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Echolalia in Script is a truly original marriage of visual art and poetry. Lines of Roxas-Chua's poetry are paired with his arresting asemic visual works--artwork that imitates and plays with the idea of script, but which is a purely visual language. Asemic writing is a meditative process for Roxas-Chua, and these images entrance, enrapture, and invite contemplation.
The Verbal Behavior (VB) approach is a form of Applied Behavior Analysis (ABA), that is based on B.F. Skinner's analysis of verbal behavior and works particularly well with children with minimal or no speech abilities. In this book Dr. Mary Lynch Barbera draws on her own experiences as a Board Certified Behavior Analyst and also as a parent of a child with autism to explain VB and how to use it. This step-by-step guide provides an abundance of information about how to help children develop better language and speaking skills, and also explains how to teach non-vocal children to use sign language. An entire chapter focuses on ways to reduce problem behavior, and there is also useful information on teaching toileting and other important self-help skills, that would benefit any child. This book will enable parents and professionals unfamiliar with the principles of ABA and VB to get started immediately using the Verbal Behavior approach to teach children with autism and related disorders.
The first critical study of writing without language In recent years, asemic writing—writing without language—has exploded in popularity, with anthologies, a large-scale art exhibition, and flourishing interest on sites like tumblr, YouTube, Pinterest, and Instagram. Yet this burgeoning, fascinating field has never received a dedicated critical study. Asemic fills that gap, proposing new ways of rethinking the nature of writing. Pioneered in the work of creators such as Henri Michaux, Roland Barthes, and Cy Twombly, asemic writing consolidated as a movement in the 1990s. Author Peter Schwenger first covers these “asemic ancestors” before moving to current practitioners such as Michael Jacobson, Rosaire Appel, and Christopher Skinner, exploring how asemic writing has evolved and gained importance in the contemporary era. Asemic includes intriguing revelations about the relation of asemic writing to Chinese characters, the possibility of asemic writing in nature, and explanations of how we can read without language. Written in a lively style, this book will engage scholars of contemporary art and literary theory, as well as anyone interested in what writing was and what it is now in the process of becoming.
There’s no such thing as a bad kid. That’s what a lifetime of experience has taught Dr. Stuart Shanker. No matter how difficult, out of control, distracted, or exhausted a child might seem, there’s a way forward: self-regulation. Overturning decades of conventional wisdom, this radical new technique allows children and the adults who care for them to regain their composure and peace of mind. Self-Reg is a groundbreaking book that presents an entirely new understanding of your child’s emotions and behavior and a practical guide for parents to help their kids engage calmly and successfully in learning and life. Grounded in decades of research and working with children and parents by Dr. Shanker, Self-Reg realigns the power of the parent-child relationship for positive change. Self-regulation is the nervous system’s way of responding to stress. We are seeing a generation of children and teens with excessively high levels of stress, and, as a result, an explosion of emotional, social, learning, behavior, and physical health problems. But few parents recognize the “hidden stressors” that their children are struggling with: physiological as well as social and emotional. An entrenched view of child rearing sees our children as lacking self-control or willpower, but the real basis for these problems lies in excessive stress. Self-regulation can dramatically improve a child’s mood, attention, and concentration. It can help children to feel empathy, and to cultivate the sorts of virtues that most parents know are vital for their child’s long-term wellbeing. Self-regulation brings about profound and lasting transformation that continues throughout life. Dr. Shanker translates decades of his findings from working with children into practical, prescriptive advice for parents, giving them concrete ways to develop their self-regulation skills and teach their children to do the same and engage successfully with life for optimal learning, social, and emotional growth.
Poetry. Collection of translucent, often narrative poems that float on the page and roll downstream, tumble ashore, look about, understand a bit, hop back onto the page. An old soul comes of age, in time and space these poems occur in the real place of dreams, where they yearn, and exhale. Pulitzer Prize winner, Tyehimba Jess says, "Sam Roxas-Chua's poetry is swirling and galactic, vividly sensual, and delightfully stubborn in its refusal to entertain simple answers to queries of blood, faith, and desire. Surreal yet rooted in palpable color and history, this poet's vision transcends oceans, blends geographies and bleeds a multi- tongued heritage for us to better find ourselves..."
National Book Award Finalist: “This man’s ideas may be the most influential, not to say controversial, of the second half of the twentieth century.”—Columbus Dispatch At the heart of this classic, seminal book is Julian Jaynes's still-controversial thesis that human consciousness did not begin far back in animal evolution but instead is a learned process that came about only three thousand years ago and is still developing. The implications of this revolutionary scientific paradigm extend into virtually every aspect of our psychology, our history and culture, our religion—and indeed our future. “Don’t be put off by the academic title of Julian Jaynes’s The Origin of Consciousness in the Breakdown of the Bicameral Mind. Its prose is always lucid and often lyrical…he unfolds his case with the utmost intellectual rigor.”—The New York Times “When Julian Jaynes . . . speculates that until late in the twentieth millennium BC men had no consciousness but were automatically obeying the voices of the gods, we are astounded but compelled to follow this remarkable thesis.”—John Updike, The New Yorker “He is as startling as Freud was in The Interpretation of Dreams, and Jaynes is equally as adept at forcing a new view of known human behavior.”—American Journal of Psychiatry
Scripting is a teaching method designed to help children and adults with autism spectrum disorders (ASDs), who are nonverbal or who are verbal but dont initiate conversation, to initiate conversation. The authors draw on years of experience using scripts in their own clinic, and include many case studies that show how scripts have worked. The book defines scripts as an audiotape or written word, phrase, or sentence that enables young people with autism to use speech to start and continue conversations. At first a child is taught to play the recording of a word for an adult, and then get a reaction from the adult. (e.g., if he plays the script juice, the adult will give him a sip of juice or if he plays the script ball, the adult will play ball with him). Later on, the child is taught to play the script and then say the word himself (and get the reward from the adult). As the child becomes better at talking, scripts are lengthened to become phrases --want juice or play ball --- and then sentences. And once the child can read, scripts are written instead of recorded. As the child masters sets of scripts, the adult begins to diminish (fade) the prompts. If the script was recorded, words are gradually deleted from the recording. (e.g., if the script started out saying, Where is mom? they will re-record it so it just says Where is and then Where ---? At this point, the child should fill in the blanks.
Since first being identified as a distinct psychiatric disorder in 1943, autism has been steeped in contestation and controversy. Present-day skirmishes over the potential causes of autism, how or even if it should be treated, and the place of Asperger’s syndrome on the autism spectrum are the subjects of intense debate in the research community, in the media, and among those with autism and their families. Bringing together innovative work on autism by international scholars in the social sciences and humanities, Worlds of Autism boldly challenges the deficit narrative prevalent in both popular and scientific accounts of autism spectrum disorders, instead situating autism within an abilities framework that respects the complex personhood of individuals with autism. A major contribution to the emerging, interdisciplinary field of critical autism studies, this book is methodologically and conceptually broad. Its authors explore the philosophical questions raised by autism, such as how it complicates neurotypical understandings of personhood; grapple with the politics that inform autism research, treatment, and care; investigate the diagnosis of autism and the recognition of difference; and assess representations of autism and stories told by and about those with autism. From empathy, social circles, and Internet communities to biopolitics, genetics, and diagnoses, Worlds of Autism features a range of perspectives on autistic subjectivities and the politics of cognitive difference, confronting society’s assumptions about those with autism and the characterization of autism as a disability. Contributors: Dana Lee Baker, Washington State U; Beatrice Bonniau, Paris Descartes U; Charlotte Brownlow, U of Southern Queensland, Australia; Kristin Bumiller, Amherst College; Brigitte Chamak, Paris Descartes U; Kristina Chew, Saint Peter’s U, New Jersey; Patrick McDonagh, Concordia U, Montreal; Stuart Murray, U of Leeds; Majia Holmer Nadesan, Arizona State U; Christina Nicolaidis, Portland State U; Lindsay O'Dell, Open U, London; Francisco Ortega, State U of Rio de Janeiro; Mark Osteen, Loyola U, Maryland; Dawn Eddings Prince; Dora Raymaker; Sara Ryan, U of Oxford; Lila Walsh.
The current permutation of The Reader, originally envisioned as a black and white book, expanded in size and breadth to its current full color version to take into account the range of expression in Touchon's asemic explorations spanning forty years of works on paper including images from Touchon's unpublished sketchbooks. The first section of the book primarily contains palimpsest based asemic writing originally intended for mail art correspondence in which Touchon overwrites texts as found in 19th and early 20th century antique poetry books, a book of sermons, farm journal pages, a postcard, a grade school autograph book page, a sheet of music, a page from a vintage high school chemistry workbook and old invoices. Using these found papers collected for possible collage material, Touchon retains and uses the structure on the page and the patinated paper as inspiration for these asemic works often overwritten with india ink and quill pen. Following these are selected typographic abstraction works from the Fusion Series, Touchon diary-like ongoing series of collage works begun in 1983 and continuing to the present. In these works Touchon uses a wide ranging body of materials, approaches and techniques to produce these poetic works that explore figure and ground relationships and a variety of compositional strategies. These collages become studies for Touchon's paintings. In the midst of this group are a series of asemic 'songs' on torn brown paper using colored pens, pencil shading and white pencil highlighting that express the idea of visual musicality. At the end of the typographic collage works there is the image of a labyrinthian network of overlapping white lines over a black void that seem to float on multiple levels. This opens the way to a set of works of brush and ink from 2009 on the pages of a single antique journal where the markings are painted onto the leaves of paper and after a few moments the pages were held under running water in the kitchen sink. Whatever ink had dried remained on the page leaving gray ghost marks where the ink had been washed away. The book concludes with a variety of works from the late 1970's examining Touchon's early mark making based on language or visual musicality. Taken as a whole, this sampling of works across forty years of Touchon's oeuvre reminds one of a quote from the 1949 'Lecture on Nothing' by John Cage: "I have nothing to say and I am saying it..." but in Touchon's case he possibly is saying nothing about Something; perhaps a something so transcendent that common words cannot speak of it, something so vast that words crumble into gibberish and collapse into an unutterable silence. Some of the titles of previous exhibitions of Touchon's work suggest this such as: 'Beyond Words', 'Reduced to Silence' or 'The Unspoken Remains'. Yet Touchon's works are not nihilistic in nature. They could be said to be meaningless though clearly not purposeless. Touchon has said that his interest is in expressing 'the underlying universal harmony of all things'. One has the impression when studying these works that literary meaning has been removed or obfuscated but in Touchon's view he sees his work as liberating language from its work as bearer of meaning and by extension liberating the reader from the work of deciphering meaning and from the obligation of being literate when enjoying the works purely for their aesthetic value. In a world whose population is engulfed in a deluge of information that we must continually navigate, these works offer a small oasis in which one might be refreshed along the seemingly endless journey over the shifting sands of data on the horizons of which can only be seen mirage and simulacrum.