The COVID-19 pandemic has exposed major gaps in our understanding of the transmission of viruses through the air. These gaps slowed recognition of airborne transmission of the disease, contributed to muddled public health policies and impeded clear messaging on how best to slow transmission of COVID-19. In particular, current recommendations have been based on four tenets: (i) respiratory disease transmission routes can be viewed mostly in a binary manner of ‘droplets’ versus ‘aerosols’; (ii) this dichotomy depends on droplet size alone; (iii) the cut-off size between these routes of transmission is 5 µm; and (iv) there is a dichotomy in the distance at which transmission by each route is relevant. Yet, a relationship between these assertions is not supported by current scientific knowledge. Here, we revisit the historical foundation of these notions, and how they became entangled from the 1800s to today, with a complex interplay among various fields of science and medicine. This journey into the past highlights potential solutions for better collaboration and integration of scientific results into practice for building a more resilient society with more sound, far-sighted and effective public health policies.

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Previous research on the benefits of art classes beyond being a creative outlet show that art classes can be a good place for students to practice being a better citizen. However, in the research there is a lack of the student view on completing a socially engaged art (SEA) project and what they learned from it. The purpose of my research was to understand student perception of socially engaged art, as well as to explore the skills learned from art that can help students be socially active in their communities. More specifically, this research shows that art classes teach skills that are beneficial to students in helping them become better citizens and connect with their community. A mixed methods approach was used in order to have a wellrounded understanding of the students' views on art classes and completing the SEA project.Post project interviews with students show that many students were not aware of the potential for art to be a voice for their opinions, and that they were considering how to continue to use their art to speak out for what they believe in. Students also enjoyed participating in an activity that was purposeful, and many felt that completing the SEA project made them practice real life skills. This evidence suggests that implementing SEA projects in the art curriculum allows students a chance to practice being a democratic citizen.iv Acknowledgments I would first like to thank my thesis advisor Dr. Jennifer Lucko. She always had valuable advice, writing suggestions, and critiques on my thesis that helped me work through my project and paper.