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This article presents exploratory research examining the strategies employed by art teachers who identify as dyslexic. The study originated out of the personal interest of the researchers better to understand the strategies for learning used by teachers with dyslexia and the potential influence it has on their pedagogy. The question that this interest generates is "What learning strategies, used by art teachers with dyslexia, can be used as pedagogical tools?" To help answer this question, three art teachers were chosen to participate in the research; this was a purposeful choice, based on their self-identification as having "severe" dyslexia. The research consisted of informal interviews and classroom observations. However, we found that autobiographical details, augmented by reflections their individual teaching and learning experiences were particularly useful. We focused on whether strategies used as learners were now informing their teaching. Although small in scale, the study connects several positive attributes often associated with dyslexia (such as visual spatial awareness) to classroom practices, in addition to empathy with struggling students.

A phenomenological approach was employed in order to record and present the lived experiences of three students during a five-hour art-making activity. Theoretical definitions of cognitive processes pertinent to art and design were compared with the descriptions gathered from the students. The research was intended to portray as accurately as possible individuals' experiences in order to ascertain whether there is a possibility for soundly ascribing cognitive functions to art-making processes. The descriptions of students' thought processes reveal the ways with which the selected students approach learning and also offer insights into the possible links between cognition and artmaking. The findings of the study suggest that intuitive and perceptive processes are utilised by the chosen participants in a variety of ways. The consideration of the ordering of visual elements is a process that all participants describe within their art making. The students' visual judgements appear to be a direct response to the art-work being made. (Contains 3 figures.)

Objective: To assess for TDP‐43 deposits in brains with and without a LRRK2 G2019S mutation. Background: LRRK2 G2019S mutations have been associated with parkinsonism and a wide range of pathological findings. There are no systematic studies examining the frequency and extent of TDP‐43 deposits in neuropathological samples from LRRK2 G2019S carriers. Methods: Twelve brains with LRRK2 G2019S mutations were available for study from the New York Brain Bank at Columbia University; 11 of them had samples available for TDP‐43 immunostaining. Clinical, demographic, and pathological data are reported for 11 brains with a LRRK2 G2019S mutation and compared to 11 brains without GBA1 or LRRK2 G2019S mutations with a pathologic diagnosis of Parkinson's disease (PD) or diffuse Lewy body disease. They were frequency matched by age, gender, parkinsonism age of onset, and disease duration. Results: TDP‐43 aggregates were present in 73% (n = 8) of brains with a LRRK2 mutation and 18% (n = 2) of brains without a LRRK2 mutation (P = 0.03). In one brain with a LRRK2 mutation, TDP‐43 proteinopathy was the primary neuropathological change. Conclusions: Extranuclear TDP‐43 aggregates are observed with greater frequency in LRRK2 G2019S autopsies compared to PD cases without a LRRK2 G2019S mutation. The association between LRRK2 and TDP‐43 should be further explored. © 2023 International Parkinson and Movement Disorder Society. [ABSTRACT FROM AUTHOR]

This article examines the strategies that can be used to enhance students' understanding of how subjects link together and whether cross-curricular approaches, through a gallery project, have any real impact on students' understanding of the links between subjects. A substantial part of this article, however, describes the methodological aspect of the project. A phenomenological case study approach was used in order to engage fully with individual students' learning experiences. It was found that the students who were involved directly with the study felt that the links between subjects had more relevance to their learning when the teacher made such links explicit. They were unaware of the relevance of many cross-curricular links made in lessons, but the study indicated that cross-curricular learning can enable students to transfer skills and knowledge in order to understand concepts more fully.

This article is an account of a pilot project designed to help art & design teachers in training use their particular strengths to report on classroom observation through visual art. The project is underpinned by the notion that the arts provide a particular way of knowing and that teaching should be student-centred. I argue that if the arts can be seen to be a particular way through which we can understand the world then they can be used as both a pedagogical tool and possibly a vehicle for collecting data and reporting research. A group of 19 student teachers of art & design were given tasks which involved reporting on their school placement experience via a visual art form rather than through a text-based form such as writing. The resulting images were discussed in a seminar and a sub-group of three students was purposely selected for interviews. It was found overall, the students valued the approach taken and that they gained valuable insights into their professional placements through adopting an art-based approach to educational research.

This article is about the ways in which young people who have disengaged from learning in school can find a way back through leadership activities in art. It is based on a project which was funded by a small grant from the Wallenberg Foundation. The project explored the potential of an approach to developing positive leadership qualities in pupils who were not consistently committed to the school's learning purposes. This account describes and comments upon two pupils' guided attempts at peer teaching in art and its subsequent effect upon their self-esteem and attitude towards school. It was found that pupils who taught art to other pupils had an increased sense of self-worth and were more positively affected towards learning. However, broader issues, such as the negative nature of some school systems and their role in de-motivating pupils were highlighted.