Mats Niklasson

This article introduces a novel approach within the autoethnographic landscape, ‘developmental autoethnography’ (DAE), presently aimed as a complementary tool in therapy using ThePosAE. While ThePosAE has its purpose towards the future, DAE is intended as an archaeological method, which goes backwards, layer by layer, in order to examine why certain senses and feelings are still present in later life, although they may have their origin in childhood. The practical part of DAE is borrowed from narrative autoethnography (AE), i.e. writing one’s story, either alone or together with a therapist or a teacher. The theoretical part rests on psychology and neurophysiology and emphasizes the importance of incorporating developmental factors in AE. In order to visualise how the practical part of DAE can be used, I have started the article by writing a short story about my own feelings as an adult and then speculated on their possible connections to my early life. Thereafter, I have presented a theoretical framework intended to give foremost therapists a deeper understanding of the importance of psychological- and neurodevelopmental factors when guiding me or another client forward towards a positive future.

The purpose of this paper is to provide an analysis of the life of the musician Brian Wilson from five different perspectives.
The authors used a mixed method of collaborative autoethnography, psychobiography and digital team ethnography to try and better understand the life and contributions of Brian Wilson.
Each of the five contributors provides different insights into the life and music of Brian Wilson.
While the focus of this paper is on a single individual, a case study, the long and distinguished life of Brian Wilson provides much material for discussion and theorising.
Each individual presenting to mental health services has a complex biography. The five different contributions articulated in this paper, could perhaps be taken as similar to the range of professional opinions seen in mental health teams, with each focussing on unique but overlapping aspects of the person’s story.
This account shows the importance of taking a biological-psychological-social-spiritual and cultural perspective on mental illness.
This multi-layered analysis brings a range of perspectives to bear on the life and achievements of Brian Wilson, from developmental, musical, psychological, and lived experience standpoints.

The PhD is the ultimate indicator of academic excellence. The journey is familiar to most University academics and is a journey the majority have successfully completed. Yet, just as it is said history is written by the victors, so most accounts written about doing a PhD, are written by those who have succeeded, not by 'journeymen', such as the narrators of this account. There is a need for narrative accounts that both acknowledge the difficulty of the journey and also show how some candidates have battled, to achieve their PhDs. Such stories have the power to inspire those who may be struggling on their own PhD journeys. Academics can share these accounts with their own PhD students and thus hopefully improve completion rates and change practice. The authors of this narrative have adopted a collaborative autoethnographic approach to their PhD journeys. The parallel narratives are in four interdependent sections. The narratives start with both authors' unsuccessful attempts to get a PhD and end with how they, after completing their PhDs, started collaborating on research. From the authors' first attempts, their respective PhD journeys took 20 to 30 years to come to completion. The accounts show that personality features such as resilience, motivation and grit, as well as the appearance of supervisors and partners i.e. allies of help at the right time can make the difference between success and failure. Both, now in their sixties, they are looking forward to many more exciting years of joint research.

The purpose of this analysis was to mirror the late guitarist Peter Green’s life experiences through insights from Andrew Voyce, who recovered from mental illness, and expertise from Peter Bryngelsson, a Swedish professional musician and author.
The authors used a mixed method of collaborative autoethnography, psychobiography and digital team ethnography.
Despite having not previously attracted academic interest, Peter Green’s experiences of mental health problems and his return to recording and performance provide a rich data source when mirrored and compared to the lives and experiences of Andrew Voyce and Peter Bryngelsson.
The main limitation of this piece of work is that Peter Green died in 2020. During the process of writing the authors have had to follow different, mostly unacademic, sources which have described various parts of Peter Green’s life. The authors have given examples and drawn conclusions from their own lives as well as from academic sources, which they have found appropriate.
Both Andrew Voyce’s and Peter Bryngelsson’s stories would be helpful when it comes to a deeper understanding as to why Peter Green ‘took a left turn’ i.e., turned his back on an accepted life style.
Acid casualty is a problem connected to both mental distress and to the music industry. Peter Bryngelsson’s story tells us that one can remain sane and drug free and still be an influential and creative musician.
The analysis has brought together two stories of mental distress in combination with insights.

Professionally a social worker has to pay attention to both the society’s values and to a client’s personal values. However, a social worker’s personal values are not the least of importance and can’t be ignored. Where could a sharp line be drawn between professional and private values and acting? The problem of decision-making has been pondered over since ancient times when Socrates contended that ‘everyone desires the good.’ Could it then be that for some the profession becomes a calling? This paper uses a collaborative autoethnographic approach with the narrative told by the first author, a female Swedish social worker. The story is about her meeting with a male drug addict living on the streets of London and about the decision she made. As it turned out, her decision would have consequences far beyond her and his imagination. The Introduction was written by the second author in order to provide the scientific framework embedding the first author’s story. Finally, the Discussion was written mutually as an interview

The aim of this commentary is to present characteristics of an "unidentified psychological barrier," which we previously have speculated to be associated with vestibular underachievement, an overlooked part for the understanding of the resistance to physical activity as well as in the assessments and interventions of developmental coordination disorder (DCD). Furthermore, we will discuss the importance of its identification and how to push knowledge forward. A delayed or partly absent sensorimotor development for an otherwise healthy infant might be a substantial sign of an underachieving vestibular system. It is time to act and to take sensorimotor immaturities seriously. In order to come to terms with DCD including physical inactivity there is a need for a grounded approach to sensorimotor development, not the least as a complement to already established 'treatment' methods.