Sentences with phrase «on cultural perceptions»

Not exact matches

The cultural perceptions of love speak so loud, in fact, and with such consistency that we would be naive to think we don't enter into romantic relationships with a picture based largely on our surroundings.

But it's all, really, an assault on the subtlest aspects of cultural perception: our sensibilities.

Castoriadis's emphasis on the word «condition,» as well as his reference to both the biological and the cultural dimensions of perception, reinforces the claim that science, whenever it attempts to address the topic of mind, simply runs up against the limits of its own competency.

While it may very well be true that Heidegger sounds as if he is arguing for a pre-modern, pre-mechanized society, perhaps leaning toward a Luddite perspective, and while it also may appear that McLuhan is arguing for the continued evolution of technology that will enhance society, perhaps smacking of a full - blown techophilism, both theorists come together on the primary assertion that they make - technology has a profound and invisible shaping force on our epistemic values, perceptions of reality and truth, and cultural values and norms.

We should instead anticipate that if all reality is somehow ingredient in our experience at the pole of primary perception, no particular expression could fully retrieve it, and different peoples will represent their primary perception in radically different ways, depending on cultural and historical conditions.

«I think it caught on, probably because, A, it's very close to what we already have in terms of the word vomit, so it was easily accessible linguistically and then, B, it already fit in with a cultural perception» spread through works like the «Satyricon,» Bond said.

As the inquiry report committee concludes: «Until a causal relationship between homework and academic achievement and personal development is established in studies in Australia, based on Australian educational and cultural structures, this argument is likely to remain unresolved and will continue to be one of perception.»

She is interested in how teachers» beliefs and perceptions are shaped by their lived experiences and cultural histories and have an impact on how they view students with disabilities in the educational setting.

What makes the site unique, however, is the travel genres section, which gathers together articles on «adventure», «borderlines», «cultural insights» and «changing perceptions» and promotes mindful and authentic approaches to visiting new places.

I do this so that the person viewing the piece doesn't get confused that the piece may be about black life, or cultural identity, but instead that the piece is about others» perception of the Other, and how that might obviously have a negative impact on a community and on the individual that is being portrayed in the stereotype.

Gilewicz» art provokes reflection on the mechanisms which govern perception and its cultural conditioning.

Focusing on sites and events of cultural significance, Pavlovic examines the power of photography to shape the perception of history as an expression of people's dreams and aspirations by projecting and conflating self - images and national ideologies.

Meaning «Hail the Dark Lioness» in Zulu, she confronts racism by photographing herself while on the road, highlighting various aspects of her identity which speak to her skin color, ethnicity and the cultural perceptions and stereotypes of femininity and African culture.

Group Island Press: Recent Prints, Mildred Lane Kemper Art Museum, St. Louis, MO, 2018 Thinking Through Art, Middlebury College Museum of Art, Middlebury, VT, 2018 Sunrise, Sunset, Emerson Dorsch Gallery, Miami, FL, 2017 The Unhomely, Denny Gallery, New York, NY, 2017 Women Painting, Miami Dade College, Kendall Gallery, Miami, FL, 2017 New Faces, Different Places, Central Features Contemporary Art, Albuquerque, NM 2017 The Home Show, form & concept, Santa Fe, NM, 2016 Girls Who Dance in Dissonance, Wayside, Los Angeles, CA, 2016 Surface Area: Selections from the Permanent Collection, Studio Museum in Harlem, New York, NY, 2016 Self - Proliferation, Girls» Club, curated by Micaela Giovannotti, Fort Lauderdale, FL, 2016 Faces and Vases, Royal NoneSuch Gallery, Oakland, CA, 2016 Visions Into Infinite Archives, SOMArts Cultural Center, curated by Black Salt Collective, San Francisco, CA, 2016 Summer Art Faculty Exhibition, Schick Art Gallery, Skidmore College, Saratoga Springs, NY, 2015 Paula Wilson & Jovencio de la Paz, Saugatuck Center for the Arts, Saugatuck, MI, 2015 Perception Isn't Always Reality, Kranzberg Arts Center, St. Louis, MO, 2015 DRAW: Mapping Madness, Inside — Out Art Museum, curated by Tomas Vu, Beijing, China, 2014 - 2015 Lake Effect, Saugatuck Center for the Arts, curated by Mike Andrews, Saugatuck, MI, 2014 I Am The Magic Hand, Sikkema Jenkins & Co, Organized by Josephine Halvorson, New York, NY, 2013 Sanctify, Vincent Price Museum, Los Angeles, CA, 2013 The Bearden Project, Studio Museum in Harlem, New York, NY, 2012 Configured, Benrimon Contemporary, Curated By Teka Selman, New York, NY 2012 Art by Choice, Mississippi Museum of Fine Art, Jackson, MS, 2011 The February Show, Ogilvy & Mather, New York, NY, 2011 Art on Paper: The 41st Exhibition, Weatherspoon Art Museum, Greensboro, NC, 2010 Defrosted: A Life of Walt Disney, Postmasters Gallery, New York, NY, 2010 41st Collectors Show, Arkansas Art Center, Little Rock, AK, 2009 - 2010 Carrizozo Artist's Show, Gallery 408, Carrizozo, NM, 2009 - 2010 While We Were Away, Sragow Gallery, New York, NY, 2009 A Decade of Contemporary American Printmaking: 1999 - 2009, Tsingha University, Beijing, China, 2009 Collected.

With such progression come ideas of space, duration, viewing, and the necessary destabilization of this triad — a process of unsettling that is made all the more urgent by the museum's «cultural confinement,» to dust off Robert Smithson's handy term — a concept acknowledged by Eliasson even as he updates it to speak to the long - established and more or less pervasive institutional insistence on blinding viewers to their own perceptions.

Rowland draws on the perception of these sites, despite their proximity, as part of an implied cultural binary, and questions the foundations of this perception.

Roberta Smith, who in 1993 wrote for the New York Times Weekend in Review, «This exhibition exemplifies what seems to have become the New Museum's house style: a display of rather antiseptic, Conceptual - based artworks organized around a theme that is top - heavy with theory» continues to review the museum's exhibitions; Palestine remains under occupation; and while the cultural perception of AIDS has changed, from «gay cancer» to an African epidemic, the disease rages on world - wide.

The gallery values a cross referencing approach both through exhibitions curated around themes in art and a cultural program focusing on unique events involving artists across all disciplines — visual arts, performance and music, which are meant to challenge perceptions.

In this new body of work, Mutu continues to address perceptions of conflicting cultural projections played out on the body through her contemplations on race and gender.

Featuring more than 34 objects by 17 artists, Post-Op: «The Responsive Eye» Fifty Years After focuses primarily on the artists and their interests in visual perception and less on the cultural phenomenon of Op Art per se.

Musing on the ecological interdependence of organic and inorganic systems, this series expresses concern for our cultural attitudes and perceptions of our place within nature.

Playing a vital role in stimulating international dialogue on Chinese and Asian contemporary art, the Galleries is dedicated to championing artists who re-evaluate and challenge perceptions of cultural practice from the region.

2000 The Work Shown in this Space is a Response to the Existing Conditions and / or Work Previously Shown Within the Space III, Neuger Riemschneider, Berlin, DE Sequences, Galerie Roger Pailhas, Marseille, FR La Frontière, Recit d'Expériences, one of several exhibitions collectively entitled «Réseau Galleries / Multilangages de l'Art», Institut d'Art Contemporain - FRAC Rhône - Alps, Villeurbanne / Collège de Prévessin - Moëns (Ain), Academie de Lyon, FR TransAct - Platform for Transitional Activities in the Cultural Field, «Museum in Pro-gress» in cooperation with «Art Pool», Vienna, AT Shoot: Moving Pictures by Artists, Malmö Konsthall / The Cinema Spegeln / Restaurant Hipp, Malmö, SW; Living Art Museum, IS, as part of Kyikar Myndir show, Reykjavik, IS Never Exhibited: Works from the Marieluise Hessel Collection, Center for Curatorial Studies, Bard College, Annandale, New York, US Copyright / Copywrong, Ecole Régionale des Beaux - Arts de Nantes, Nantes, FR Thirtieth Anniversary Benefit Silent Auction, White Columns, New York, US Two by Two for Aids and Art, Dallas Museum of Art, Dallas, Texas, US Dust and Dirt, De Witte Zaal in cooperation with SMAK, Ghent, BE L'Elemento Verbale Nell» Arte Contemporanea, Galleria Martano, Torino, IT; Galleria Martano, Milan, IT Sentimental, Galerie Yvon Lambert, Paris, FR Die Natur der Dinge, NRW - Forum Kultur und Wirtschaft, Düsseldorf, DE Pure, one of several simultaneous exhibitions around UK, collectively entitled On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, On the FRAC Track: A Selection of International Art from the Collection of Fonds Régional d'Art Contemporain (FRAC), Nord - Pas de Calais, Maidstone Library Gallery, Maidstone, UK Under the Apple Tree, Galleria Massimo de Carlo, Milan, IT A Tribute to Robert Hopper, Yorkshire Sculpture Park, West Yorkshire, UK From Here to There - Passageways at Solitude, Akademie Schloss Solitude, Stuttgart, DE Topologies, White Box, New York, US Multiple Configurations: Displaying the Contemporary Portfolio, Busch - Reisinger Museum, Harvard University, Cambridge, Massachusetts, US Heimatweh — Fernlust, Galerie Herbert Winter, Vienna, AT In the Mirror of Space and Time, Listasafns ASÍ, Reykjavik, IS Árátta, Listasafn Kópavogur, Reykjavik, IS Recent Works on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, on Paper, Leo Castelli Gallery, New York, US Présumés Innocents: l'Art Contemporain et l'Enfance, Musée d'Art Contemporain, Bordeaux, FR l'Oeuvre Collective, les Abattoirs, Toulouse, FR Arteast 2000 + The Art of Eastern Europe in Dialogue with the West, from the 1960s to the Present, Moderna Galerija Ljubljana, SL Works by Peter Friedl, Thomas Hirschhorn, Lawrence Weiner, Arndt & Partner [Gallery], Berlin, DE (E Così Via)(And So On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, On): 99 Artisti Della Collezione Marzona, Galleria Comunale d'Arte Moderna e Contemporanea, Rome, IT Collection Lambert en Avignon: Rendez - vous # 1, Rendez - vous # 2, January 12 - December 31, Hôtel de Caumont, Avignon, FR Wallpapers, Art Gallery of Nova Scotia & Nova Scotia College of Art and Design, Halifax, CA Orbis Terrarum: Ways of Worldmaking, Museum Plantin - Moretus, Antwerp, BE Drawings 2000, Barbara Gladstone Gallery, New York, US Von Edgar Degas bis Gerhard Richter / Arbeiten auf Papir aus der Graphischen Sammlung..., Kunstmusem Winterthur, Winterthur, US; Nationalgalerie Prag, CZ; Rupertinum, Salzburg, AT; Westfälischer Landesmuseum, Münste, DE; Neues Museum, Nürnberg, DE Proposals from Halifax: An Exhibition of Selected Typescripts, Flyers, Posters, Catalogues, Books, Mailers and Postcards of a Conceptual Nature Produced From 1969 to 1999 by Affiliates of the Nova Scotia College of Art and Design (NSCAD), Library and Archives - National Gallery of Canada, Ottawa, CA Stanze, Museums für Moderne Kunst / Museo d'Arte Moderna, Bozen / Bolzano, IT Tempus Fugit - Time Flies, Nelson - Atkins Museum of Art, Kansas City, Kansas, US In Process: Photographs from the 60s and 70s, Curt Marcus Gallery, New York, US Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Anton & Annick Herbert Collection, Casino Luxembourg - Forum d'Art Contemporain, LUBeyond Preconceptions: The Sixties Experiment, Independent Curators Inc., New York, US; traveling exhibition Hard - Pressed: 600 Years of Print and Process, International Print Center, New York, US Changing Perceptions: The Panza Collection, Guggenheim Museum, Bilbao, ES Talking Heads: Arti e Letterature nell» era della Globalizzione, Commune di Padova - Settore Attività Culturali, Padua, IT Festival de les Arts, Fundació Pro-Penedès, Barcelona, ES Editions and Multiples 1990 - 2000, Helga Maria Klosterfelde, Hamburg, DE Collection Lambert, Fundacio ProPenedès, Barcelona, ES

The show, located in all four galleries includes a major video installation as well as new collages and sculptural works where Mutu continues to address perceptions of conflicting cultural projections played out on the body through her contemplations on race and gender.

Morell has turned his camera on conveyors of cultural meaning such as books, maps, money, and museums in extensive series that explore the perception of images.

The essays documented a range of Vancouver cultural practices, including the emergence of artist - run centres, experimental performance and video, feminist activity, collaboration, sculpture, painting, art criticism, conceptual art and landscape, as well as critical reflections on perceptions of aboriginal cultures.

Fox argues that cultural cognition dynamics are likely to influence not only public perceptions of risk but also market - related assessments and decisionmaking within groups one might expect to be more focused on money and data than on meaning.

Consider our study of the impact of cultural cognition on people's perceptions of the behavior of political protestors.

An interesting article on «emerging technology» risk perceptions, this paper also joins the ranks of ones reporting the application of the Cultural Cognition Worldview scales to non-US samples.

The main determining factor on climate risk perception is cultural, corroborating CCT.

But a study by the Cultural Cognition Project (published in the Harvard Law Review) finds that perceptions of risk among persons who viewed the tape were highly conditional on those persons» cultural worCultural Cognition Project (published in the Harvard Law Review) finds that perceptions of risk among persons who viewed the tape were highly conditional on those persons» cultural worcultural worldviews.

Based on data from the European Social Survey for Austria, Belgium, France, Norway, and Switzerland, three different sets of explanations are tested: (1) hypotheses stressing economic determinants, that is, the fear of wage pressure and competition over welfare benefits; (2) hypotheses emphasizing cultural determinants, that is, the perception of immigration as a threat to national identity; and (3) hypotheses focusing on social alienation, that is, dissatisfaction with the way the country's democracy works and the nonintegration into intermediary networks (trade unions).

Indeed, in their much — discussed research on «cultural cognition,» Dan Kahan and his colleagues suggest that public perceptions of climate change at least partly depend on the technological solutions proposed.

The first was the existence of a strong correlation between individuals» cultural values and their perceptions of scientific consensus on risks known to divide persons of opposing worldviews.

Empirical studies aimed at trying to make sense of this phenomenon have concluded that the reason the public remains divided on «scientific consensus» isn't that they haven't been exposed to evidence on the matter but rather that when they are exposed to evidence of what experts believe they selectively credit or discredit it in patterns that reflect and reinforce their perception that scientific consensus is consistent with the position that predominates in their cultural or ideological group.

He is a member of the Cultural Cognition Project, an interdisciplinary team of scholars who use empirical methods to examine the impact of group values on perceptions of risk and related facts.

For people on the political right (e.g., more politically conservative), perception of scientific consensus decreases, just as cultural cognition predicts.

Reading the comments on Product Hunt, however, made me realize that my perception is more of a cultural block than anything else.

A grant from CREDO members would have a significant impact on the three main areas that the Brady Center focuses on: reducing the flow of crime guns into communities most heavily impacted by gun violence, expanding and protecting the Brady Background Check system and changing the cultural perception that owning or carrying a gun makes you safer.

The views and perceptions of families will be gained by interviewing 12 intervention group parents representing different cultural and social backgrounds and different experiences (positive and negative) after the programme to gather information on most and least valued aspects of programme, rating of the facilitators, and ways of improving the programme.

Measuring Client Perspectives on Cultural Competence (PDF - 188 KB) Walker Focal Point, 16 (2), 2002 Describes the development and validation of the Client Cultural Competence Inventory, an instrument designed to assess client perceptions of mental health services.

The article reports that the cultural adaptations enhance acceptability, sustainability, and effectiveness of trauma treatments, as well as the engagement of local community members in participatory dialog regarding their perceptions on the value of treating childhood trauma, the outcomes of successful trauma treatment, and whether there are traditional support strategies that could be blended with the evidence - based trauma treatment.

His research focuses on processes and outcomes related to person perception, ranging from micro-level phenomena (brain responses) to macro-level phenomena (cultural differences).

Once the phenomenon had been thoroughly tested and replicated, it became a standard method for testing hypotheses about person perception, communication differences as a result of gender or cultural differences, individual differences in attachment style, and the effects of maternal depression on infants.

The therapist must be aware of the cultural orientation of the child and family, and be careful not to project his or her own cultural biases, perceptions, or beliefs on those individuals.

Just as alarming in terms of predicting loneliness and sadness were the low number of positive responses from students when asked their perceptions on whether people from other cultural backgrounds were «good», «honest», «nice / kind», «smart / intelligent» (see below).

Thus, the current study was firstly aimed to compare genuine Italians mothers and fathers focusing mainly on their self - perception of parental role, such as family adjustment and cultural beliefs (e.g., identification of individuals with their family members, family solidarity), instead of on parenting beliefs and practices (Bornstein et al., 2001; Hsu and Lavelli, 2005; Vieno et al., 2009).