Portrayal of Confidence

K

ASEAWA

KAZUMI

BA Goldsmiths

University of London

D

ESIGN

dissertation

ab strac

t

The purpose of this paper is to explore human’s portrayal of confidence that hope for obtaining the knowledge of our mindsets, the structures of mentalism, as well as the behaviours in living, and the external form, the representation of ourselves within the societies. It includes the research around confidence, the ways in which the psychologi sts’ and media responded to, and how people faced struggles in various situations.

Alongside there is the study and comparison around dissimilar behaviours in two contrasting locations.

From the field research it appears to be the wealth that changes and modifies the presence of confidence.

The research reach out to the existing tools and the new design that may be in a relation to help others improve or pretend obtaining confidence, eventually the research picks up on the potential ways and come down with how this whole learning outcome will be able to bring my investigations to a new direction.

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INTRODU CTION

08

ME, MYSELF

WHAT IS CONFIDENCE?

12

PSYCHOLOGICAL / PHYSICAL ASPECTS WHEN IT’S NEEDED

HOW IT’S PORTRAYED

22

VISUAL REPRESENTA TIONS IN MEDIA BEHAVIOURS / CONTRASTING AREAS CULTURES

DESIGN TOOLS

36

con49 tents EXISTING TOOLS / RELATING IDEAS PERSONAL DESIGN / ILLUSTRATIONS

WHAT KIND PEOPLE?

CONCLU SION

REFER ENCES / BIBLIOGRAPHY

53

The whole idea began with my shoulders where I thought it was a very special thing about myself. I have such small, droopy shoulders that almost all my friends can get entertained with. I liked how this kind of tiny characteristics on our bodies can exceptionally draw people’s attentions with. At that time my plan was to design something that can weirdly surprise everyone and give all my friends a jump. As I started to map out how my shoulders are, I found the logic that this may strangely came from how confident I am or where I came, grew up, and lived on with. “When I look at your shoulders, I immediately think that’s about your body language.”

There was an perception given about body language from Nicholas Mortimer whom I had conversation with about my shoulders. He pointed in a direction of where it could be the sense how oddly I stand in the society or how comfortable I am being in a particular situation, or the pressure from the environment. Somehow this concept of body language come to pass the portrayal of confidence, thus my project brought out around the research of confidence.

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This paper aims to investigate human’s presentation of confidence that aspires to understand our mindsets, psychology, and the structure of our mentalism, accordingly with the behaviours in living and the personal image within the society. The focus mainly is confidence where visually and physically shown on our bodies, in contrasting cultures and environments, in which to explore its changes in various situations. This outlines a case involving a human body extension, construct and demonstrate characteristics of our personal existence.

introduction

1

M e, m y s e l f h a v e p a r t s whe r e I f e e l c o n c e r n e d , les s c o n f i d e n t o r b e i n g que s t i o n e d b y o t h e r s t hr o u g h t h e p a s t f e w y e a r s .

Her e , I ’ m g o i n g t o a r t i c u l a t e s om e o f t h e f u n d a m e n t a l as p e c t s t h a t e n o r m o u s l y im p a c t s m y f i e l d o f t o p i c .

Identity

Sin ce I mov ed t o t he UK, freque ntly I was ques t ioned if I’m rea lly J apanes e or no t, an d m os t of t he t im es I he sita te t o r es pond a de ce nt ‘yes ’. M y par ent s were bo rn in Taiwan and gre w up ther e des pit e t hey rec eived their J apanes e pa sspo rts, bes ides on t op of th at I don’t eat s us hi nor drin k mu ch of t ea. As a co nseque nce, I ’m s om ewhat missing co nf idence liv ing a ‘typic al japanes e’ im age tha t everyone holds and pic ture s. P er haps I don’t loo k like Japanes e nor be ha ve lik e J apanes e.

Occ asion ally I s t and still fo r a second when so meo ne I get t o k now po p me the ques t ion ‘ar e yo u re ally J apanes e? ’.

I fee l the neces s it y of co nfiden ce being m y s elf to a ckno wledge ‘y es , I’m Ja pa ne s e’ is plent y alth ou gh m y par ent s ar en’t pu re Japanes e or ev en I do n’t like t o eat s us hi.

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2

Body Image

I be lieve people hav e t hos e bits in th eir bodies wher e the y a re n ot luck y wit h, or do n’t like to look at . For me it is no t s om et hing I dislike or u nhappy wit h, bu t the re’s t his t hing t hat tickles all m y f r iends .

And tha t’s m y s houlder s .

I ha ve a small, nar r ow, dro pped, an d awk war d sh ou lde rs w hich can’t hold an y bags c om f or t ably . I pre su me som e people hold so meth ing v er y m uch alik e to min e to o, but I k now m ine is a bit droll in t he int er es t of a ll my frie nds t elling m e su ch for o ve r y ear s . W hen my frie nds saw m e f r om the ba ck, took pict ur e of it, an d spo k e t o m e t hat I ga ve he r the im pr es s ion of a tradition al J apanes e woo de n to othpick , I tho ught, o ka y , I agr ee wit h the pic ture t hat m y f r iend too k o f me fr om t he back tha t loo k like a t oot hpick ,

but why ? Wh a t w a s t h e caus e? W h y m y s h o u l d e r s look s o d e p r e s s e d ? S i n c e t hen I ha v e b e e n a s k i n g m y s elf f o r a n a n s w e r , b u t unf or t un a t e l y I d i d n ’ t f i n d t he r easo n . C o u l d b e i t was as a r e s u l t o f h o w I was v er y n a r r o w m i n d e d , and s oci a l p h o b i a o r ant hr opo p h o b i a , o r h o w I didn’t like t o g e t a t t e n t i o n f r om peo p l e b e c a u s e I j u s t was n’t c o n f i d e n t e n o u g h being m y s e l f .

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the Internet

3

A couple ye ars ago, I was very o bsesse d to po s t rand om stuff o nto my social media. I u se d t o enjoy T witter, F ac ebook , I nstagra m, Lin ke din , Tumb lr, You Tu be , Fli ck r , all that a t the sa me ti m e and co nstan tly kee pi ng up to da te with all th e microsc opic h appe ni ngs wit h my life . As lo ng as I was g oing thro ugh o t her s p osts everyda y, I star t ed t o conc ern he re a nd t her e on my fe ed, ‘Are my pos t s f ascin atin g a nd en ter t aining enough to be o n e ve r y one else’s timelin es?’. T hen I b eg an to wo rry a bo ut how t o compo se an d to be r ead wit h joyful, o r ho w I s hould arrange my posts to dr aw more atten tion s. As long as I scrolle d my timelin e, each p erson on the re gave m e t he f eelin g h ow th ey wer e hap p y with the ir live , along wit h the ton s o f even t s t hey attende d. In c ompari s on, on my p osts, th ere were s uch insig n ific an t mutte rs how t he wea the r was so peculiar in b etwe en the UK an d Jap an, or h ow wo nder f ul t he movie I watc he d was a moment ago. Peo ple ’s news ap p eared loa ds attra ct ion t han mine , the ir ha pp enings g ave th e idea s o f mor e satisf yin g, produc tive ,

what enjoy able, and fu l f i l l i n g liv es . I gr adually c u t o f f t he am ount I pos t o n t o m y s ocial m edia s in c e i t w a s ups et t ing. I was u n a b l e t o f ind m y conf id e n c e pos t ing s uch wh a t e v e r happenings s ur r o u n d e d m e , t hat not hing inde e d m e a n t f or r eal. Sooner o r l a t e r , I decided t o wipe o u t a l l m y s ocial m edia wh e n I g r a v e l y r ealis ed ex haus ti o n o n car ing t oo m uch a r o u n d t h e whole s ocial m e d i a .

onfience?

is

Conf id e n c e h a s b o t h phy s ic a l a n d p s y c h o l o g i c a l s ides o f p e r s p e c t i v e s , bot h a r e a n a l y s e d and r e s e a r c h e d b y ps y ch o l o g i s t s a c c o r d i n g l y t hey e x p l a i n t h e d e f i n i t i o n of con f i d e n c e t o g e t h e r wit h in d i v i d u a l m e t h o d s o f ov er c o m i n g a n x i o u s a n d s elf - u n c o n f i d e n c e .

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psycho logical it’s a skill

Dr. Ivan Joseph

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Dr. Ivan Joseph states in h i s T e d t a l k T h e s k i l l of s e l f - c o n f i d e n c e t h a t co n f i d e n c e c a n b e t r a i n e d .

I t i s “t h e a b i l i t y o r t h e b e l i e f to believe in yourself, to ac c o m p l i s h a n y t a s k , n o matter the odds, no matter the difficulty, no matter the adversity. The belief that you can accomplish it” ( T E D x T a l k s , 2 0 1 2 ) . H e recruited a football goalie from Colombia, South America and taught him to get to the wall, kick a ba l l a g a i n s t t h e w a l l a n d ca t c h i t . O v e r , a n d o v e r , an d o v e r , a g a i n . T h e g o a l i e ai m e d 3 5 0 t i m e s a d a y for eight months then he ca m e b a c k w i t h h i s h a n d s ca l l o u s e d . H e i s n o w pl a y i n g i n E u r o p e . D r . I v a n hi m s e l f h a d p r a c t i c e d h i s speech in front of a mirror, hi s k i d s , h i s w i f e , a n d Glenn Gould. Each time he speaks in front of them his ne r v e g e t s m o r e a n d m o r e , by t h e t i m e w h e n h e g o t to where there were 2,500 pe o p l e , h e c o u l d n ’ t s a y h e was nervous anymore. In hi s r e s e a r c h o f a f o o t b a l l go a l i e , c o n f i d e n c e c a n b e ga i n e d o v e r t h e r e p e t i t i o n of p r a c t i c e s .

self-effecacy / mastery experience Albert Bandura The concept of s elf - ef f ica c y is cent r al t o ps y chologis t Alber t Bandur a’s s ocial cognit iv e t heor y , which em phas iz es t he r ole of obs er v at ional lear ning, s ocial ex per ience, and r ecipr ocal det er m inis m in dev eloping a per s onalit y .

As s t at ed by Bandur a, a per s on’s at t it udes , abilit ies , and cognit iv e s k ills com pr is e what is k nown as t he s elf - s y s t em , appear s as an im por t ant r ole in how we becom e awar e of s it uat ions and h o w we behav e in r es pons e t o cont r as t ing s it uat ions . Se l f ef f icacy is a k ey par t of t h i s s elf - s y s t em , s elf - ef f icacy is “ t he belief in one’s capabilit ies t o or ganiz e and ex ecut e t he cour s es o f act ion r equir ed t o m anag e

prospective situations.”

(Bandura, 1995, pp. 2–3) In other words, self-efficacy is a person’s belief in his or her ability to succeed in a particular situation.

Bandura described these beliefs as elements of how people think, feel, a n d b e h a v e . “T h e m o s t effective way of developing a strong sense of efficacy is through mastery experiences,” Bandura explained. Achieving a task successfully build up our understanding of selfefficacy, in spite of that failing to adequately deal with a task or challenge can undermine and weaken self-efficacy.

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Th e diaphr agm is t he k ing of conf ide n c e .

(TEDx Talk s , 2014) Car oline G oy der s p e a k s abou t conf idence in her Ted t alk in 2 0 1 4 .

Th e mo s t power f ul per s on in t he r oo m h a s the mos t r elax ed br eat hing pat t er n. A t t h e time w hen s he walk ed int o a y oga cl a s s an d te acher t old her t hat s he look ed v e r y stre ssed, s oon af t er s he was as k ed t o l i e do wn a nd clos e her ey es . The t each e r p u t a gym weight on her s t om ach and t old h e r t o lift tha t wit h her br eat hing pat t er n. A s s h e bre ath ed in s he had t o lif t t hat gy m w e i g h t with h er s t om ach and her diaphr agm s h o t into he r act ion. She s uddenly got it a n d t o o k ho w it s hould f eel t hen r ealis ed s he c o u l d bre ath e down. This idea of br eat hing i n a n d do wn w it h t he cer t ain way s he r ealis e d h o w to be s et t led wit h her hear t t hus up t o n o w sh e’s been doing t hat ev er y t im e r ig h t b e f o r e sh e stands up on t he s t age or whene v e r s h e ge ts a nx ious . She com m ent s t hat it i s h a r d l y a simple m et hod t o av oid f eeling anx i o u s , worrie d, or being unconf ident t hat e v e r y o n e i s po ssible t o do wit hout hav ing any s p e c i a l i s e d tale nt, or s k ills .

Breathing / Diaphragm Caroline Goyder

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physical and it is a p r a c t i c a l ex per ienc e i n d e a l i n g w i t h ot her hum a n b e i n g s . T h e lat es t r es e a r c h r e p o r t s t hat powe r f u l a n d e f f e c t i v e leader s s h a r e s v e r y m u c h alik e hor m o n e l e v e l s b u t n o t only s har e s i m i l a r m i n d s e t s .

Power f ul l e a d e r s h a v e a t endency t o h o l d h i g h e r l e v e l s of t es t os t e r o n e a n d l o w e r lev els of c o r t i s o l . I n b o t h m en and w o m e n , j u s t a s y o u hav e t es t o s t e r o n e i n h i g h e r lev el, it bo o s t s f e e l i n g s o f conf idenc e m e a n w h i l e w h e n y ou hav e y o u r c o r t i s o l i n l o w e r lev el it loss e s a n x i e t y a n d enhances a b i l i t y t o d e a l w i t h s t r es s . W h a t i s p a r t i c u l a r l y im por t ant a b o u t t e s t o s t e r o n e and cor t is o l i s t h a t y o u r lev els of e a c h h o r m o n e c a n adjus t r ap i d l y d e p e n d i n g on t he s oc i a l , s u b s t a n t i a l , and env ir o n m e n t a l c u e s t h a t s ur r ound y o u . ( P a t r i c k , 2 0 1 6 )

Body Language / Postures C on fide nc e is na t ur ally ex po se d in ou r body lan gu age. It is on e of t he k ey s to suc ce ss in n um er ous ar eas of ou r live s, ju st as being con fide nt stan ds out at wor k , in soc ial situa tions , and in g ro ups. Bo dy lan guage is one of the ways in which hum an commu nic ate to each ot her us ing ge stu res, pos t ur es , p o sitio n a nd dist ances . I t is anythin g a bo ut th e nonv er bal as pe cts or implicat ions of fac e-to -fac e e nc ount er s , m any b u sin esse s h ave under gone cou rse s o n sellin g t echniques

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High power pose, Low power pose Amy Cuddy

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A m y Cu ddy is a a naly s t at Har v ar d univ er s it y w ho re se arc he s body language and t he ef f ect it h as on ou r hor m ones . She clas s if ied var io us bo dy situ at ions as high power , and low po wer poses. For t he m os t par t , t he high p owe r po se s a re w ide and f lex ible wher eas the low powe r po s es ar e clos ed and t ight .

(C lea r, 20 13 ) Th e im pact on body language comes to pass th at high power pos es build up testostero ne by 20 per cent and weak en cortiso l levels by 25 per cent . W it h t he p ur pose, if we sta nd conf or m ing t he power f ul w omen su ch as Chr is t ine Lagar de or Bey once in cla ssic W o nder W om an pos e ev er y day for 2 minu tes, it will gain t es t os t er one and b oost ou r co nfiden ce, in t he m eant im e als o d ecre asing ou r co r t is ol and im pr ov ing our ab ility to h an dle wit h t he s t r es s .

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I n ee de d to k now whet her people wis h f or mo re c on fidence or not s o I s pok e t o peop l e .

I que stio ne d t hem whet her t hey hope f or m o r e c on fide nc e, and if y es , t he im por t ant ques t i o n wa s wh ere and when t hey f eel t he neces s i t y o f obtain ing m or e conf idence. Below ar e so m e o f the ir an sw er s ;

Library

wh en tryin g t o s neez e, I n ee d some conf idence bec au se ho w t he e nviron men t is s t r ict and e ve ryo ne is s o ef f icient ly wo rkin g quie t I don’t want to be disturb ing t hem .

Bank

ban k is whe r e I s pecif ically wa nt my co nf idence, bec au se pe ople t her e a ll wea r su it and look ing so smart, I g et v er y u nc omfo rtab le t hough I kno w I must n’t be s o n ervou s a s I’m only t her e t o o pe n a n a cc ount .

Online

I te nd to pos t s om e r andom stuff o n my f acebook but at th e same tim e I don’t f eel c on fide nt wh at I wr ot e and I’d just de let e t hem all. I t h appe ns alm os t ev er y day a nd I wan t m or e conf idence posting thin gs .

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w it ne

Interviews Probably it’s where most people want their confidence, but I just feel so nervous before any interviews and if I were more confident, I think I can be more comfortable with what I’m saying in the interview.

When walking aside with a good looking friend That does n’t happen s o of t en, but when I s ee m y old f r iend f r om m y s econdar y s chool t hey te n d t o look dif f er ent f r om ho w I us ed t o k now t he per s o n ,

hen ’s eeded

and for some reason he/ she looking great like they never had before. I sometimes feel that when someone I know from my childhood looking so bright in future, making me a bit unconfident about how I haven’t changed a bit.

When I don’t know things

this happens to me all t h e t i m e . Wh e n I ’ m n o t aware of things I feel very unknowledged and damn.

I wish I was an expert to everything.

Bey ond ev er y t hing, p e o p l e a r e e a g e r t o obt ain m or e conf ide n c e i n v a r i o u s s i t u a t i o n s not hing in par t icula r w h e r e o r w h e n , h e n c e i t is not neces s ar ily r e l a t i o n t o t h e i r o w n s e l v e s , y et a lar ge num ber o f p e o p l e p a y a t t e n t i o n t o ot her s m eas ur ing a n d c o m p a r i n g t h e m s e l v e s wit h t hem .

por-

h o w i t ’s

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trayed

The way s in which we r ep r e s e n t o r r e a d o u r conf idence f r om ot her s h a v e p o s s i b i l i t i e s t o be v ar y , and dis s im ilar . I n t h i s c h a p t e r I com m ent on how m edia il l u s t r a t e s v a r i o u s cat egor ies of conf idence v i s u a l l y , a n a l y s e d m y neighbour hood com m u n i t i e s f r o m t h e m edia s t udy I gain an un d e r s t a n d i n g o f , accor dingly com par ed an d e x p a n d e d t he s t udy of com m unit ies i n c u l t u r e s a n d int er r ogat ed people on d i f f e r e n t a s p e c t s o f conf idence.

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Charlie Ch aplin a nd a l ar ge numb er of o the r sile nt m ov ie act or s were the pio ne ers of n on- v er bal commun ica tion skills; they wer e t he only commu nic atio n a v ailable on t he screen. Th ese a cto rs w er e clas s ed as g ood or bad by the ext ent t o which t hey could use gesture s and any other b ody sign als to c om m unicat e effectively. Albert Me hr abian f ound t hat t he t otal impa ct o f a me s s age is about 7 p ercent verbal (wo rds only ) and 38 p ercent vo ca l (inc luding t one of v oice, i nf lection an d o the r so unds ) and 55 per cent non-verbal.

Visual Representations in Media He re we loo k at t he s t ill ima ge s fro m t he m ov ie The Kid by Cha rles Chaplin, 1 97 2. Bo dy languages in th ese portra y v er y obv ious , u nmissa ble dif f er ence t o o ur lives, en hancing t he c ha rac ters’ em ot ions and e xpressio ns in a cer t ain wa y.

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1

In t he pictu re 2 , the m ain char act er Char les C hap lin co nveys th e i m pr es s ion conf us ed.

H e has h is h an d tic kli ng his head, while his head du cked in h is shoulder s , appear t o b e d im, a nd va gu e in his f ace, conv ey ing he d oesn’t h ave e xper ience or k nowledge of t aking ca re o f a baby who is in his arm. His ba ck is h uddled as well as his shoulders, illustratin g t he f act t hat he feels un co mforta ble and unconf ident about b ab ysittin g a ba by.

B oth woma n a nd man s t anding w ith anger beh ind Char les C hap lin ha s mo re pow er in t his imag e. Th eir body ges t ur es are mo stly exac tly th e s am e t o each oth er, puttin g c lenched fist on the ir waists, glar ing at C harle s witho ut a blin k , r ais ed up sho ulders, an d o penen leg s. All th ese a re th e em ot ion p oint ed towa rds Cha r les as they b o th we re a nn oyed by him a m ome nt a go .

2

C ha rle s Ch a pl i n / T he K id 197 2

s

There are two peo ple who act as “b ad d ie s” . T he man on t he r ight hand ha s h is both ha nds s t uck int o his p ocke ts, with his heads point ing d ownwa rds, on top of t hat he glar es .

It conve ys he ’s bein g nas t y , naught y , and d o mina nt. T he other m an on t he left hand ha s h is h an ds cov er ing his chin, an d h is body is bent back war d.

From h is body la ngua ge we can read he is co ntro lling, s uper ior , and haug hty, be ing bo ssy at t he s am e t im e show in g th e c on tempt look on his f ace.

3

Behaviours / Living Are Th is t y pe of body language m ay s h o w co nt r adict ly in cont r as t ing clas s e s , o r diss im ilar ar eas s ur r ound y ou. As a n illus t r at ion, I r es ear ched in Cana r y Wh a r f an d Dept f or d, obs er v ing t he peop l e ’ s b o d y lan guage and behav iour s dur ing t h e l u n c h time.

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s eas Canary Wharf Population : About 40,000 Age : Mostly 20 - 40 (Working age) Gender : Male 53%

Female 46%

Ethnicity : White 51% Asian 36% Religion : Christian 30%

Black 6.5%

Muslim 20%

No Religion 20%

Class : Middle - Upper Middle Average salary : ÂŁ100,000 (Corporate Research Unit Tower Hamlets, 2014)

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Deptford Population : About 27,000 Age : 30 - 44 Gender : Male 49.7% Female 50.3% Ethnicity : White 43% Asian 15% Religion : Christian 51%

Black 32%

Muslim 9.7%

Class : Non working - Lower Middle Average salary : £18,500 (LG Inform, 2011), (Street Check, 2011)

No Religion 24%

By wa tch ing people in bot h ar eas I be ca me a war e of t heir cont r adict or y be ha vio urs.

1

Pe ople in Canar y W har f r egular ly ge t tog et her wit h ot her s t o m ak e the ir co m m unit y wher eas people in De ptfo rd wer e s olely s pending the ir times wit h no com pany . So t he co ntra dic tions bet ween t hes e t wo ar eas were tha t thos e wor k er s in Canar y W har f ha ve more hand m ov em ent s , or gener al spea kin g ges t ur es when non- wor k er s in Deptford ar e lack ing in t heir m ov em ent s an d gesture s .

2

F rom this I als o dis cov er ed t hat n on -wor k er s in Dept f or d hav e m or e re laxed and unpr es s ur ed pos t ur es in th e time when wor k er s in Canar y W ha rf ha ve diligent , car ef ul of t hem .

3

In ma ny ins t ances , t he com m on ge stu r es t hat t he wor k er s in Can ar y W har f wer e us ing was hand ge stu res. In one hand t her e was t he ha nd movem ent and in t he ot her hand the y we re h olding an ar t icles s uch as mug, walle t , f iles , et c. Lik ely people who was on the lis t ening s ide was put t ing the ir ha nds in t heir pock et s , s t ar ing do wnwa rds t o t he f loor . The pos t ur es of th em we r e s t ill s t r aight and look ing ve ry re spec t f ul cons t r uct ing t he im age of powe rful nes s and t he gr at ef ulnes s in a wa y.

4

On th e ot her hand, t he t endency of the pe ople f r om Dept f or d was m or e slo w paced and calm , lack ing in moveme nts and ges t ur es . Howev er t heir po stu res wer e s howing cont r adict ion to th e peo ple in Canar y W har f . They were muc h s m aller and huddled. The ba cks we re r ounded and t he s t eps wer e sh orte r, an d lum ber ing. Lik ely t hey car r y big swo llen plas t ic bags in t heir hands an d some ho w look m y s t er ious .

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Canar y W har f is well - k n o w n f o r f i n a n c i a l , bus y , bus ines s dis t r i c t a r e a , w h e r e a s Dept f or d is k nown f o r t h e i r f l e a m a r k e t wher e t her e ar e t ons o f c h e a p , a n d us ef ul cr ap s uch as s e c o n d h a n d clot hes , f ur nit ur es , a n d t o o l s . T h e at m os pher es of t hem a r e e l s e d i v e r g e n t , a collect ion of indep e n d e n t s m a l l s h o p s , r es t aur ant s , and new m a r k e t s p a c e ar e in Dept f or d it ’s b o i s t e r o u s , v i b r a n t , cheer f ul, old- f as hion e d b u t m u l t i c u l t u r a l , m eanwhile ov er 300 s h o p s , c a f e s , b a r s , and r es t aur ant s ar e i n C a n a r y Wh a r f equally being adm ir in g , f i n a n c i a l , m oder n, and new.

The prediction regarding the levels of their confidence and the cause of it Their lev els of conf id e n c e h a v e pos s ibilit ies of it com i n g f r o m h o w people in t hos e ar ea s a r e c a p a b l e o f t heir jobs , f am ilies , m o n e y , o r w i t h t heir way s of liv ing. F o r i n s t a n c e t h e v ar iat ion of t heir av e r a g e e a r n i n g s can be equal t o how t h e y a r e h o p e f u l , f ear les s , cour ageous , a n d c o n f i d e n t w i t h t hem s elv es by t he r e a s o n o f h o w m u c h m oney t hey acquir e, r e l a t i n g t o h o w m uch oppor t unit ies th e y c a n r e c e i v e .

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Cultural Behaviour

Co nfiden ce can v ar y depends on t he c ultu res, or env ir onm ent what y ou a re surro unded by . I n m y opinion, th e c au se of m y s houlder s s eem ing to be so dr oopy and m y pos t ur e is n’t so straight , m ight be com ing f r om m y c ultu re. T he J apanes e cult ur e wher e a lo t of peo ple ar e s hor t age in conf idenc e with the m s elv es . I n t his s ect ion, I in ve stigat ed t he ques t ions of t he t y pes o f co nfidence on ot her people and c ompare d bet ween t he t wo cont r as t ing c ou ntrie s ( cult ur es ) .

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7 : 1 0 : as in fu ll co nfiden ce in being a w o r l d citizen . A na tion ality in t he end is o n l y an id en tity c rea ted by a gov er nm ent f o r p urp ose s of drawin g u p bor der s and d i v i d ing p eople betwe en ins ider s and o u t sid ers. We a ll live together on one p l a net and sh ou ld fo cu s o n ex is t ing h a rmoniously a s o ne hu man r ace ins t ead o f c ountless in dividu al soc iet ies .

8 : Confid en t.

Culture Confidence

7 : I ’d say i’m pre tty prou d in being f r om h o n g kong ! it’s a big part o f m e and i’m q u i t e confiden t 1 0 : I can sta nd ou t a lo t in a cr owd of p e o ple w ho is n ot my na tionalit y

Q :

How con f i d e n t a r e y o u b e i n g y o u r nat ionalit y ? a n d w h y ? ( Rat e 1 t o 1 0 / n o t c o n f i d e n t - v e r y conf ident )

7 : I love myself a s bein g T aiwanes e.

H o wever, it a nn oys me whe n t her e ar e mi s u nd erst an din gs or c on f lict s bet ween T a i w an and Chin a. T his so m ehow m ak es me inconfide nt with my n ationalit y .

7 : I f eel confiden t to be a good per s on a n d I just ‘happe ne d’ to be a Chines e, p e rsonally I don ’t fee l un co m f or t able w i t h my nat io na lity, but I d o hav e s om e d i f f i c ult ies to do some thin g com par ed w i t h other na tion alitie s.(L ik e Vis a is s ue) 10 : 10 :

“ a hug e a m o u n t o f m o n e y m a y b e ?

Becau s e I ’ l l f e e l c o n f i d e n t a n d m o r e f r e e t o do a n d c h a l l e n g e t h i n g s t h a t I d o n ’ t nor m a l l y d o d u e t o m y f i n a n c i a l s t a t u s . ” “ a bik e . ” “ a bet t e r l o o k / a p p e a r a n c e . ”

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“ a com p l e t e d i s g u i s e o r a c o s t u m e t o cove r u p m y f a c e - I d o n ’ t w a n t m y acti o n s t o b e c o n n e c t e d w i t h m y ident ity . ”

Body Confidence Q :

W h at c ha ng es would y ou want t o apply to yo ur body in or der t o gain m or e con fide nc e?

“ I would lik e t o s ay t hat I ’ m p e r f e c t l y happy wit h m y s elf t he w a y I a m b u t t h a t wouldn’t be 100% hones t I ’ m q u i t e s e l f cons cious about m y s t o m a c h a r e a . B u t I t r y not t o dwell on it s o I d o n ’ t k n o w if I ’d do any t hing about i t b e c a u s e I don’t t hink it would act u a l l y c h a n g e m y conf idence lev els ” “ s t r aight er t eet h” “ Height def init ely . . . I wa n t l o n g l e g s . . . lol”

Q :

If y ou we r e t o h a v e a t o o l o r a n ob je ct i n o r d e r t o b o o s t y o u r c o n f i d en ce , w ha t w ou l d it b e ?

Tools

“ hear t ” “ M y height as I ’m not v e r y t a l l ” “ Uh. . . . . . bigger ey es ? S o , I d o n ’ t l o o k per pet ually s quint y . Eit h e r t h a t o r m y height becaus e people d o n ’ t t a k e m e s er ious ly due t o m y s ho r t n e s s ” “ Not hing I ’m pr oud of m y b o d y . ” “ none. Conf idence is a t h i n g o f t h e m i n d , not of t he body . I f y ou d o n ’ t b e l i e v e i n y our s elf no am ount of b o d y c h a n g e s w i l l m ak e y ou believ e m or e. ” “ a m or e beaut if ul f ace, a n d I w o u l d f or get t he r es t bit s and p i e c e s a b o u t m y body act ually bet t er s k i n w o u l d b e enough”

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A t t he time I qu estion ed in r elat ion to how co nfiden t the y ar e being t heir nationalitie s, e ntire ly t hey ans wer ed ab ove 6 , the more like ly t o be conf ident , yet a nu mbe r of th em wer en’t f ully conf id e nt living the ir nat ionalit ies , answ ere d 7 , or 8 . Th is r es ear ch on ot her p eop le revea ls h ow p ar t of t hem hav e very m u ch alike fe elin gs r elat ing t o m ine, forming a que stio n o n t he r eas on why this cau se misfo rtun e of our conf idence.

Schools in Japan / America

Ther e is m a j o r i t y o f d i f f e r e n c e s i n J apanes e a n d A m e r i c a n ( o r A s i a n v s .

W es t er n) s c h o o l s t h a t h a p p e n t o b u i l d a s ignif ican t g a p i n t h e i r c h a r a c t e r i s t i c s .

I n par t icul a r , I c o n s i d e r t h e t y p e s o f educat ion i s c a u s i n g t h e g r o w t h a n d ingr owt h o f o u r c o n f i d e n c e , r e p o r t i n g t he appr o a c h o f d i r e c t i o n m a y b e t h e m is s ion b e t w e e n t h e t w o o p p o s i n g count r ies . ‘ I t h i n k t h a t f r o m v e r y e a r l y ages we ( i n A m e r i c a ) s e e s t r u g g l e a s an indicato r t h a t y o u ’ r e j u s t n o t v e r y s m ar t . I t ’s a s i g n o f l o w a b i l i t y — p e o p l e who ar e s m a r t d o n ’ t s t r u g g l e , t h e y j u s t nat ur ally g e t i t , t h a t ’ s o u r f o l k t h e o r y .

W her eas i n A s i a n c u l t u r e s t h e y t e n d t o s ee s t r ugg l e m o r e a s a n o p p o r t u n i t y . ’ ( Richey , 2 0 1 5 ) T h i s i s a q u o t e f r o m an Am er ic a n p s y c h o l o g i s t J i m S t i g e r whom as w e l l v i s i t e d s c h o o l s i n J a p a n t o obs er v e J a p a n e s e s t u d e n t s . U n l i k e Am er icans, J a p a n e s e s c h o o l s t e a c h t heir s t ude n t s t h a t s o c i a l h i e r a r c h y i s pr edom ina n t l y s i g n i f i c a n t , t h e s t u d e n t s nat ur ally b e h a v e r e s e r v e d a n d q u i e t t o t heir el d e r s . M o s t l i k e l y , i n s c h o o l clubs , t ha t a l l t h e s t u d e n t s h a v e t o t a k e a par t , ‘s e n i o r ’ ‘ j u n i o r ’ r e l a t i o n s h i p i s v er y im po r t a n t i n J a p a n . ‘ I n t h e o r y , t h e s enior is a m e n t o r f o r t h e j u n i o r , a n d i t is t he juni o r ’ s d u t y t o h e l p o u t t h e s e n i o r

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and the o the r member s of t he gr oup. Thes e r oles a r e n ’ t n o n existent in Ame rica , but r oles ar e of t en bas ed on p e r s o n a l accomplishme nts, an d t hey ar en’t alway s r es pect ed a s a r u l e , either.’ (Aliasis, 2 01 3) A s well a s re latio nshi ps bet ween y our elder s , J apa n e s e p e o p l e have a te nden cy over car ing t heir per s onal s paces . S i n c e t h e y have t he ir lun ch on their per s onal des k s and hav e e a c h r o l e cleanin g th e sch oo l ev er y day as a r out ine, each on e o f t h e m has a r o le a nd pe rso nal s pace whenev er or what ev e r t h e y d o in their sch oo l. Everyday t hey walk or cy cle t o s cho o l a s i d e w ith t heir o wn person al s pace, unlik e Am er ican s ch o o l t h e y have no ne ce ssity to s har e t he s eat on s chool bus e s . E v e n thoug h Japan is c olle ct iv is t cult ur e and is lar gely fo c u s e d o n g roup s an d c ommu nities , m os t people k eep a cer t a i n d i s t a n c e to others wh ile th ey all car e f or hav ing t he s am e ch a r a c t e r i s t i c s w ith t hem.

There are ple nty more m icr os copic f act s t hat t hes e c o n t r a s t i n g countries are un alike but bes ides it is a pos s ibilit y t h a t i s imp acting the loss o f conf idence in J apanes e cult u r e , t h u s the d es ign ca n be fo r J apan wher e t her e ar e a lot o f s t r e s s i n w orking or fo r tho se people in J apan who ar en’t ac c e p t a b l e t o take in ju nio r, se nio r r elat ions hip t o t heir elder s .

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design tools

I believ e I ’ m c a p a b l e o f d e s i g n i n g an ar t icl e t h a t a i m s t o b o o s t p e o p l e ’ s conf iden c e o r e v e n t o p r o v i d e a f a k e f eeling o f b e i n g c o n f i d e n t . I n t h i s chapt er I e x p l o r e d t h e e x i s t i n g d e s i g n s f r om v ar i o u s a r t i s t s , s u b s e q u e n t l y analy s in g t h e d e s i g n p e r c e p t i o n s a n d t he pot e n t i a l s t o m y d e s i g n i n f l u e n c e .

Domi nic Wilcox, 2014

Existing Tools/ Ideas Var iat ions on Nor m al has t he s er ies of illus t r at ed inv ent ions which ar e abs ur d and hilar ious at t he s am e t im e. I pick ed a coupl e of inv ent ions f r om t he book t hat I believ e ar e r elat ed t o t he t opic of conf idence.

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Personal Canned Laughter (Wilcox, 2014, p. 34)

The c an s wh ich ar e at t ached t o t he shou lde rs c on tain ing t he laught er .

“Makes yo ur te rrible jok es s eem hilario us” sa ys W ilcox , it will giv e you a n e xtra co ura ge on v oicing yourself o ut wh en in conv er s at ions , as oppo se d to yo u being ner v ous makin g a spee ch .

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Japanese people may likely to admire this tool for their personal space. Just as how I understand the Japanese culture, they tend to wish for a private space wherever t h e y g o . T h i s Wi l c o x ’ s tool offers you a spacious, comfortable gap between you and others, unlike being squeezed and having such tension with them.

For people who have OCD may as well enjoy this tool, giving you pleasant, more relaxed, and satisfying moment speaking to others.

Eye Contact Mirror Per s o n a l l y I d r e a m o f h a v i n g t his t o o l s i n c e t h e r e ’ s a f a c t t hat I ’ m l a c k i n g t h e a b i l i t y t o m ak e e y e c o n t a c t w i t h o t h e r s .

I com e t o b e a n x i o u s w h e n t r y ing t o g l a n c e a t o t h e r s ’ ey es , p e r h a p s b e i n g u n e a s y or s hy y e t w i t h t h e Wi l c o x ’ s m ir r or I w o n ’ t n e e d t o b e conce r n e d a p p r o a c h i n g t o gaz e a t o t h e r s .

(Wi lcox, 2 01 4, p. 57)

Pers onal Spac e Acc essory

(Wilcox, 2014, p. 94)

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Tomomi Sayuda, 2014 ‘The Mask o f So ul’ giv es p syc ho logica l stre ngt h t o be ab le to spea k in pu blic. I t hides the spe aker’s ide ntit y and it s micro ph on e picks u p t he s peak er ’s voic e an d plays it l oud f r om t he sp eaker o n th e to p of t he m as k .

In its co mpe titive s et t ing, people are in vite d to adopt anot her p erso na an d sho ut ins ult s at each oth er with in th e cont ex t of a cham pio nship tou rnam ent .

The in spiratio n c om es f r om t he K ara oke box, whic h enables p art icipan ts to dim inis h s t r es s throu gh prima l rele as ing of ener gy. (Sa yu da , 2014) The idea of t he cre atin g a pe r s onal s pace in suc h a sma ll pa r t of y our body is very muc h a like t o t he idea of P erso na l Spac e Ac ces s or y t hat Wilco x illu stra ted. The M as k of S oul, indee d is mor e acces s ible t o a g reate r exten t of people, not f ar from Ka rao ke bo x j us t as Say uda mentio ne d.

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As men tion ed in t he chapt er 3 abou t Ja pa ne se cult ur e, t he idea of this de sign c en t er s on t he per s onal s pa ce tha t Ja pa nes e people lik e t o ha ve at a ll time. The m ak er of t his m a sk To momi S ay uda undoubt edly is a Japan ese, who gr ew up and lived, as well e ducat ed in t her e f or the most of h er lif e, per ceiv ing t he tho rou gh obse r v at ion of J apanes e cu lture . In my opinion, hav ing a dista nc e o r per s onal s pace oppo sin g to oth er people is a wa y o f de stre ss ing t heir m inds et , explic itly fo r Ja panes e people, thu s th is design of uncov er ing t he fac e a nd sh ou ting at t he per s on wh o is oppo se d t o y ou pos s ibly is a perfe ct ite m f or J apanes e cult ur e wh ere the re’s ov er t im e wor k ing everyda y, a nd wit h no br eak piles up yo ur stress all t he t im e.

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R ebecca Horn, 1971 Mo v eable Shoulder Ex t ens ions c on s is t s of t wo long, black f abr ic ro ds t hat t aper t o a point . Des ign e d to be at t ached t o t he s houlder s o f a pe r f or m er s o t hat t hey ex t end vertically f r om t he body , t he t wo n ee dle- lik e pr os t hes es ar e s ecur e d in place by m eans of a wooden fra m e, and by s t r aps t hat cr os s th e per f or m er ’s ches t , head and n ec k . Fur t her s t r aps ex t end down fro m t he bas e of each r od and ar e fa stened ar ound t he per f or m er ’s th ighs s o t hat as t he per f or m er wa lk s , t he t wo r ods m ov e f or war d s a nd back war ds . As t he ar t is t h as ex plained: ‘Ev er y s t ep is tra ns f er r ed f r om t he legs t o t he sho ulder r ods , which f ollow in s t e p with t he m ov em ent of t he legs , lik e a pa ir of s cis s or s cut t ing t he air . ’ (Ha enlein 1997, p. 53. )

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M ov eable Shoulder Ex t ens io n s f r a m e s p a r t o f t he s er ies of bodily ex t ens io n p i e c e s , o t h e r wor k s f r om t hes e pr es ent ar t i f i c i a l b o d y p a r t m agnif icat ion t o t he ar m s ( A r m E x t e n s i o n s 1968) , t he head ( Head Ex t e n s i o n 1 9 7 2 ) , a n d t he hands ( Scr at ching Bot h Wa l l s a t O n c e 1974) . At t he t im e when t hes e w o r k s g i v e t he im pr es s ion t o pr es ent an i m p r o v e m e n t t o hum an capabilit y , t he dev el o p i n g a c t i v i t i e s ar e f r equent ly ‘debilit at ing, g r o t e s q u e , o r , as in t his cas e, f unct ionles s , s e r v i n g o n l y t o dr aw at t ent ion t o t he lim it at i o n s o f t h e h u m a n body ’. ( Finbow, 2016) The a r t w o r k e n o r m o u s l y inf luenced m y under s t andin g t o o w n s h o u l d e r s , it lar gely s hif t ed m y inv es t ig a t i o n b y t h e r e a s o n how her wor k s ar e abs ur d a n d p e c u l i a r a t t he s am e t im e. I nit ially m y id e a w a s u n l i k e l y t o be t he hom ogeneous of t h i s s e r i e s , e v e n s o t he pur pos es of t he us e i n e a c h a r t i c l e r es ult in cont r as t iv e, Hor n’s s e r i e s a r e e x t a n t f or dis play ev en t hough t hey w e r e c o s t u m e s f or per f or m ances a while ba c k , i n o p p o s i t i o n t he des ign I dem ons t r at e wo r k s w i t h h u m a n ’ s em ot ion, and m ent alis m , as w e l l a s t h e par t icular s it uat ions in t im e o f b e i n g a n x i o u s o r power les s .

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Shoulder Inflating Tool

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Personal I deas/ De signed To ol

Sho ulder In flati ng Tool is f or m ed of two ballo on s , t ubed along with two co mpr es s ed air s t hat are a ttac he d to t he body . I t is design ed to s ecur e t o t he sma ll sh ou lde rs of people s o th at th ey pu ff up f r om t he body ( sh ou lde rs), gradually s im ulat ing th e sho ulders to be as if t hey are big, grown ones in t he t im e whe n disc omfo r t ing ot her s .

Design ed afte r t he idea of body exte nsion too ls t hat Rebecca Horn pro du ce d, if s om eone bein g re ally po wer f ul t o y ou, use this too l to int im idat e t hem , unlike ma kin g o ur s elv es s m aller .

Predomin an tly t he des ign su pposed to be us ed at t he t im e whe n peo ple ne ed t o f eel bigger or to boo st th ei r conf idence wit h th eir body a ppear ances .

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Ev en t h o u g h Should e r I n f l a t i n g Tool m a y h a v e pos s ib i l i t i e s a s s i s t i n g ot her s’ c o n f i d e n c e , i t m ay a l s o b e l a c k i n g it s pu r p o s e o f boos ti n g c o n f i d e n c e .

The b a l l o o n s s w e l l up on t o p o f t h e s hould e r s w h e n e v e r y ou w a n t t o b u t a t t he s a m e t i m e i t is m ea n i n g l e s s t o pr es e n t l y c h a n g e y our i m a g e . I t s e e m s t o be i t i s a t t h e b e s t of ‘ap p e a r a n c e ’ o r t he ‘lo o k s ’ u n l i k e t o cha n g e y o u r behav i o u r s o f l i v i n g , ev en t h e r e ’ s a l o t m or e r e s e a r c h a n d r eas o n s b e h i n d t h i s .

The o t h e r o p p o r t u n i t y is t o d e s i g n t h e s a m e t ool b u t f o r v a r i o u s s it uat i o n s s o t h e u s e r will be a b l e t o l i v e on it .

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Shoulders for Situations He r e, t he t ools fo r s it uat ions ar e illu s t r at ed along with t he lev els of c on f idence m et er s , sho wing how e ffect iv e t his t ool is goi ng t o be in our life . Shoulder s f or situat ions t ool ought to be t he des ign t hat will be liv ed on by th e us er s and which will allow y ou t o be suff icient ly conf ident by put t ing t he us e of h ave it on wit h y ou. “ De s ign is not f or phi los ophy it ’s f or life . ” ( Q uot es : I s s ey Miyak e) By liv ing on with t his t ool it will e na ble y ou t o engage with t he r eact ions by peo ple s ur r ound y ou, you will becom e an e xp er t on cont r olling you r em ot ion, th ought s , or m inds et a nd ov er com e u nc onf idence dealing with cont r as t iv e situat ions .

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T he de s igner ’s r ole is t o ma ke s ur e t hat whoev er u se s the t ool t her e’s a c on se quence of an act ion.

In this cas e, I as pir e t o a ssure t hat whoev er s eek s to oper at e m y des ign t hey bec om e and ex per ience a n e xtr a conf idence f r om th eir c or es , which cer t ainly dema nds f or an ex cit em ent a nd joy at t he s am e t im e. I a cc ept t hat t he def init ions o f co nf idence, cour age, or fa ith m ay conf lict am ong e ac h i ndiv idual ev en t hough in an y cas e t he m ajor ta rge t is t o s om ehow f eel

what kind of people?

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t he p o w e r . F o r t h i s r e a s o n t he c e n t r a l i n t e r e s t s o f m y inv e s t i g a t i o n i s a r o u n d f ak in g c o n f i d e n c e , t h u s I wis h f o r m y d e s i g n t o b e t ar ge t e d a t t h e p e o p l e who a r e p o w e r l e s s , s a d , depr e s s e d , u n c o n f i d e n t wit hi n t h e m s e l v e s , a n d wor n o u t . T h e d e s i g n e d t o o l m ay p o s s i b l y b e a l a c k o f int er e s t t o t h e m a s s u m i n g t hat t h e y a r e h o p e l e s s , y e t if t he u s e i s w i l l i n g a n d act iv e t h e d e s i g n w i l l b e o n t heir w a y .

conclusion

Conf idence i s a n i n v i s i b l e power t hat e v e r y o n e obt ain, whi c h i s l i k e l y t o be appear e d i n o u r b o d y s hapes or l a n g u a g e , ges t ur es t h a t w e c o m m o n l y pr oduce du r i n g w h i c h w e com m unica t e t o o t h e r s .

Equally it is a l s o t h e s k ills how w e b r e a t h o r ex per ience t h e l i f e a s w e l l as t he t r an s i t i o n a n d t h e gap bet wee n i n d i v i d u a l s .

Los s of con f i d e n c e p e r h a p s is pos s ible t o o v e r c o m e b y t he r epet it i v e p r a c t i c e s a n d ex per ience s , l i k e w i s e f o r s om e peop l e i t c o u l d b e t h e enf or cem en t o f a d j u s t i n g t heir body p o s i t i o n s a n d pr et ending a s i f t h e y w e r e pur ely conf i d e n t f r o m t h e cor e. The c o n f i d e n c e m a y v ar y depen d i n g o n t h e env ir onm en t y o u c o m e f r o m or gr ew up w i t h , m o r e t h a n t hat t he liv i n g s t y l e a n d t he behav io u r s i n a t t a i n i n g t as k s inf lue n c e t h e l e v e l s y ou s ecur e t h e c o n f i d e n c e .

Unlik e west e r n c u l t u r e s , as ian cult u r e s h a v e a s ens at ion o f i n t e n d i n g t o unlik ely p r o d u c e conf idence . A s t h e c o u p l e of ex am ple s h o w n a b o v e , t he educati o n s y s t e m a n d how we m a k e a l i v i n g i n s chools uni n t e n t i o n a l l y im pact t his w h o l e unconf iden t - n e s s .

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Th is idea of unconf ident ne ss ca n be s een obv ious in o ur lo ca l ar ea s uch as Deptford and Canar y W ha rf, in th e way s in whic h I me as ur ed t he co nfiden ce of t he people were by the ir body s hapes , po stu res, ge s t ur es ( body lan gu age), toget her wit h ho w expre ss iv e t heir fac ial e xpres s ions wer e an d c ompar ed in t hes e co ntra stin g locat ions . The pro ce ss I un der t ook and the syste m I under s t ood from th is re s ear ch wer e t hat the rich ne ss of t he people na tura lly c ons t r uct t he po werfu lne s s or weak nes s to peo ple dr am at ically , sh aping the ir body eith er straig ht or r ound, sma ll or dom inant . This represen tati on of r ichnes s or th e powe r f ulnes s of t he pe rso n is po s s ible t o be rea d fro m their ‘look ’. The loo k th at h um an body f or m s rela ting to th eir behav iour s of living an d t he caus e of the cu lture .

This inv is i b l e b u t v i s u a l i s e d power ca n b e m a n i p u l a t e d t hr ough th e m e d i u m o f des ign t o o l s , w h i c h w i l l engage u s t o b e f l u x , a n d cheer f ul s i m u l t a n e o u s l y . T h e body lang u a g e i s t h e s c o p e wher e I w i l l b e a c q u i r i n g t o br oaden m y k n o w l e d g e o f conf idenc e a n d f r o m t h a t building t o o l s f o r a c e r t a i n gr oup of p e o p l e . T o t a r g e t a s pecif i c u s e r , t h e g a p bet ween t h e c o n t r a s t i n g cult ur es a n d t h e v a r i e t y o f char act e r i s t i c s o f p e o p l e is enor m o u s l y s i g n i f i c a n t , y et t he in v e s t i g a t i o n o f t his t o be c o n c l u d e d a n d car r ied o u t n e c e s s a r i l y f or t he f u t u r e d e s i g n .

At pr es en t , t h e e x i s t i n g des ign t o o l s h a v e p o t e n t i a l of f er ing p e o p l e a c o u r a g e in a way , t h o u g h t h e i d e a s could be e n h a n c e d a n d v alued f u r t h e r . F o r t h e f ut ur e de s i g n p r a c t i c e I wis h f or m o r e p e r s p e c t i v e s and unde r s t a n d i n g s o f t he conf i d e n c e i t s e l f , t h u s t his whol e r e s e a r c h a n d s t udy co u l d l e a d m e t o s om ewhe r e a r o u n d t h e f ocus of v a s t m a j o r i t i e s o f s it uat ion s .

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written by kazumi hasegawa 2017.

Goldsmiths University of London