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An art therapy experiment involving 10 weekly sessions for six latency-age emotionally disturbed boys produced marked improvements in peer relationships and socialization skills.
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Slides of traditional and abstract paintings were rated for either preference or complexity by 120 Ss following their earlier exposure to a contrasting series of slides of another type of art. Traditional art was liked more when it followed abstract art than when it was viewed after its own type of art. Abstract art, on the other hand, was liked less when it followed traditional art than when it followed the same type of art. Complexity judgments for both types of art, compared to their ratings without an earlier contrasting series, increased after seeing another type of art, although traditional art increased more than abstract art did. These findings were related to several theoretical approaches to cognition, general psychology, aesthetics, and the practical problems of art education. The research also illustrated that the humanistic content of experimental psychology can be broadened by including aesthetics and that experimental aesthetics can be liberalized by using slides showing real art.
A 3' region of a previously unknown retroviruslike element named ART-CH (avian retrotransposon from chicken genome) was obtained in the course of polymerase chain reaction-mediated cloning of avian leukosis virus long terminal repeats (LTRs) from DNAs of infected chicken cells. About 50 copies of ART-CH are present in the genome of chickens of different breeds. ART-CH is not found in DNA of quails, ducks, turkeys, or several other birds tested. The ART-CH element is about 3 kb in size, including 388 bp LTRs. The major class of ART-CH-specific RNA, also 3 kb in size, is detected in various organs of chickens. An ART-CH polypurine tract, a tRNA(Trp)-binding site, regions around the TATA box and polyadenylation signal, and the beginning of the putative gag gene strongly resemble the corresponding regions of avian leukosis viruses and EAV, the two described classes of chicken retroviruses. An open reading frame capable of encoding a polypeptide with a putative transmembrane domain is located upstream of the right ART-CH LTR. This sequence, as well as the U3 and U5 regions of the ART-CH LTR, has no obvious similarities with the corresponding parts of other known vertebrate retroviruses and retrotransposons. A short sequence upstream of the right LTR of ART-CH is very similar to sequences which flank the 3' ends of the oncogenes v-src, v-myc, v-fps, and v-crk in four different recombinant avian retroviruses and which are absent from the genomes of other studied avian retroviruses. Thus, ART-CH is a new endogenous chicken provirus that may participate in the formation of recombinant oncogenic retroviruses.
Artists and craftspeople, art teachers, hobbyists, and children often use art materials containing toxic chemicals without suitable precautions and often without the knowledge that their art materials are hazardous. The Center for Safety in the Arts, a national clearinghouse for research and education on hazards in the visual and performing arts, answers telephoned and written inquiries on art hazards, distributes publications, publishes a newsletter, and offers educational programs and consultative services to arts organizations.
The concepts of integration and sealing-over as recover styles from acute psychosis are common clinical parlance. Our experience with acute schizophrenic patients has led to specific operational definitions and a scale which can reliably assign patients to these two categories. All acutely schizophrenic patients on an NIH Clinical Center research ward participated in individual art sessions during drug-free periods at admission, at discharge, and at 1-year follow-up. In each session, the patient drew: a) a picture of his choice; b) a self-portrat; and c) a picture of his psychiatric illness. We hypothesized that integrators would pictorially represent themselves and their illness with greater expression, ideational fullness, and affective force than patients who sealed-over. Twenty-four patients were divided equally into integrator and sealing-over groups (based upon ratings at follow-up) and matched for age, sex, and race. Their art productions were presented randomly to two independent raters unfamiliar with the patients. They scored pictures quantitatively for color, motion, detail, empty space, and global expressiveness. Inter-rater reliability was satisfactory. A mean rating was obtained for all pictures from each patient on each of the five art variables. Paired t-tests (two-tailed) were applied to contrast the two groups on each of the five art variables. The results were that the integrators used more color (p less than .05), drew with greater detail (p less than .01), and more globally more expressive (p less than .05). Integrators also tended to depict more motion (p less than .10), but were not different from the sealing-over patients in amount of space left empty. These results support the validity of integration and sealing-over as defined and support the use of art as a medium through which differences in individual styles of coping with the psychosis can be discriminated. Slides of the patients' artwork illustrate the findings.
Previous research has indicated that training in the martial arts leads to a reduction in levels of hostility. However, such research has only compared hostility within martial arts groups. The present research compares two martial arts groups and two other sporting groups on levels of assaultive, verbal and indirect hostility. Moderated multiple regression analyses revealed a significant interaction between length of training in the respondent's stated sport and whether that sport was a martial art in predicting assaultive and verbal hostility. The form of the interaction suggests that participation in the martial arts is associated, over time, with decreased feelings of assaultive and verbal hostility.
Previous research suggests that scores on both the Graves Design Judgment Test and the Barron-Welsh Revised Art Scale correlate with education in art and with aspects of creativity but have little validity with respect to artistic performance. With a heterogeneous group of 48, the Graves test correlated significantly with fine-arts education, interest in the arts, artistic achievement, and creative independence. The Barron-Welsh scale correlated significantly with only fine-arts education in a similar group of 47.
Latent human immunodeficiency virus type 1 (HIV-1) reservoirs in the central nervous system (CNS) may sustain viral persistence and neuroinflammation contributing to HIV-associated neurocognitive disorders (HAND) despite suppressive ART. AAV9-delivered CRISPR has successfully edited SIV proviral DNA in peripheral tissues with acceptable safety profiles, but the extent of in vivo genome editing in the brain remains unclear. Using SIV-infected rhesus macaques, we mapped intact proviral DNA across CNS regions and tested systemic AAV9-CRISPR-Cas9 targeting conserved sites within Ψ packaging signal and Gag region. Ten adult rhesus macaques were infected with genetically barcoded SIVmac239, suppressed with ART, then randomized to receive intravenous AAV9-SaCas9 with dual gRNAs (Ψ + Gag) or a Cas9-only control. At necropsy after viral rebound, SIV genomes were detected in multiple brain regions as well as lymphoid tissues, confirming the CNS as a persistent reservoir during ART. Barcode analysis revealed region-specific patterns consistent with compartmentalized CNS persistence. In CRISPR-treated animals, proviral editing was measurable across anatomically distinct CNS sites. These findings demonstrate that intact and potentially replication-competent virus persists in the primate brain under ART and that systemic AAV9-CRISPR can reach and edit proviral DNA in this sanctuary, supporting genome editing as a strategy toward durable remission of CNS reservoirs.
Correlations between creativity and intelligence are generally reported to be low. In the present investigation, we examined whether judges with and without art training (N = 40 for each group) would evalute the paintings of nonretarded and retarded persons differently. Five paintings each were obtained from 15 nonretarded persons, 11 moderately retarded persons, and 11 severely retarded persons. Judges who had art training did not differentially rate the art of nonretarded and retarded persons, but they gave significantly higher ratings than did non-art-trained judges to the paintings of retarded persons.