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The Artists' Residencies in Care Homes (ARCH) programme led by Magic Me involved four arts organisations delivering participatory arts in four UK care homes for older people. The COVID-19 pandemic disrupted the programme, causing substantial trauma to care home communities. Artists paid greater attention to supporting staff and resident wellbeing and recovery from trauma. We present a trauma-informed framework for participatory arts practice in residential care homes, based on learning from the responsive approach of ARCH. The four-year programme comprised research and development focused on building relationships and testing ideas, followed by artists' residencies including workshops, performances, and training in homes, outdoor spaces, and online (e.g., Zoom, film). Artistic media included dance/movement, textiles, music, performance, film, virtual reality, and photography. The research explored how arts and care home staff collaborated to deliver and embed participatory arts in care homes. Qualitative data were collected throughout, comprising observations of meetings, training, and arts activities, alongside interviews and focus groups with artists and care home staff reflecting on their expectations, training/support needs, experiences, and learning. 11 artists, 2 Magic Me directors and 27 care home staff (including home managers, lifestyle coordinators, carers, and representatives from the care home management company) participated. Data was analysed using inductive reflexive thematic analysis. One theme captures the context and experiences of COVID-19-related trauma in care homes. Subsequent themes describe artist approaches to supporting trauma recovery in care homes: creating safe and inclusive spaces, training and support for artists/facilitators, building trusting and collaborative relationships, empowering care home staff and residents, fostering joy, and channelling the power of the participatory arts. These themes informed a trauma-informed framework for participatory arts practice in care homes. We have proposed a trauma-informed framework for participatory arts in residential care homes, which is of particular importance considering the COVID-19-related trauma that care home communities have faced. As care homes continue to recover from the emotional impacts of the pandemic, and face continuing virus outbreaks and staffing challenges, the participatory arts provide the opportunity to restore joy and promote wellbeing for care home staff and residents.

A speech corpus is a crucial component in the development of language models in natural language processing (NLP). A high-quality corpus is a crucial factor in the quality of NLP study, including text-to-speech (TTS), also known as speech synthesis. In Indonesia, developing a high-quality corpus is a priority to ensure that speech synthesis technology better supports digital communications, the creative industries, and public services. Indonesian is still categorized as a low-resourced language, which means its use in digital communication remains limited. Therefore, this study addresses this gap by developing an Indonesian Expressive Speech Corpus (INESCO). INESCO was developed by selecting sentences from various literary sources, including textbooks, magazines, novels, newspapers, movies, and websites. The selected sentences consist of commonly used expressions in everyday conversation. The expressive Indonesian speech corpus contains three emotional styles: happiness (211 sentences), anger (190), and sadness (199 sentences). The total number of sentences in the Indonesian expressive speech corpus were 600. The Indonesian expressive speech corpus was recorded by four professional speakers, consisting of two females and two males. The selected voice artists were professional theater artists who were members of the Indonesian Arts Council, namely Teater Api from Surabaya, East Java, Indonesia and Teater Payung Hitam from Bandung, West Java, Indonesia. The voice artists were selected to record the corpus. Based on the criteria of being allowed to have a regional accent and having more than five years of experience, they were recorded in a soundproof studio with separate recordings and operator rooms to minimize background noise. The recording process used a condenser microphone (Neumann U87 and Studio Project B1) that was equipped with a pop filter. The speakers were asked to stand 2-3 cm in front of the microphone. The microphone was connected to Presonus Studio One version 4.1.4 software for recording and editing. Recorded speech corpus was under configuration with sampling frequency of 44.1 kHz, channel input/output mono, 16 bits/sample and using format ".wav" file. During the recording process, the chair of the Indonesian Arts Council supervised to ensure that every sentence recorded in the database conveyed the correct meaning and evaluated whether all the speakers' balance was maintained across the three types of emotions. The phonetic annotation process was performed using the Wavesurfer speech software. The emotional validation method was implemented through a set of preliminary experiments on the end-to-end TTS system for Indonesian to demonstrate the dataset's usability. Only files with a mean opinion score (MOS) score of 3.5 or higher were used in the INESCO dataset. The final INESCO dataset compiled 2400 audio files with a text transcription. The total size of the files was 1.33 GB. The total duration of this speech corpus was 3 h, 1 min, and 49 s. This dataset contains comprehensive, carefully curated data to enable reproducible experimentation in end-to-end TTS systems and to support research in speech synthesis, speech recognition, and other areas of natural language processing. The INESCO dataset is publicly accessible and useful for research, academic, and educational purposes.

Text-to-image diffusion models benefit artists with high-quality image generation. Yet their stochastic nature hinders artists from creating consistent images of the same subject. To address this challenge, we previously proposed a cluster-guided tuning paradigm, termed OneActor, which efficiently performs consistent subject generation via a learned semantic cluster guidance to bypass the laborious backbone tuning. However, along with the rapid development, there is a growing demand for the capability to synthesize images containing multiple consistent subjects from user-provided image references, which exceeds the competence of OneActor. For this issue, we present a novel consistent multi-subject generation paradigm, termed OneActor++, to render multiple subjects from both textual prompts and image references. To start with, we pioneer a new multi-target formulation of the cluster guidance theory, paving the way to multi-subject identity preservation. Leveraging this foundation, we reinvent multi-subject modulization with a Mixture of Projectors (MoP) architecture. This design orchestrates a holistic representation of multiple subjects aggregating their commonality and individualities. To refine the cluster guidance predictions, we introduce an enhanced tuning recipe featuring an anchored noising strategy to rectify guidance misalignment, coupled with a drift regulation strategy to prevent optimization collapse. To unlock the new ability of image-referenced generation, we devise a one-step inversion mechanism as the final piece of the overall paradigm. Comprehensive experiments demonstrate that OneActor++ outperforms a variety of baselines in generating multiple consistent subjects from both prompt and image inputs. With excellent subject consistency, superior prompt alignment, and high image quality, OneActor++ showcases powerful practical possibilities across a wide range of application scenarios.

We aim to evaluate the efficacy of interactive virtual reality (VR) therapy for social anxiety disorder (SAD) compared to an active comparator condition. We will also investigate the utility of digital phenotyping as a novel objective assessment tool for monitoring treatment responses. This single-blind, parallel-group, randomized controlled trial will recruit 100 adults aged 19-40 meeting DSM-5-TR criteria for SAD. Participants will be randomized 1:1 to: (1) an interactive social anxiety-specific VR therapy developed through multidisciplinary collaboration involving psychiatrists, psychologists, service designers, and digital artists; or (2) a metaphor-based VR therapy for generalized anxiety, as an active comparator. Both groups will complete six VR sessions over 3 weeks, administered twice a week. The primary efficacy endpoint is change from baseline to post-treatment in social anxiety symptoms, assessed by the Korean version of the Liebowitz Social Anxiety Scale-Self Report (K-LSAS-SR). The Korean Social Avoidance and Distress Scale (K-SADS) and Social Interaction Phobia Scale (K-SIPS) are designated as key secondary endpoints, tested using a pre-specified fixed-sequence hierarchical procedure that preserves the family-wise type I error rate at α = 0.05 without alpha penalty. The secondary outcomes include depressive symptoms, interpersonal competence, and smartphone-derived digital phenotypes (activity, sleep). All assessments will be conducted at baseline, mid-treatment, post-treatment, and at 3-month follow-up. The primary analysis will use a linear mixed-effects model (LMM) to evaluate the group × time interaction at post-treatment. Approved by the Institutional Review Board of Korea University Anam Hospital (IRB No: 2024AN0537). The results will be disseminated through peer-reviewed publications, academic conferences, and institutional reports. We aim to validate the efficacy of VR therapy and establish digital biomarkers for precision psychiatric approaches to the treatment of SAD.

Although performance anxiety is a well-known phenomenon among performing artists, little research has focused on professional actors. In this qualitative study, informed by a phenomenological hermeneutic and narrative approach, we explored how Norwegian professional actors describe and make sense of experiences commonly referred to as performance anxiety and how these experiences shape their professional practice. We conducted 14 in-depth interviews with professional actors using an interpretive, narrative-informed thematic approach. Two themes were developed: 'Big shoes to fill-Precarious professional legitimacy and escalating internalised standards' and 'Small sparks can cause big fires-Trigger events that destabilise perceived competence and precipitate spirals of anxiety'. The findings suggest that performance-related anxiety is not merely an individual response to specific performance situations, but is shaped through ongoing processes of self-evaluation, professional identity, and contextual pressures within the acting profession. Experiences of anxiety were closely tied to internalised standards of performance, sensitivity to evaluative situations, and limited opportunities for openly addressing mental health struggles. A lack of openness between actors and their colleagues, especially directors and theatre managers, may further contribute to distress, illness, and early retirement among actors. This study offers an interpretive, context-sensitive understanding of performance related anxiety as socially embedded, highlighting the need to address both individual and contextual factors in supporting actors' mental health.

Public understanding of the Developmental Origins of Health and Disease (DOHaD) remains limited, hindering efforts to shift health behaviours and policy. Arts-based knowledge translation (ABKT) offers a promising approach to engage the public with complex health science. We evaluated the feasibility, acceptability, and impact of a multi-site exhibition co-developed by scientists, artists, and community members to convey DOHaD concepts. The Art of Creation Exhibition, shown in a mid-sized Canadian city in gallery and community settings, featured professional and community-created artworks and interactive activities. Using a parallel convergent mixed methods design, we collected and analysed observational notes, written reflections, analytics from QR codes linked to information about the artworks and DOHaD, and structured activity responses. Quantitative data were analysed using Firth-penalised logistic regression and descriptive statistics. Qualitative data underwent conventional content analysis. Findings were integrated narratively. The Exhibition was successfully installed at all sites, although space and security constraints in community settings required adaptation. 93% of observed individuals at the gallery site engaged with the exhibition, compared to 3%-17% at community sites. Gallery visitors engaged with more artworks for longer. Viewing over half of the artworks was associated with higher odds of endorsing Social Determinants of Health (SDoH) (OR = 6.63, 95% CI [1.22, 68.34]). Written and verbal feedback demonstrated increased awareness, emotional engagement, and interest in further learning. Despite some misinterpretation and low fidelity of interactive activities, the Exhibition was well received and evoked critical reflection. Using ABKT for DOHaD can enhance health literacy, foster dialogue about the SDoH, and support equitable health communication.

Sociological accounts of modernity have long emphasized rationalization, alienation, and the attenuation of affective intensity. While these diagnoses capture crucial dynamics of modern social order, they leave underexplored a persistent and generative dimension of social life: enchantment. Few existing attempts to theorize enchantment in modernity treat it as anything other than a residual survival at the margins of an otherwise disenchanted world; those that avoid this residualist framing often relocate enchantment outside culture altogether, grounding it in material vitality or hybrid ontologies rather than in social meaning. This article proposes a different approach by identifying mystery as a constitutive cultural structure of modern enchantment. Mystery organizes interactional encounters with the unknown by transforming a mundane absence of information into an issue of transcendent significance, generating affective tension and imaginative depth. By locating enchantment in the ordinary texture of cultural experience, mystery decentralizes enchantment, dissociating it from conceptual frameworks that concentrate enchantment in religion-like centers. Focusing on fleeting encounters with strangers in urban settings, mediated by architectural transparency and mobility, I show how windows, glass façades, and trains structure perceptual and emotional engagements that orient modern sensibility. Drawing on literary and artistic representations-from Baudelaire and Hopper to Le Corbusier and Hitchcock-I argue that mystery is not a residual pre-modern trace but an endogenous and durable feature of modern urban experience.

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Children's mental health is a critical public health priority, with approximately 8% of children aged 10 years or younger experiencing mental, behavioral, or emotional disorders. Despite evidence supporting early intervention, access to mental health services remains limited, particularly for socioeconomically disadvantaged populations. Art-based interventions have emerged as promising approaches to support mental health and socioemotional development. However, significant gaps persist in understanding their efficacy, scalability, and long-term impact. This study aims to evaluate the effectiveness and cost-effectiveness of a community-based visual arts intervention on children's self-concept, psychological adjustment, and health-related quality of life (HRQoL) in vulnerable communities. This study is a cluster nonrandomized controlled trial with children from socioeconomically disadvantaged neighborhoods. Children aged 6 to 12 years (n=156; intervention: n=104, 66.7%; waitlist control: n=52, 33.3%) will be recruited through schools and community projects. Allocation to the intervention or waitlist control group will be based on neighborhood or cluster membership. The intervention consists of 1-hour weekly visual arts sessions over 9 months led by a professional artist, culminating in community art exhibitions. Assessments will be conducted at baseline (T1) and postintervention assessment (T2) using validated measures: the Strengths and Difficulties Questionnaire (SDQ) for psychological adjustment, the Self-Perception Profile for Children (SPPC) for self-concept, and the Child Health Utility 9D (CHU9D) for HRQoL, as well as societal resource use and related costs. Quantitative data will be analyzed using regression models and intention-to-treat principles. This study was funded in September 2023. Recruitment began in March 2024 and ended in July 2025. As of April 2024, a total of 179 participants had been enrolled. Data collection was completed in July 2025, and analysis is expected to begin in April 2026. Results are anticipated to be published in September 2026. This project has the potential to enhance children's self-concept, psychological adjustment, and HRQoL through participation in a community-based visual arts intervention. The study design, with assessments at preintervention and postintervention time points, will provide valuable insights into the trajectories of psychosocial and quality-of-life outcomes in this population. In addition, the combination of psychosocial assessment and economic evaluation will generate important evidence on the cost-effectiveness of art-based interventions, informing both educational and public health decision-making. ClinicalTrials.gov NCT07165704; https://clinicaltrials.gov/study/NCT07165704. DERR1-10.2196/84994.

Virtual environments are increasingly used to promote cognitive and psychological well-being, yet the influence of environment type and user characteristics (e.g., age) remains unclear, particularly in low-immersion formats such as videos. Moreover, the relationship between subjective and objective measures of cognition warrants further investigation. This study examined the effects of brief exposure to simulated 2D natural, artistic, or control (office) environments on subjective Perceived Attentive Efficiency, objective Cognitive Performance, and Perceived Restorativeness in 88 participants (44 young, 44 older adults). Participants completed single-item ratings of perceived attentive efficiency and digitalized neuropsychological tasks pre- and post-exposure, while restorativeness was assessed only post-exposure. Bayesian repeated-measures ANOVAs showed that participants exposed to natural and artistic environments reported higher perceived attentive efficiency and restorativeness than those exposed to the control environment. However, no corresponding improvements were observed in the objective cognitive measures. These findings suggest that, under the present experimental conditions, brief exposure to simulated 2D environments was associated with changes in subjective but not objective attentional outcomes. The comparable pattern of results observed for natural and artistic environments further suggests that factors such as positive valence or aesthetic appeal may contribute to perceived benefits, although the specific mechanisms involved require further investigation. No age-related differences emerged, indicating broadly similar responses across younger and older adults. Overall, the findings highlight the importance of considering both subjective and objective indicators when evaluating restorative environmental interventions and provide preliminary support for the potential value of scalable, low-cost virtual experiences for promoting perceived cognitive and psychological well-being.

This study aimed to examine whether occupational performance characteristics observed during occupational therapy could facilitate the differential diagnosis of individuals with bipolar disorder (BD) and major depressive disorder (MDD). A retrospective chart review was conducted on patients admitted to a university hospital for a one-week diagnostic evaluation. Eligible participants were aged 20-70 years, diagnosed with BD or MDD, and presented with at least mild depressive symptoms (Montgomery-Åsberg Depression Rating Scale ≥7). Behavioral data were systematically recorded during a structured occupational therapy session involving artistic activities. Occupational performance characteristics were identified via qualitative content analysis and coded as binary variables. Group differences were examined using nonparametric tests, followed by simultaneous discriminant analysis and receiver operating characteristic (ROC) analysis to evaluate diagnostic utility. In addition, leave-one-out cross-validation (LOOCV) was performed as an internal validation procedure to assess the stability of the discriminant model. The study sample comprised 21 patients with BD and 35 patients with MDD. Among 66 identified occupational performance characteristics, 3 specific behaviors, namely "Messy work," "Psychomotor dysregulation," and "Work on your own without using a textbook," were significantly more prevalent in the BD group. The discriminant model incorporating these characteristics achieved an overall classification accuracy of 80.4%, which was also observed in LOOCV. ROC analysis indicated moderate discriminative power (AUC = 0.765), characterized by relatively high specificity (94.3%) and moderate sensitivity (57.1%). Distinct occupational performance characteristics observed during occupational therapy provide clinically meaningful insights for differentiating BD from MDD during depressive episodes. Systematic behavioral observation in ecologically valid settings may serve as a valuable adjunct to conventional symptom-based diagnostic frameworks.

Mindfulness-based artistic-contemplative interventions, including auditory "sound pills," have increasingly been investigated using neurophysiological measures such as electroencephalography (EEG) to promote psychological well-being and attentional regulation. However, the neurophysiological mechanisms underlying these interventions remain poorly understood. This pilot, exploratory, within-subject proof-of-concept study investigated the neurophysiological effects of mindfulness-based artistic-contemplative sound pills in adults using EEG. Twelve participants were exposed to structured auditory interventions integrating poetic narratives, soundscapes, and mindfulness instructions. EEG activity was recorded before, during, and after the intervention, and spectral power across frequency bands was analyzed using linear mixed-effects models. Subgroup analyses by artistic modality (visual arts, dance, music, and theater) were also performed. At the group level, exploratory analyses indicated a statistically significant modulation of high-frequency beta activity (20-30 Hz), characterized by a reduction during the intervention compared to the pre-intervention baseline, followed by a return toward baseline levels in the post-intervention phase. No statistically significant global changes were observed in the other frequency bands examined, including alpha (8-12 Hz), theta (4-8 Hz), delta (0.5-4 Hz), mu, low-frequency beta (12-20 Hz), and the combined theta + alpha band. Subgroup analyses by artistic modality suggested descriptive, modality-specific oscillatory patterns; however, these findings should be interpreted as hypothesis-generating only, given the very small sample sizes per modality (n = 2-4) and the absence of a control condition. Overall, the results provide preliminary evidence that artistic-contemplative auditory interventions can modulate neural oscillatory dynamics, particularly within the high-frequency beta range. Given the small sample size, within-subject design, and lack of a control condition, these findings should be interpreted with caution and require confirmation in larger controlled studies.

Broadway's extraordinary commercial success rests on the shoulders of elite performers whose psychological well-being directly contributes to the industry's artistic excellence and economic sustainability. However, the lived experiences of professional musical theatre performers remain underexplored in scholarly literature. Existing research has emphasized individual coping strategies, with less focus on the conditions that support sustained well-being in high-stakes performance contexts. This exploratory single-case study investigated how a seasoned female Broadway performer sustains her well-being throughout her career. Interpretative Phenomenological Analysis (IPA) was combined with poetic inquiry to interpret and communicate the data, vividly portraying the participant's lived experience. Four found poems were crafted from interview transcripts, using Ryff's eudaimonic model of psychological well-being as a post-analytic lens. The findings reveal that the performer's psychological well-being was not primarily sustained by conventional strategies such as detachment, rest, or individualized self-care. Rather, her well-being was supported through autonomy, artistic integrity, meaningful connection, and purpose, and threatened when workplace environments withheld recognition, restricted artistic agency, or limited opportunities for honest feedback and collaboration. Viewed through the lens of Ryff's eudaimonic model of psychological well-being, the findings suggest that this performer's well-being was shaped more by ethical, relational, and structural workplace factors than by individual coping strategies alone. The insights have implications for educators, directors, and producers, emphasizing the need for systemic, autonomy-supportive practices that sustain artistic excellence and support long-term participation in elite performance industries.

In this project, we investigate how visual complexity and the authorship of artworks, whether created by a human or modified by artificial intelligence, affect viewers' aesthetic experience. Additionally, we examine how these factors influence participants' evaluations of how beautiful and how intriguing they find the artworks. 71 participants viewed and evaluated 16 artworks drawn from an existing database, including original paintings and images modified by Neural Style Transfer. Using repeated-measures multivariate analysis of variance, we found significant main effects of complexity and authorship on aesthetic experience, as well as a significant interaction between these factors. Separate analysis of variances showed that higher complexity increased both beauty and intrigue ratings, while the main effect of image authorship on these dimensions was not significant. For beauty, this effect was further qualified by an interaction with authorship: among highly complex images, artificial intelligence (AI)-modified artworks were rated as more beautiful than original ones. Overall, these findings underline the central role of visual complexity in shaping aesthetic experience, as well as ratings of beauty and intrigue. Participants also reported higher ratings for original artworks compared to AI-modified images on selected dimensions of aesthetic experience including ease of perceptual organization, understanding, knowledge about the artwork and insight into the artist's intention. Notably, in AI-modified images, higher complexity enhanced perceptual clarity, understanding as well as perceived beauty, suggesting that aesthetic appreciation depends not only on perceptual fluency but also on meaningful structure and interpretability. Together, these findings highlight complementary effects of visual complexity and artwork authorship on subjective aesthetic experience.

Sight loss will affect an estimated 2.7 million people in the UK by 2030 and is associated with substantial reductions in quality of life, mobility, independence, and poorer mental health. Our own research has demonstrated that depressive symptoms are highly prevalent among blind and partially sighted people yet often remain unrecognised and untreated. To effectively disseminate our research to healthcare professionals, we involved members of the public with lived experience of sight loss in an art installation. The aim of this project is to evaluate the feasibility and value of using such an arts-based approach as a method for involving blind and partially sighted individuals in dissemination, and here we reflect on what all stakeholders learnt from the process. We recruited eight blind and partially sighted storytellers to share themes from our research using narratives of their own lived experience, focusing on the emotional impact of sight loss and professional interactions. Audio-recorded stories and accompanying portraits were developed into Eight Voices in Darkness, a sound installation designed to reflect both the literal and metaphorical darkness associated with vision impairment and depression. The installation was exhibited publicly over three days alongside workshops for eyecare professionals and mental health practitioners. Visitor and participant feedback (n = 92) was analysed using Pendleton's reflective framework to explore what went well, what did not, and what was learned. Visitors consistently reported an enhanced understanding of the mental health consequences of sight loss, valuing the authenticity, emotional resonance, and individuality conveyed through the artistic format. Many indicated intentions to adopt more empathetic, patient centred practices, improve accessibility, and initiate conversations about mental health. Storytellers highlighted the value of being heard and connecting with others' experiences. Researchers and the artist reflected on the strengths of partnership with the charity, the power of the immersive format, and challenges relating to managing expectations. The process generated important insights into involving the public in dissemination through art, including ethical editing, audience preparation, and sustaining involvement. Involving people with lived experience in arts-based dissemination offers a powerful and engaging method for disseminating research findings to professionals to improve healthcare. Future work should refine practical elements and enhance coproduction. Many people in the UK live with sight loss, which can make every aspect of everyday life harder, including tasks like reading and mobility. Our research showed that sight loss can also impact mental health, and that many people with sight loss do not get the emotional support they need, partly because some eyecare professionals do not realise how common mental health problems are among this group. Our aim was to involve patients and the public, specifically blind and partially sighted people, in sharing our research effectively so that vision-related professionals and the public could learn how sight loss affects mental health. We created an art project called Eight Voices in Darkness. Eight individuals talked about the key topics noted in our previous body of research on sight loss and mental health: how their sight loss affects their feelings, challenges faced, and support required. Their stories were recorded, along with a portrait photo of each person. An artist turned these stories into an art installation. In a quiet, dark theatre, visitors could sit and listen to short parts of each person’s story. Over three days, almost 200 people visited. Many said the experience helped them understand sight loss in a new and powerful way and they would try to be more kind, patient, and willing to talk about mental health in the future. The storytellers also said it felt good to be listened to. This project showed that art is a valuable mechanism to involve individuals with lived experience in sharing research with professionals and the public to improve healthcare. Research teams must consider practical and ethical considerations when individuals’ stories are harnessed to share research findings and allow sufficient time and resources.

Dendrochronological research of panel paintings provides essential evidence for their dating and attribution. However, the uncertain interval between the tree's felling and a painting's completion, accounting for the transport, seasoning, and storage of the wood, hinders the accurate estimation of production dates. This study combines historical research with an analysis of dendrochronological data from over 1900 17th-century Dutch and Flemish panel paintings to examine the interval between tree felling and painting production, considering additional storage time at artist's workshops. Results show that panels were typically used within 4.6 to 7.5 years of felling (2.8 ± 2.5 years for French/Belgian/German, 3.4 ± 2.4 years for Polish, and 7.8 ± 1.7 years for Eastern Baltic oak). Paintings with boards from the same tree were completed within 1 to 1.8 years from each other. These findings serve to refine estimated production periods based on provenance of the wood and exact dendrochronological dates, aiding in the attribution of disputed artworks.