Integrating aesthetic experience and inquiry-based learning: Teacher knowledge, beliefs, and practice in Singapore primary classrooms

There is a growing need to translate insights from phenomenological psychopathology into psychotherapeutic practice. Phenomenology offers a deeper understanding of the lived experience of psychosis, and this understanding can render psychotherapy more individualized, empathically attuned, and recovery-oriented by attending to experiential dimensions that conventional, symptom-focused approaches may overlook. In this study, we report qualitative findings of patients' lived experiences of group visual art therapy, which we conceptualizae as structured phenomenological art therapy. This approach was informed by insights from phenomenological psychopathology and designed specifically for psychiatric patients with schizophrenia spectrum disorders. This approach can be considerd nested within arts-based phenomenlogical research. The structured phenomenological art therapy was offered to 15 patients with schizophrenia spectrum disorders. The intervention involved twelve structured sessions. The course of therapy was systematically documented, and each patient's experiences were examined through a combination of direct observation, in-depth interviews, and solicited diaries. The study adopted a qualitative research design, structured as a multiple or plural case study. The results indicate that visual art can serve as a therapeutic medium, facilitating self-exploration and contribute to the construction of narrative identity. Engaging in artistic expression helped patients articulate their emotions, gain new perspectives, and cultivate a sense of hope. The therapeutic process also fostered interpersonal communication and shaped patients' perceptions and experiences of others. During the structured phenomenological art therapy, several patients identified key personal challenges amenable to change, a core objective of psychotherapy, demonstrating the intervention's potential for patients with schizophrenia spectrum disorders.

Aesthetic experience shapes behaviours ranging from everyday consumer choices to art appreciation. Although theoretical accounts propose that such experiences emerge from interactions among core brain systems, the dimensions organising this mental process remain unclear. Here, we introduce a data-driven framework to characterise the latent neural architecture of shared aesthetic evaluations. Participants viewed traditional paintings during 7T functional magnetic resonance imaging (fMRI), and we applied dimensionality reduction to the similarity structure of their aesthetic ratings to identify the dominant axes of variation. Two principal dimensions emerged, visual semantics and hedonic valuation, each predicted by dissociable multivariate neural signatures. Category-selective regions along the ventral visual stream tracked variation in visual semantics, whereas medial prefrontal and subcortical circuitry tracked hedonic valuation. Moreover, individual differences in this latent aesthetic space, particularly within default mode network regions, scaled with visual art expertise. Together, these findings reveal how core brain systems synergistically organise shared aesthetic evaluations of visual artworks.

The disappearance of spontaneous student-generated drawings in examinations induced us to start developing anatomical drawing tasks that would be useful learning aids in veterinary medical education. Through a series of drawing workshops, we aimed to broaden the study skills repertoire of students by developing their haptic and observational skills. Data were collected via a questionnaire and analyses of student-generated drawings by comparing the details of the drawings with the purpose of the drawing tasks. Prior experience in drawing or visual arts strongly motivated participation in the workshops. Drawing was mainly used as a self-study aid in subsequent anatomy courses, and respondents reported improved deep learning, evident in the student-generated drawings as well. Bone drawings of wildlife species showed details and interspecific variation beyond the structures taught during the curriculum-based osteology course on domestic animal species. In one drawing task, the detailed observation by students led into a discussion on the functional meaning of the noted structures between the students and the anatomy teacher. The incorporation of proven drawing tasks and tips as part of an ongoing anatomy course instead of separate workshop holds promise as a time-effective way to introduce drawing as a learning aid in veterinary anatomy.

ABSTRACT This study examines the pedagogical value of paintings for developing upper-secondary students’ understanding of overtourism and its socio-environmental consequences. Thirty-one students (aged 16–18) analyzed five artworks representing urban, coastal and cultural landscapes. A mixed-methods design combined open-ended responses, Likert-scale ratings, and categorical identification of landscape changes. Findings show that paintings explicitly depicting overcrowding in squares and beaches were most effective for recognizing overtourism, while more ambiguous scenes were harder to interpret and rated as less useful. Radar plots, heatmaps, and aggregated scores highlighted selective perception: students associated overtourism primarily with crowding, infrastructural expansion, and environmental degradation, while social tensions were recognized mainly in urban contexts. The results demonstrate that visual art can function as a catalyst for critical reflection on the multifaceted impacts of tourism. Strategically integrating artworks into geography education supports spatial imagination, ecological sensitivity, and pro-environmental attitudes, offering a meaningful contribution to arts-based environmental education.

ABSTRACT This article examines the role of the uncanny in visual artworks that invite the viewer to rethink the body in the light of environmental change and plastic pollution. Drawing on Stacy Alaimo’s concept of trans-corporeality, I explore how the uncanny contributes to (re)imaging the body as inextricably enmeshed with plastic waste. My focus is on artistic portrayals of trans-corporeality that evoke uncanny feelings. I analyse three science-inspired artworks that exemplify uncanny trans-corporeality in contemporary visual art: Swaantje Güntzel’s artwork MICROPLASTICS II (2016), Christine Baker’s sculpture Micro Plastic Menu (2022), and Thijs Biersteker’s interactive installation Plastic Reflectic (2016). In the analysis of the case studies, I make two points: first, I show that the feeling of the uncanny arises from revealing the enmeshment of the body with plastic waste and the unpredictable agency of nonhuman matter; second, I consider several features that support and reinforce the uncanny effects of the artworks: distorted scales, the figure of the double, and the strange suggestive resemblances of plastic to body parts and other material things.

Healthcare students' attitudes towards dementia are crucial to the quality of care. Experiential learning is a promising strategy; however, the comparative effectiveness of its various modalities remains unclear. This systematic review and meta-analysis aimed to evaluate the impact of experiential learning interventions on healthcare students' attitudes towards dementia. A comprehensive literature search was conducted across eight databases (e.g., PubMed, Embase, Cochrane Library) for studies published up to August 2024. A total of 2,350 articles were initially identified using the keywords "experiential learning," "students," "attitude," and "dementia." Only studies that evaluated the impact of experiential learning on attitudes towards dementia using the Dementia Attitude Scale (DAS) were included. Thirteen studies involving 1,861 healthcare students were included. Experiential learning significantly improved attitudes towards dementia (WMD = 9.46, 95% CI [6.33-12.58], p < 0.001). Both short-term (single-session) and long-term programs (multiple-session) demonstrated comparable levels of improvement (p = 0.49). Artistic interventions (e.g., storytelling, visual arts) produced significantly greater effects than non-artistic interventions (WMD = 13.44 vs. 7.58, p = 0.02). Interdisciplinary interventions were associated with greater improvement in attitudes, whereas virtual learning formats showed inconsistent outcomes and lacked sufficient representation for robust subgroup analysis. Experiential learning, particularly artistic and interdisciplinary approaches, significantly enhances healthcare students' attitudes towards dementia. Even brief interventions proved effective, underscoring their applicability in resource-limited settings. However, methodological limitations, such as quasi-experimental designs, short-term follow-ups, and limited disciplinary and geographic diversity, restrict generalizability. Future studies should employ rigorous designs, explore virtual innovations, and assess long-term outcomes to inform scalable, evidence-based dementia education.

A kaleidoscope is a cylindrical instrument with two reflecting surfaces placed at opposing angles on each end. It is filled with colourful everyday materials like beads and trinkets, which, when viewed through the inclined mirrors, polarises light, creating mesmerising symmetrical patterns. As an object, the kaleidoscope is a product of both physics and visual art, combining science and aesthetics to transform the ordinary into the spectacular and to make sense of chaos. In an unpublished conversation on the process of making theatre, South African director Barney Simon remarked that this is ‘how we must work: use the simple everyday things and rearrange them so that they create patterns – patterns that can transform ways of seeing the commonplace. The way of [making and teaching] art lies in selecting and arranging these things with care.’ (Simon 1989). As theatre-makers and lecturers in the Theatre and Performance department at the Wits School of Arts in Johannesburg, we propose that the collective practice of assembling and co-teaching our Theatre Arts 3B course is like making a kaleidoscope: we construct the curriculum by collating multiple materials – knowledges, analytical tools and academic conventions (formal and informal, hidden and overt) – which we combine with our students’ everyday encounters and experiences. We then collect these seemingly unconnected pieces, position ourselves, and reflect upon them through multiple lenses that reflect to us. It is then, through continuous debate and critique, that we can identify and (de)construct patterns that transform students’ (and our own) ways of seeing, knowing, practising and writing about Theatre and Performance. In this paper, we will disassemble and make visible the mechanics of our kaleidoscopic student-centred pedagogy, positioning ourselves as people, artists and teachers to create new, anti-hierarchical patterns that build more reflective, inclusive and decolonial teaching practices rooted in our everyday knowledge.

Imagine what we can do together: visual art as a catalyst for strengthening connections across the inpatient team.

The Japanese art of kintsugi-repairing broken ceramics with gold-offers a philosophical framework for reconceptualising aesthetic plastic surgery. Rather than concealing damage, kintsugi uses precious metal to honour an object's history of breakage, creating beauty through respectful repair. Together with wabi-sabi, the aesthetic philosophy that celebrates imperfection and transience, kintsugi challenges surgical practice to move beyond the pursuit of standardised perfection. This perspective examines how these Japanese aesthetic philosophies can inform contemporary surgical practice, from patient consultation through outcome evaluation. The framework draws on the convergence between kintsugi philosophy, film-maker Guillermo del Toro's artistic vision, and clinical observations about the psychological dimensions of aesthetic concerns-particularly the role of childhood appearance-related injuries in shaping patients' relationships with their features. While not all patients carry such histories, deepened consultation practices that explore the context of aesthetic dissatisfaction may improve patient selection and long-term satisfaction. Seven principles adapted from Juniper's interpretive wabi-sabi framework-including kanso (restraint), shizen (naturalness), and seijaku (tranquillity)-provide operational guidance for surgical planning and outcome evaluation. The metaphor's value is acknowledged as heuristic rather than literal: surgery modifies tissue, whereas kintsugi preserves structure, but the productive tension between these processes prompts clinically important questions about identity preservation, ethnic authenticity, and the limits of intervention. The framework prioritises ethnic identity preservation and age-appropriate enhancement over beauty ideals driven by social media homogenisation, positioning aesthetic surgery within the broader human project of healing and self-reconstruction.Level of Evidence V This journal requires that authors assign a level of evidence to each article. For a full description of these Evidence-Based Medicine ratings, please refer to the Table of Contents or the online Instructions to Authors www.springer.com/00266.

The article investigates and analyses the conditions that influence how students act as policy actors in secondary schools, an area yet to be fully explored. Applying the framework of policy enactment theory to data produced through classroom observations and statements by teachers and students, it is shown that the roles of students as policy actors vary widely and are closely linked to teachers’ planning and teaching. Openness in art education is also shown to offer a certain degree of freedom in the enactment process, although it can make it challenging for students to decode what is expected of them, leading to different roles as policy actors compared to situations where expectations are clear and students can make their own decisions in the creative process. We argue the roles available to students are ultimately shaped by these interactions through their discursive construction within policy enactment.

On 11 November 2025, the RV Kronprins Haakon set sail from the Longyearbyen dock to launch the EXTREME25 expedition. This mission was a key event within the EXTREMES UArctic project (UA 06/2024, from 1 January 2025 to 31 December 2026), a collaboration between UiT - The Arctic University of Norway (Department of Geosciences), the University of Copenhagen (Department of Art and Cultural Studies) and the University of Iceland - Research Centre in Pingeyjarsveit. With over 30 participants from diverse fields, including geology, biology, natural science, art history, sound and visual arts, illustration and anthropology, this multidisciplinary expedition aimed to combine scientific research with the creation of various art forms and storytelling. The comic titled "Exploring the Unknown" draws inspiration from events during the expedition and highlights the complex connections between humanity, the deep sea and life on board. This creative narration has been realised by two of the expedition participants during the time onboard: the science illustrator Jane Zimmermann and the environmental anthropologist Ann Eileen Lennert.

This comprehensive research paper examines the profound psychological impact of arts engagement within contemporary society. In an era marked by digital transformation, social fragmentation, and escalating mental health challenges, the arts have evolved from cultural luxuries to essential psychological resources. Through a multidisciplinary lens incorporating neuroscience, clinical psychology, social psychology, and public health, this paper analyzes how diverse art forms—including visual arts, music, performing arts, digital media, and community-based practices—influence cognitive functioning, emotional regulation, social cohesion, and overall well-being. The analysis reveals that arts engagement operates through multiple pathways: neurological (enhancing neuroplasticity and cognitive reserve), emotional (facilitating expression and regulation), and social (fostering connection and empathy). Contemporary developments, including digital arts, social prescribing, and arts-based therapies, are explored alongside critical considerations of cultural specificity, accessibility, and the tension between instrumentalization and intrinsic value. Drawing on empirical research from the past two decades, this paper argues for the integration of arts into public health strategies, educational systems, and clinical interventions as evidence-based approaches to enhancing psychological resilience. The paper concludes with recommendations for policy, practice, and future research directions to maximize the psychological benefits of arts in diverse contemporary contexts.

This paper investigates the emerging subject of AI-driven optical illusions, which represents a revolutionary fusion of artificial intelligence and perceptual art. AI is progressing beyond mere mimicry by employing generative algorithms, neural networks, and advanced image manipulation techniques to deliberately generate illusions that challenge human vision in novel ways. We look into the underlying AI approaches used, ranging from deep learning models trained on large datasets of visual stimuli to reinforcement learning agents capable of optimising illusion parameters for maximum perceptual impact. The paper then digs into the novel applications of these AI-generated illusions in a variety of design disciplines, including graphic design, architectural visualisation, user interface development, and therapeutic interventions. Furthermore, we investigate the artistic consequences, looking at how AI is evolving into a collaborating partner in the creative process, pushing the boundaries of what defines visual art and promoting new paths for aesthetic investigation and critical engagement with perception. Our investigation has uncovered the various algorithmic approaches that underpin this innovation, ranging from GANs capable of creating totally new illusory forms to reinforcement learning systems that fine-tune perceptual dissonance for specific effects. The study emphasises the potential for AI-powered illusions to not only delight and amaze, but also to educate, deconstruct perceptual biases, and provide creative solutions to complicated design challenges

The Physiological Impact of Viewing Original Artworks in a gallery vs. Reproductions in a laboratory: A Comparative Study.

Art education in the age of AI: Exploring ethical practices and pedagogical approaches in Chinese.

ABSTRACT HIV/AIDS is not only a physiological condition requiring long-term medical intervention but also a complex public health issue embedded within social structures, psychological experiences and cultural contexts. Although the widespread use of highly active antiretroviral therapy (HAART) has significantly extended the life expectancy of people living with HIV and improved outcomes, socially stigmatized perceptions, persistent psychological trauma and systemic social exclusion remain obstacles that limit the effectiveness of care, forming a “physiologically manageable, psychologically and socially intractable” care paradox. Drawing on an interdisciplinary perspective integrating art therapy, public health, sociology and cultural studies, this paper reviews the value, mechanisms, and practical paradigms of visual arts, participatory arts, and arts education in HIV/AIDS care, prevention, and social support systems. By examining multiple globally documented art intervention projects, the study explores the logic of art as a non-clinical intervention medium in emotional empowerment, meaning reconstruction, and social network building, demonstrating its central role in supplementing limitations of traditional medical and social work approaches and addressing stigma surrounding HIV/AIDS. Ultimately, the paper proposes an integrated “art–medical–social” care pathway, providing theoretical support and practical guidance for establishing a more inclusive and human-centered HIV/AIDS care system.

To achieve the United Nations' Sustainable Goal 4 for equitable quality education, many countries are incorporating computer programming into preschool curricula. The main reason for this educational decision lies in the need for a better understanding of the digital world, and also, in the still not fully explored idea that learning to program could have potential collateral cognitive benefits. This pilot study analyzed whether programming instruction enhances executive functions-both key 21st-century skills-, attention and non-verbal intelligence and whether the improvements vary by socioeconomic status (SES). A cluster-randomized controlled trial was conducted in Argentina with one low-SES and one medium-SES kindergarten. Five-year-old classrooms at each school were randomly assigned to a study group, receiving programming lessons with ScratchJr, or a control group engaging in visual arts activities. Both groups used tablets, and sessions were conducted by regular classroom teachers. Ninety-four children completed computerized cognitive tests before and after the intervention and control activities, yielding 21,801 trials for analysis. We modeled children's trial-by-trial accuracy using a Bernoulli-distributed Generalized Linear Mixed Model that we estimated with Bayesian methods. Our results suggested the programming group showed greater improvement than the control group in most cognitive tasks but the benefits were consistently larger for children in the low-SES school (65%-92% greater than controls) with high certainty, while middle-SES children showed only modest improvements (13%-36%) with weaker evidence. These findings tentatively suggest that teaching programming, besides its intrinsic educational value, could also potentially contribute to developing critical cognitive processes, particularly among vulnerable children.

ABSTRACT Background This manuscript reflects on the role of visual art as a gentle and meaningful pathway for supporting the cognitive development of children on the autism spectrum. Rather than approaching autism through deficit based assumptions, it foregrounds the potential of visual engagement as a supportive mode of learning. Purpose The manuscript aims to explore how images, patterns, shapes, and repeated visual interaction may create conditions for focus, memory, recognition, and understanding among autistic children. Approach Through poetic reflection, the manuscript presents visual therapy not as a form of pressure or correction, but as a patient and responsive space in which learning may unfold at a different rhythm. It considers how art can serve children whose experiences of language, attention, and sensory processing may not align with dominant educational expectations. Findings The reflection suggests that visual art can function as a bridge between confusion and comprehension. Visual engagement is framed as part of a broader practice of care, inclusion, and wellbeing, enabling cognitive growth while respecting difference and dignity. Conclusion The manuscript contributes to conversations in arts and health by portraying art as more than an aesthetic activity. It positions visual art as a humane and supportive medium through which alternative forms of learning, cognitive development, and inclusion may be nurtured.

The purpose of this study is to examine how Dain Iskandar Said articulates a distinctive Malaysian cinematic aesthetic through transnational stylistic influences and a sophisticated artistic vision in filmmaking. In the process of producing a film, it is important to consider the rules of composition so that it has effective communication with the audience about the meaning of certain things and why it is projected in a certain way as well as the aesthetic values throughout the whole film. There are several Malaysian films known for their aesthetic values, display-ing visually striking cinematography, art direction, and overall artistic sensibility. To name a few, we have some notable ones such as “The Red Kebaya” by Oliver Knott, “Lelaki Harapan Dunia” by Liew Seng Tat, “Bunohan” by Dain Said and Yasmin Ahmad films “Sepet,” “Gubra” and “Mukhsin.” In this study, the re-searcher will focus on three things. Focusing on cinematic aesthetics, stylistic in-fluences, and artistic vision, this study positions Dain Said’s work as a stylistic genealogy that translates European contemplative cinema into a locally grounded Malaysian visual and atmospheric language.