the idea particularly well. Both the rose window and the clock are round. The cathedral is viewed from an angle though. The rose window then takes on an oval form, as perspective laws dictate, but the clock remains a perfect circle.
The clock contrasts often with the tone of the paintings in the series. If the cathedral is viewed in such a light as to give it a reddish/orange hue, then the clock is of a blue hue. If the cathedral is viewed in such a light as to give it a purplish/blue hue, then the clock has an orange hue. And if the cathedral is engulfed completely is shadow as to make it appear grey, the clock will appear as a brilliant white circle.
Before the series, one will notice that Monet stays true to his Impressionist roots and nature is the focus of his paintings. Knott points out that even in paintings set in locations impacted by human intervention, Monet has a way of making those human elements disappear. After the series, Monet begins to embrace the unnatural more, with a specific focus towards architecture. The clock, works well to show this change. Clocks are a symbol of time and change. The clock, as the central focus of the series, marks a change in Monet’s approach to his subjects.
I believe though that the clock is not a complete departure from his Impressionist roots. He still maintains the superiority of nature by juxtaposing it with the church. He takes a part of the church, the clock, and allows nature to overtake it. The face of the clock is always, throughout the series, unviewable thanks to the glare of the light. This takes the clock, the ultimate symbol of time, and by removing its face, makes it timeless. And time, a concept of man, is rendered insignificant.

Variations, Brushstrokes, and Paradoxes

Have you ever looked at the Old Well at different times of the day, or in different seasons? Think about it in front of a sunrise on a cool Fall day, or the illumination of the structure by the moon in the middle of the night. The light, or lack thereof from the sun alters the focus, the Old Well, in spectacular ways. Recall the different settings in which you can find this beacon of the University, whether flooded by tourists, or overlooked by passerbys. These are the concepts that can be extracted from Claude Monet’s work on his Grainstacks paintings.

Gary Storm’s “Paradoxes: The Theme and Variations in the Visual Arts - False-color Cartography and the Grainstacks of Claude Monet” is a discussion of several concepts within the domain of art, as well as a discussion about how a painting done by the French artist Claude Monet fits in with these concepts. The article is long and delves into many art-specific topics, three of which I will focus on the most. Those being, his assertions about the Grainstacks paintings done by Monet in relation to themes and variations, pixels and brushstrokes, and philosophy. Storm maintains that the Grainstacks paintings, along with other works of art, try to depict truths about nature.

First, Storm describes a simple but vast idea, this being themes and variations. He expounds on this notion by explaining how artists use themes, or theses, to express one solid idea. Variants slightly modify and explore the original theme, while maintaining the original quality  of that theme. Monet’s Grainstacks paintings were done over an extended period. He painted them during the four different seasons, and during different times of the day to express how light transforms the same object in different settings. In this example, the grainstacks are the theme and the light is the variant. The different lighting is a result of the four seasons and intervals during the day, which all slightly modify the main thesis, the grainstacks. This was not uncommon for the impressionist Monet to do--he often painted one scene with several different canvases, and over extended periods of time. Monet’s friend Gustave Geoffrey wrote the surfaces of the grainstacks are "transitory objects on which are reflected, as on a mirror, the influences of the surroundings, atmospheric conditions, random breezes, sudden bursts of light." Just as the grainstacks are modified by the light, so is the Old Well, when it is illuminated by the sun, the moon, and streetlights.

The second art-related abstraction has to do with pixels and brush strokes. Storm explains how zooming in on the Grainstacks piece, one may only notice thousands of tiny brush strokes, full of color, almost like pixels in a piece of photography. However, when zooming out, an individual sees one uniform, distinct scene. A theme, actually. The scene reveals grainstacks, sky, field, and countryside. This kind of abstraction can be noted in many other works. Even works that are not images, such as Bach’s “Goldberg Variations” because they vary in time, timbre, pitch, and how they are combined. In the same way, Monet’s brush strokes vary in color, size, texture, thickness, and how they are combined to form the bigger picture. Zoom in close on the Old Well and you will merely see white paint, creases in the columns, and a water fountain. Step back and look at it as a whole, and you have the heart of UNC.

The final concept is short and direct. It describes the philosophy behind Monet’s creation. This philosophy, or rather paradox, is so simple, Storm states, that it is almost superfluous to expound upon. This paradox being that the only true constant in the work, is change. The variations of the work serve to relay the differences in light and color due to varying times of day and times of the year. These changes can be from the force of nature, such as the weather cycle, or by the variations of perception, including direction and distance. Again, the only true constant we have to hold onto when viewing the Old Well, is that it is always in a different setting. Sometimes students flood it, all trying to drink from the fountain for that perfect GPA, sometimes it is empty with merely a bird resting on the water fountain. Sometimes it is bright and glowing on a clear day, sometimes it is hidden by the downpour of a Summer storm. The only constant, is change.

Storm evidently devoted a large sum of time to delve into every aspect of Monet’s paintings of the Grainstacks. He makes a claim that Monet’s Grainstacks paintings try to depict truths about nature. These truths being about change, perception, and consistencies. Storm’s thesis has external validity as we can see all of these concepts unfold in something we see often, the Old Well.


Storm, Gary. "Paradoxes: The Theme and Variations in the Visual Arts - False-color Cartography and the Grainstacks of Claude Monet." Mater Cult 40 2 (2008): 45-75. Web. 16 Nov. 2010.

Image:

http://www.charleneking.com/blog/?attachment_id=62

What Can Naps do for YOU: Results

The Result of Going to Bed Early

Nail-Biting Terrors: Results

Music: incompetech.com
Sound Effects: freesound.org

From Coke Zero to Hero: Did I Kick the Can for One Week?!

To Chug or Not to Chug: A Study in Diet Soda Addiction

What Can Naps do for YOU?

Going to Bed Early?

Nail-Biting Terrors?!

Music: incompetech.com
Sound Effects: freesound.org

Sports Psychololgy

T.J. Yates must have gone and seen a sports psychologist this off season. Heading into the year, he was considered UNC’s greatest weakness. Now he is considered UNC’s greatest strength. His consistency and decision making are drastically improved. Sports psychology seems to be the most likely answer to this incredible change. As the physical gap between athletes has decreased over the years, athletes are looking for every advantage they can get and sports psychologists offer a solution. Sports psychologists study how emotions and attitudes affect athletes on the physiological level, the athletes’ behavioral responses, and the effort they put forth.

To understand the effects of sports psychology, one needs to understand the difference between absolute and relative performance. Every athlete has a specific level of play that they can attain. These are based exclusively on the physical gifts they possess. This level of play is called one’s absolute performance. An athlete’s performance on any given day is called one’s relative performance. Whereas absolute performance is set, one’s relative performance is not. What determines one’s relative performance is based on environmental factors. Some cannot be controlled. Weather, the crowd, fatigue, injury and illness are all examples. What can be controlled though is an athlete’s reaction to them. This is where the sports psychologist comes into play.

Anxiety is normal before a game, but too much can be detrimental to an athlete’s performance. It is either cognitive or somatic. Cognitive anxiety is mental and can lead to a narrower perceptual field, an inability to shift attention, and impaired decision making skills. Somatic anxiety though manifests itself physiologically through impaired fine motor skills, disrupted blood flow, and tense muscles.

Cognitive anxiety is a common opponent to an athlete. Cognitive anxiety is all the negative thoughts and self-doubt an athlete experiences that consume the attention of the athlete, causing them to miss some of the external cues. These issues need to be addressed before the problems manifest themselves in an in-game situation through rational emotive therapy. The therapy essentially assumes that the athlete’s negative energy is a result of irrational beliefs, and these beliefs must be erased. Retooling the human thought process though is much more intensive and time-consuming. When cognitive anxiety attacks during the game still, the athlete must take the time to step back and rethink everything. Common methods for this are self-talk, thought stopping, centering, and reframing. The point is to get the athlete into a positive disposition.

Sports psychologists often use biofeedback and related techniques to help athletes combat somatic anxiety. In biofeedback, athletes are taught to recognize the feeling of relaxed vs. tense muscles. Then when they are able to recognize the symptoms of anxiety manifesting them, they can take the necessary steps to reduce the anxiety. These steps are similar to those taken to fight cognitive anxiety and are usually orientated towards breathing exercises.

Sports psychology doesn’t make you a better athlete; one’s absolute performance cannot change. What sports psychology does is improve one’s relative performance. Very rarely does anyone perform at their absolute performance. So if one can make up enough difference in one’s relative performance, one can beat a better opponent. In the higher playing levels, where almost all the athletes are the best there is and the difference in absolute performance is small, it is whoever can make up the most ground in the relative performance department that will win.

Reference:

Gee, Chris J., "How Does Sports Psychology Actually Improve Athletic Performance? A Framework To Facilitate Athletes' and Coaches' Understanding." Behavior Modification 34.5 (2010) 386-404. Web. 23 October 2010. http://www.bmo.sagepub.com/content/34/5/386.full.pdf+html

Image:

braintrainningcentersfl.com

Risky Viewing? Bedroom TV and Obesity

From health class lectures to “get active” ad campaigns, it’s been drilled into my mind—and the minds of most people I know—that watching television can lead to obesity. But, here’s some news: it’s not just having (and using) a TV that matters, but also where that TV is located. Specifically, the place to be concerned with is a TV in the bedroom. According to a study conducted among overweight and obese adults, those with a television set in the bedroom watched on average more TV than those without one in the bedroom, potentially leading to a more sedentary and less healthy lifestyle.

How would a study try to find that connection? In this case, participants aged 21-65, with a body mass index (BMI) of 25-50 were chosen and observed regarding TV watching time, in the bedroom and outside of it, and sleep time. Features such as height, weight, BMI, education, and employment were recorded at baseline, before the study began. To determine TV watching time, household members were given codes to turn the television on, and screen time was recorded. To determine what counted as “bedroom television-viewing,” staff members made note of where the TV could be seen from, and classified it as bedroom TV if it could be seen from where the participant slept at bedtime.

The results of the study found little when it came to direct connections between most of the factors. For participants with a bedroom television, there wasn’t a significant difference in either sleep time or in BMI. The study suggests that these could be due to flaws within the methods chosen. Sleep time was self-recorded by participants, noting when they fell asleep, when they awoke, and any interruptions of sleep during the night, and so the accuracy of information depended on how accurately the participants kept track of their own sleep. As far as the connection to BMI, the authors describing the study suggest that a more accurate connection could be found using healthy-weight participants, rather than only those which were overweight or obese.

The study was able to come to one significant conclusion, however: participants with a TV in the bedroom spent more time watching television than those without one. The average TV viewing time for those with a bedroom TV was 5.4 hours a day, compared to only 3.6 hours for those with no television set in the bedroom. The results suggest that removing the television from the bedroom could help overweight and obese adults cut down on the time that they spend watching TV, allowing them more time to be active rather than sedentary, potentially improving health and decreasing BMI.

While there are no studies that have looked at the relationships between bedroom television, obesity, and sleep time in adults, there are studies that have focused on these relationships in children. Like adults, children with bedroom TVs watched more television on average than those without a TV in their room. In addition, those children got less sleep on average, and were more likely to be overweight. Preschool children, specifically, were found to be 31% more likely to be overweight if they had a television set in the bedroom.

So, what does this all mean? While we don’t yet know if it is directly related to obesity, we do know that a bedroom TV means more time spent watching TV on average, and that sedentary activities such as watching television should be limited. And, we know that in children, having a TV in the bedroom can lead to a greater chance of being overweight. So consider keeping the TV out of the bedroom, to encourage a healthier, less TV-oriented lifestyle.


"Removing the Bedroom Television Set: A Possible Method for Decreasing Television Viewing Time in Overweight and Obese Adults." Behavior Modification (July 2010) vol. 34 no. 4 290-29. Web. 25 Oct. 2010.

Image: flickr.com/williamhook

Disordered Eating-Related Cognition

How well do you identify with the following statement? “No one likes fat people; therefore, I must be thin to be liked.” How well does the following statement describe you? “If my weight goes up, my self-esteem goes down” Questions like these were on a survey, which college students, akin to you, completed as part of research on the connections between conviction of disordered eating-related cognition and negative psychological outcomes (emotional distress, depression, anxiety). This topic is applicable in society today because Western culture places a lot of emphasis on physical appearance. This, of course, is not new or shocking information, especially in a high profile university, such as  UNC. The results of this cross-sectional show non-casual relationships that help researchers develop fruitful solutions to cognitive problems, facing western civilization today.

Researchers realized, prior to the study, the importance of the link between psychological flexibility and disordered-eating related cognition and negative psychological outcomes. Psychological flexibility is essentially the ability to fully enter a moment consciously, while being able to adapt or persist in behavior when appropriate and beneficial. (Masuda et al., 4) In the context of this study, psychological flexibility is inversely associated with negative psychological problems. Therefore, if  a person positively identifies with the statement “No one likes fat people; therefore, I must be thin to be liked” he/she does not think of this as just a mental event, and in-turn will avoid social situations to reduce the negative feelings (Masuda et al., 5).

The purpose of the study was to determine if and how a psychologically flexible response style contributes to the link between disordered eating-related cognitions and poor psychological outcomes. Researchers hypothesized psychological flexibility would account for a greater portion of variance in negative psychological outcomes than the conviction of disordered eating-related cognitions (Masuda et al., 5). In other terms, psychological flexibility is a better measure of negative psychological outcomes than those having eating disorders.

The experiment was conducted at a large, public four year university in Georgia. Participants were recruited from undergraduate psychology courses via a web based research participant pool. The survey was an anonymous online test, and a total of 400 students completed the survey. However, not all participants were included in the results. The average time to complete the survey was 30 minutes. Those taking less than 15 minutes or more than 60 minutes, were removed from the analysis. After deletion, 375 participants’ scores were analyzed, with the ages of participants ranging from 17-49 years. Ethnic composition of participants included 42% European American, 28% African American, 13% Asian American/pacific islander, 8% Hispanic American,  and 9% bicultural.

Four different tests were implemented within the survey, yielding four different types of questions. All the tests were measured on a Likert type scale, meaning participants rate the question from zero to a certain interval about how strongly they agree or disagree with the item. The first test used was the MAC-R 24. It is a 24 item test with questions designed to measure distorted cognitions and related eating disorders. One example is "If I don't establish a daily routine, everything will be chaotic, and I won't accomplish anything.” The second test was the Acceptance and Action Questionnaire (AAQ-16) which is a 16 item test designed to measure psychological flexibility. One example is “It is OK to feel depressed or anxious, I am able to take action on a problem even if I am uncertain of the right thing to do.” The third test was a General Health Questionnaire (GHQ-12), a 12 item test designed to measure overall psychological health. Participants were asked to rate frequency with which they experience common behavioral and psychological stressors. Finally, the last test was called the Interpersonal Reactivity Index-personal distress. It was a 7 item test measuring feelings of personal anxiety and uneasiness during tense interpersonal contexts. (Masuda et al., 6).

Researchers originally believed gender would be a big factor, however, gender was analyzed as a possible moderator variable, but failed to prove so. Therefore, gender was disregarded in interpreting the results of the study. Three points of interest resulted. Disordered eating-related cognitions (MAC-R) were positively related to general psychological ill health, psychological flexibility was negatively related to general general psychological health and emotional distress in stressful interpersonal contexts, and conviction of disordered eating-related cognitions and psychological flexibility were significant predictors of general psychological ill health and emotional distress in stressful interpersonal contexts.

What can be learned from this study? As mentioned before, no casual relations can be inferred, due to the cross-sectional nature of the study. In order to understand how negative psychological events are maintained, it may be beneficial to look at disordered eating related cognitions. Recent therapies have been designed with this new knowledge. These therapies undermine symptoms or/and promote psychological health (Masuda et al., 12). Therefore, the present study yields beneficial information about how to better create therapies by understanding the relationship between eating disorders, and negative psychological feelings. In a sense, hope for the future in a complex time of psychological stressors and high needs to fit in.

"Likert Scale." Wikipedia, the Free Encyclopedia. Web. 23 Oct. 2010. <http://en.wikipedia.org/wiki/Likert_scale>.

Masuda, Aki, Matthew Price, Page L. Anderson, and Johanna W. Wendell. "Sign In — Behav Modif." Behavior Modification. Web. 23 Oct. 2010. <http://bmo.sagepub.com/content/34/1/3.full.pdf html>.

Bedroom Viewing: A not-so-intimate relationship

It’s a late Saturday morning, and I just got out of bed at around 10 A.M. After eating breakfast I find myself facing a choice of how I will spend this rare, un-rushed day of college student life. Conveniently across from my lofted bed is a very nice thirty-six inch flat-screen television that can deliver numerous hours of entertainment to my eyes; and about a mile away from my dorm is the student recreation center where I could get in a vigorous workout. My mind whirls and I remember that it is pretty chilly outside, that the gym will be crowded, and that on Comedy Central today they are playing South Park marathon. The completely logical decision is some leisurely man-television time. Unfortunately this kind of thinking is part of why adults in the United States are facing an ever-growing obesity epidemic. On average, people over the age of twenty-one spend around five hours every day in front of their TV. That translates to adults spending over a fifth of their entire week engaged only in the various reality, comedy and drama shows that litter channels spanning the ‘tube.’ Scientists are concerned that this large chunk of time is a major problem in battling obesity. Researchers hold a common belief that if television viewing time of a person is decreased then their overall weight will decline as well. So is that sleek TV in your dorm more dangerous to your waistline than the greasy dining hall food?

Surprisingly there has not been extensive research conducted concerning a specific correlation between TV viewing and resulting obesity in adults. Most extensive studies have focused solely on the effects that having an in-bedroom TV have on the weight of children. These studies have been rather conclusive in defining that having a bedroom TV set can greatly increase the odds of a child becoming obese, in fact they were “31 percent more likely to be overweight”(Jones, 291) as compared to children who did not have a bedroom TV set. Numerous reasons were found for this drastic increase in odds of becoming obese. Owning a bedroom TV set resulted in children spending more time watching TV, less time sleeping and maybe most importantly spending less time being physically active. If having a bedroom television set can have these effects on children it is not a far leap to think that a college age student could be affected in much the same way.

A recent study broke the mold with their focus on already obese adults with and without a bedroom television set. Thirty nine subjects, both male and female, were selected. To be part of the study a participant needed to be between the ages of twenty-one and sixty-five, have a BMI (body mass index) between 25 and 50 Kilograms per square meter, and view television between three to eight hours each day. The chosen participants entered into a three week observational program to capture their normal TV viewing habits. All televisions in the participant’s respective homes were fitted with a locked monitor that recorded hours when the TV was turned on using a 4 digit code assigned to the individual. All television locations were noted; if a TV was specified as a bedroom set any hours viewed on the set were recorded as Bed Television Time or BTVT. Further, for comparison of sleep time, every subject maintained sleep logs that specified site of sleep as well. Together these aspects allowed for an investigation of the relationships between BTVT, time slept, and TV time outside the bedroom.

As results were analyzed after the three week period researchers did not find the outcomes that were readily expected. Truly, “no significant relationships were found” (Jones, 293) regarding BTVT, body mass index and overall sleep time. Other findings however raise just as much interest in the influence that a bedroom TV set can have. Notably there was a stark difference in the education levels of subjects with and without bedroom sets. Thirteen of the total thirty-nine participants did not hold a college degree; out of these thirteen, twelve had a bedroom television set. Another finding specified that individuals with a bedroom TV viewed an average of 1.8 more hours of television a day than their counterparts. While this is not the real, definitive finding that researchers had hoped for, it does give justification to their belief that a bedroom TV set increases the chances for an adult to become obese. This is largely because those 12.2 hours spent watching a TV in the bedroom could very easily be spent engaging is some sort of physically productive activity.

The overall conclusive message of this study is that more studies need to be aimed at the relationship between bedroom TVs and obesity in adults. While many studies have targeted and collected convincing data supporting the claim that having a bedroom ‘tube’ as a child increases obesity risk, this study of adults is truly one of the first of its kind. It also suffered from limitations that could easily have caused for crucial evidence to be overlooked. The researchers worked with only thirty-nine subjects, which is a small test number in itself, and all of these individuals were already considered obese. This leaves a significant gap in the effect that bedroom TVs can have on a baseline standard weight person. Yet with these limits there were still important findings regarding BTVT and overall viewing.

So should I be concerned with the glowing box that can so easily screen away my entire Saturday with its comedic programming? In short, no; unless I constantly choose to watch it from the comfort of my skinny twin mattress instead of getting out and living life. The extra 1.8 hours per day a TV can steal if it is located in the bedroom is so concerning simply because of how easily it could be eliminated from the equation. Just by taking the television into a different room a person can gain at least a full extra hour in their day. A small side study showed that this extra hour of activity translated in anywhere from 119 to 150 extra calories expended each day, qualifying it as a “healthy lifestyle change” (Jones, 295). College is the perfect time for us as maturing adults to set the standards that we will hold for the rest of our life, so our waistlines will thank us if we learn the difference between relaxation and slothfulness now! And when next Saturday roles around I might watch a few episodes of that marathon, but only after I have watched the barbells rise at the gym.





P.S. Channel surfing does not qualify as a beneficial physical activity.



REFERENCES:
Jones, Katherine. "Removing the Bedroom Television Set: A Possible Method for Decreasing Television Viewing Time in Overweight and Obese Adults." Behavior Modification 34.4 (2010): 290-98. Web. 23 Oct 2010. .
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