AimsIn this pilot mixed-methods study, we examined the participants experiences of engaging in virtual drawing tasks and the impact of an olfactory stimulus on outcomes of affect, stress, self-efficacy, anxiety, creative agency, and well-being.MethodsThis study used a parallel mixed-methods, simple block randomization design. The study participants included 24 healthy adults aged 18 to 54 years, including 18 women and six men. The participants completed two 1-h immersive virtual art making sessions and were randomly assigned to receive either a fragrance or (...) a non-fragrance condition for the first session. Quantitative and qualitative datasets were collected concurrently and integrated during data analysis.ResultsThe quantitative results indicated that the fragrance condition demonstrated a significant reduction in negative affect, namely, reduced feelings of negativity when compared to the non-fragrance condition. A trend toward improvement in self-efficacy was also seen in the fragrance condition. No significant changes were found for fragrance or non-fragrance conditions for positive affect, anxiety, and creative agency. The qualitative findings included five themes related to art making experiences in virtual reality in both conditions: fun and joy; novelty of virtual media, experimentation, and play; relaxation and calm; learning curve; and physical discomfort and disorientation. Four themes were identified for virtual art content and visual qualities: nature imagery, references to memories and personal symbols, fantasy and play within imagery, and depiction of everyday objects.ConclusionsOverall, the participants reported positive responses to the novel virtual art making experiences which were further heightened by the inclusion of the fragrance stimulus for negative affect. These preliminary findings need to be replicated with larger sample sizes to confirm the outcomes and the trends that were seen in this pilot study. Further research is recommended to examine the differences between experiences of virtual and traditional art media and to examine different olfactory stimuli promoting focus and concentration. (shrink)

The Coming Home Project of the Snowflower Sangha in Madison, Wisconsin is an active member of MOSES, a nonpartisan interfaith organization that works to promote systemic change for social justice issues with a focus on mass incarceration and ending the use of solitary confinement in the state's prisons and jails. To support these efforts, and to restore dignity and safety to the entire community, CHP members work to make Wisconsin's sentencing rules and laws more just and humane, increase treatment alternatives (...) to incarceration, stop crimeless revocations back to prison, and remove barriers to employment for previously incarcerated individuals returning to their communities. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised internationally (...) to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

Each year since 1983 the American Council of Learned Societies has invited one of America's leading scholars to deliver the Haskins Lecture, in honor of Charles Homer Haskins, a distinguished scholar and teacher who was instrumental in the founding of the ACLS. In this volume, which commemorates the 75th anniversary of the ACLS, Douglas Greenberg and Stanley Katz bring together the lectures presented by ten of America's most distinguished scholars. Each lecture is a personal and intellectual glimpse into (...) the "life of learning" of such leading scholars as Maynard Mack, Annemarie Schimmel, and John Hope Franklin. The lectures focus on self-reflection of lives dedicated to learning, rather than on scholarship in the usual sense of the term. Ranging from being forced to learn Latin to painful memories of war and racism, the lecturers all recount stories from their eventful lives. Each offers thoughts on the body of work he or she has produced and the forces, personal and intellectual, that have shaped it. The scholars bring something of their disciplines to the lecture, sharing not only personal anecdotes but their love of learning. (shrink)

But that which remains the poets have founded.In contemporary rhetorical theory, the relationship between rhetoric and art tends to be articulated in terms of aesthetics. This increasingly popular discourse on “aesthetic rhetoric,” however, is characterized by a remarkable diversity. The rhetoric of fiction, poetry, and other literary genres, for example, has been explored in these terms (e.g., Booth 1983), as has the rhetoric of film (Haskins 2003), photography (Hariman and Lucaites 2007), and even natural landscapes (Clark 2004). From a (...) different perspective, aesthetics has been distilled to a range of “features” or “elements” that a given text is said to possess. Nathan Crick and Jeremy Engels, for example .. (shrink)

Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories in mid-twentieth-century America. An (...) unexpected outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Isocrates and Civic EducationRobert G. SullivanIsocrates and Civic Education. Edited by Takis Poulakis and David Depew. Austin: University of Texas Press, 2004. Pp. x + 277. $50.00, hardcover.Henry Burrowes Lathrop, in his magisterial Translations from the Classics into English from Caxton to Chapman, adopted a distinctly apologetic tone for having included in that book a lengthy gloss of Isocrates' writings. He felt constrained to do so, noting, "This (...) fairly long exposition has been necessary, since Isocrates is little read nowadays." Well, of course, "nowadays" Isocrates is read a great deal, and he is generally considered to be one of the more important figures in the classical rhetorical tradition. There are a variety of reasons for the revival of Isocrates' fortunes; he has always been accepted as an exemplar of style, and has exerted strong influences in a number of historical eras, but he is seen increasingly as an original and significant rhetorical theorist. However, the strongest attraction to scholars of our era is the connection by Isocrates of two concepts, rhetorical discourse and civic education, in what he called hê tôn logôn padieia. At the nexus of these ideas is not merely a historically interesting aspect of classical rhetorical theory but an important link between rhetorical theory and political practice, of heightened importance to a democratic culture.The volume under consideration gathers some of the best informed contemporary scholars to address this confluence. The ten essays include work by classicists, philosophers, and rhetoricians, all of whom are working in an explicitly interdisciplinary posture. The volume is divided into five thematic sections, with two essays contributed on each of the themes, each pair addressing different aspects of Isocrates' notion of civic education.The first section addresses the shape and purpose of the Isocratean program of civic education. The central question addressed by these essays is fundamental. If we grant the generality that Isocrates has a program of civic education, what are the particular goals of his pedagogy? Simply put, what civic virtues can one expect to acquire from an education in the Isocratean system? For Josiah Ober the route to the answering of this question is a careful and extraordinarily interesting reading of Isocrates great apologia, Antidosis. Ober sees Isocrates attempting to develop in his students a "complex and integral identity" (39) that will allow them to remain both true to themselves and useful to the city, a careful blending of soul-craft and state-craft. Takis Poulakos focuses on the epistemological foundation of Isocratean practice by making a careful account of Isocrates' use of the term doxa. Poulakos does an excellent [End Page 174] job of cutting through the thicket of Isocratean nuance and correctly identifies the theoretically charged notion of doxa as being both the process and product of informed conjecture.The next six essays are, in essence, comparative, laying Isocratean concepts of civic virtue and pedagogy against those of the sophists, Aristotle, and Plato. John Poulakos deftly separates Isocrates' purposes and pedagaogy from the sophists Protagoras and Gorgias. Particularly striking is the distinction Poulakos draws between how Isocrates and the sophists conceived of the power of language. The sophists, having a "dynastic" conception of language, imagine that mastering rhetoric gives one direct access to tyranical power over the individual psyche. Isocrates, less sure of (or perhaps ethically nervous about) language's capacity for political witchcraft, adapts a "hegemonic" notion of logos as acivilizing force, a means of leadership toward good ends. Ekaterina Haskins contrasts the "playful iconoclasm" of Gorgias with the "political responsibility" of Isocrates (85) in the varying ways they make use of the mythopoetic tradition. Davis Konstans contributes an extremely interesting examination of important matters upon which Isocrates and Plato find themselves in agreement, notably the deficiencies of Athenian democracy and the preferred role of the intellectual in society. Konstans' position is very stimulating, if at first glance counterintuitive, as the greater part of modern scholarship has aimed to force these two figures into opposing camps. Kathryn Morgan also begins her essay by focusing on those things Plato and Isocrates agreed upon, noting that both were deeply dissatisfied with conventional civic education in Athens. From this, Morgan turns to... (shrink)

When I consider the distinction and varied accomplishments of previous speakers, I am especially sensible of the honor of being asked to give the Haskins Prize Lecture. Unlike some of my predecessors, I can offer neither significant achievements in the public or institutional sphere nor a striking or particularly unusual life history. What I do share with a number of previous speakers is the feeling that if I have been fortunate enough to have enjoyed a life of learning, that (...) privilege has owed much to chance or, more bluntly, been due more to good luck than good management. But the good luck surely included encountering teachers—and later in my career, colleagues—who inspired and helped me; I will have occasion to mention a number of them. (shrink)

Pompey has been treacherously killed, his body decapitated and thrown into the surf. The faithful Cornelia cannot give her husband a proper funeral, but must be content to place on the pyre all that is left of his greatness. Commentators are not of much help in this place, most caught up in tralatician glossing and hence content to echo the scholiastic reference to Pompey's three triumphs. Thomas Farnaby thought of the funeral of Misenus in Aeneid 6; but one looks in (...) vain to Grotius , Oudendorp , Burman , Bentley , Weber , Francken , Heitland-Haskins , Housman , Bourgery-Ponchont , and Luck for the most important parallel, which is to Dido in Aeneid. I adduce the passages Heinze well described as examples of ‘das Idealbild eines heroischen Weibes’: tu secreta pyram tecto interiore sub auras erige, et arma uiri thalamo quae fixa reliquit impius exuuiasque omnis lectumque iugalem, quo perii, super imponas: 494–7) super exuuias ensemque relictum effigiemque toro locat haud ignata futuri. hie, postquam Iliacas uestis notumque cubile conspexit, paulum lacrimis et mente morata incubuitque toro dixitque nouissima uerba: ‘dulces exuuiae…’. (shrink)

Read thus the simile presents nothing eccentric. In ver. 101 Hosius and Lejay read male separat, which not only common sense requires but codd. VUQ authorize: not so Mr. Haskins, who follows a multitude of codd. in offering mare separat. But a slight further correction is necessary: to read Aegaeon in 103 for the MS. Aegeo, ‘Withdraw the land, and Aegaean would smash Ionian Sea.’ Those who make Isthmos the subject of frangat cite Stat. Silu. IV. iii. 59.

These lines conclude the speech of Pompey to Cornelia when she met him on the shore of Lesbos after the disaster of Pharsalia. This speech Mr. Heitland in his excellent Introduction to Haskins' Lucan has stigmatised as ‘abominable’.1 So far as the bulk of the speech is concerned a plea may perhaps be urged in mitigation of this judgment. Cornelia has completely broken down at the sight of her unfortunate husband, and his first object should be to restore her (...) to herself. For this purpose, as all, not excluding Lucan, know, a tone of sharp chiding would be most effectual, and we learn from the sequel that it succeeded : ‘uocibus his correpta uiri uix aegra leuauit | membra solo’ . For the crude brutality of the statement in the last four words there is however no excuse. But happily it is not to be charged to Pompey or to Lucan, but to the editions. We should punctuate. (shrink)

The mistranslation by Mr. J. D. Duff of nox ubi sidera condit as ‘where night hides the stars’ is also the interpretation of many commentators from Sulpitius in the last decade of the fifteenth century to Lejay in the last decade of the nineteenth. Lucan is clearly speaking of East and West in 15, of South in 16, and of North in 17–18. How can night be said to hide the stars in the West? Burman saw the difficulty and expressed (...) himself thus: ‘…dubito, an recte dicatur, nox condere sidera, id est, Stellas, quae sole cadente prodeunt, et se spectanda praebent, obscurare et occulere: neque nunc occurrit alius ex veteribus locus, unde ita locutos fuisse Poetas appareat. Nox enim adveniens prodit sidera, praecipitans uero, aurora adveniente, potest recte dici condere, et quasi auferre ex oculis hominum sidera.’ Burman then was tempted to understand sidera as the sun, but could not parallel this use of the plural, although he admitted the use of sidera solis. He cited Ouid. Met. 14, 172–3 caelumque et sidera solis / respicio, as did Haskins, who took the same view with hesitation. Ezra de Clerq van Jever in his Specimen Selectarum Observationum, which he published at Leiden in 1772, definitely understood sidera as the sun, though he could parallel only sidus in the singular from Ouid. A.A. 1, 723–4 aequoris unda / debet et a radiis sideris esse niger. But, it may be said, these Ovidian passages are such that no ambiguity is possible, and are not quite relevant to Lucan's phrase. (shrink)

The text of each passage commented on is that of Housman except where otherwise stated. The following editions of Lucan or other works concerned with him are indicated by the scholar's name only: Text: A. E. Housman . Text with commentary: F. Oudendorp ; P. Burman ; C. H. Weise ; C. E. Haskins ; R. J. Getty, Book 1.