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In this study, a group of seven teacher educators report on how they embarked on a process of collaborative autoethnography to uncover the problems and possibilities of teaching arts education using digital methodologies. Arising from the pressing need to pivot from in-person, campus-based teaching to online modes due to the COVID-19 pandemic, the phenomenon prompted the authors to engage in critical and inquiry-oriented reflection on the experience. While the full group comprised teacher educators from across diverse disciplines, the current study focuses primarily on the idiosyncratic nature of teaching arts subjects such as music, drama and visual arts education to student teachers. Using qualitative analysis, the study identifies key themes and insights gleaned from critical explorations of the data. Although embodied pedagogies are considered no less valuable than before, the study reveals unexpected benefits that arise in the digital context, especially in arts education. In this frame, arts education is recast in a dynamic and unexpected fashion, despite the exigencies of the digital environment. Ultimately, the study points to important teaching and learning experiences, and new ways of framing dimensions of those experiences, that can inform future teaching worlds in the digital space.

Teacher educators act as a conduit to student teachers of policy and this has an impact on practice. Changes in policy affect how subjects are viewed in terms of their importance. This research seeks to explore the apparent increase in emphasis on wellbeing development in policy which influences the work of arts teacher educators, alongside a declining focus on the arts, and a separation of wellbeing from the arts in policy lexicon. Adopting a self-study approach, this article explores if wellbeing features in our practice as arts teacher educators and how our arts education practice aligns with national policy and curriculum development in the Republic of Ireland. The results of the study outline ways in which arts teacher educators are shaped by policy. Recommendations are made for a broader view of wellbeing in policy, and an experience of wellbeing and arts which is embedded into learning processes in teacher education. [ABSTRACT FROM AUTHOR]

Charles Scott Sherrington (1857–1952) is widely acclaimed as the most important neurophysiologist in history. He became a legend in his own time, coined the term "synapse", and in 1932 received the Nobel Prize in medicine for his discoveries on the function of neurons. By the time he presented the Gifford Lectures 1937–38, he represented the best that science had to offer on behalf of the relationship of the mind to the natural world. The lectures, including one never publicly presented, were published as Man on His Nature (1941). Here neurology meets theology at the busy and often treacherous intersection of science and religion. Examining Sherrington's views in some detail, the standard rendering of Sherrington as a theist cannot be sustained by their contents; he ends up as at least a humanist and perhaps an atheist. Views by neurologists and philosophers of mind some seventy to eighty years later are compared and contrasted with Sherrington's. Although expectations of a materialist/reductionist answer to the mind/body problem have not been realized, neuroscientist Raymond Tallis appears as a parallel figure to Sherrington: both are clearly naturalistic humanists. A theistic response is presented addressing the mind/body problem from a hylomorphic process theology perspective, along with some comments regarding natural theology in general. In the end, this essay has two complementary aims: (1) to relocate Sherrington's neurotheology—if it can be called that—in a more appropriate historiographical category; and (2) to offer a viable answer to the mind/body problem. [ABSTRACT FROM AUTHOR]

During the ongoing COVID‐19 pandemic, an artifact with hyperintense signal was observed on the brain images of a number of patients or research subjects, particularly those with heavy body weight and/or increased respiratory rate. The artifact was primarily seen on 3D or 2D sagittal or coronal T2‐weighted images, although it occasionally also appeared in the axial plane. It manifested as a bright spot or a cluster of bright spots at similar locations, superior or lateral superior to the skull. This artifact was found to be caused by condensed water droplet(s) in the head coil as a consequence of the altered moisture flow pattern associated with each exhalation due to the mask on the patient. We call this artifact condensation artifact. Several strategies have been proposed to prevent or resolve the artifact. Level of Evidence: 5 Technical Efficacy: Stage 1 [ABSTRACT FROM AUTHOR]