Betty Grisham loves to paint the bond between people and their pets. Her understanding of that bond, however, goes beyond mere sentiment to a place of rich emotion. In Carol and Sasha, the face of the painting’s human subject, Carol (a good friend of Grisham’s), is not shown, leaving the viewer to conjecture about the woman’s thoughts and feelings as she and limpid-eyed Sasha sit in a gently rocking boat on a pleasant fall day.

Many artists have felt moved to express in visual terms their sense of awe and wonder at the mysteries of the spiritual realm. Explorations of deep spiritual and psychological meanings are the inspiration for the recent work of Marilyn Banner, a Maryland-based artist.

In Pond on Pond, Peggy Hering explores subject matter that has been popular since the French impressionists moved their easels outside to capture the play of light on buildings, water, and landscapes. But Hering's vision of her water lilies is thoroughly postmodern. The title Pond on Pond refers both to the picture-in-picture effect she has created in her vibrant and shimmering water-color and to the intertextuality of art, as each new image created sets up a dialogue with all other images. Hering explained that this painting is a visual representation of the many ways of seeing. “There is never only one way to see [an object],” she said. “There are always infinite possibilities.”

Until the 1980s, anti-drug education campaigns in the UK were rare. This article examines the reasons behind a policy shift that led to the introduction of mass media drug education in the mid 1980s. It focuses on two campaigns. ‘Heroin Screws You Up’ ran in England, and ‘Choose Life Not Drugs’ ran in Scotland. The campaigns were different in tone, with ‘Heroin Screws You Up’ making use of fear and ‘shock horror’ tactics, whereas ‘Choose Life Not Drugs’ attempted to deliver a more positive health message. ‘Heroin Screws You Up’ was criticised by many experts for its stigmatising approach. ‘Choose Life Not Drugs’ was more favourably received, but both campaigns ran into difficulties with the wider public. The messages of these campaigns were appropriated and deliberately subverted by some audiences. This historical policy analysis points towards a complex and nuanced relationship between drug education campaigns and their audiences, which raises wider questions about health education and its ‘publics’.

Lower lip hypoesthesia is the most common complication following osseous genioplasty. Concentrated growth factor (CGF) has recently been shown to improve neural regeneration. The aim of this study was to evaluate the effect of concentrated growth factor on neurosensory recovery after osseous genioplasty. Patients who underwent osseous genioplasty between June 2017 and February 2020 were enrolled. CGF was applied to the mental nerve on one side. The treatment side was randomized, and the other side was considered as the control. Lower lip hypoesthesia was assessed preoperatively and postoperatively (1 week, 1, 3, 6, and 9 months) using the two-point discrimination test and a 10-point visual analogue scale (self-reported paresthesia). The assessor was blinded. Twenty-six female patients completed the study. At 1 and 3 months, both the mean two-point discrimination value and mean visual analogue scale score were significantly lower in the CGF group than in the control group (P < 0.001). At 3 months, the percentage of patients with lower lip hypoesthesia in the CGF group was significantly lower than that in the control group (P < 0.001). Both groups showed resolution of lower lip hypoesthesia at 6 months. Concentrated growth factor may accelerate the recovery of long-standing sensory nerve impairment following mental osteotomy.