Arts最新文献 - Book学术

Anti-Art Poetics: Paul Celan’s “Meridian” Speech 反艺术诗学：保罗·策兰的“子午线”演讲

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Arts Pub Date : 2026-04-22 DOI: 10.3390/arts15050086

Shuwei Zhang

引用次数: 0

Patricia Johanson’s Radical Garden Proposals (1969)—Then and Now 帕特里夏·约翰逊激进的花园建议（1969）——过去和现在

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Arts Pub Date : 2026-04-15 DOI: 10.3390/arts15040082

Emily Eliza Scott

{"title":"Patricia Johanson’s Radical Garden Proposals (1969)—Then and Now","authors":"Emily Eliza Scott","doi":"10.3390/arts15040082","DOIUrl":"https://doi.org/10.3390/arts15040082","url":null,"abstract":"This essay focuses on a series of radical, never-built “garden” designs from 1969 by the artist-turned-landscape-architect Patricia Johanson (1940–2024), which proposed sites in and around New York City that would confront the public with complex human–ecological interrelationships of the day, often posing thorny questions about them. In all, she composed 150 drawings and 7 related essays, sparked by a misguided commission from House & Garden magazine, which envisioned everything from skyscrapers retrofitted with plant trellises to filter water; to the conversion of a highway interchange into a clover field for honey production; fissures sliced into asphalt to allow the release and observation of subterranean steam; and a river dyed to highlight, rather than conceal, ongoing industrial pollution. I revisit this ambitious, multidisciplinary body of work not only in relation to its original context, when a modern ecology movement was gaining momentum, American cities were becoming ever more privatized, and a number of fellow artists began making large-scale outdoor artworks that would come to dominate art historical accounts of land and environmental art, but also, through the lens of its continued, and arguably heightened, relevance in our own moment of spiraling climate breakdown, corporate geo-engineering schemes, and further enclosures of various commons, as well as an ever-growing field of eco-art history, to which this special journal issue is a testament.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The ABC of Avante-Garde Bridge Construction, or, How Henry Miller & Vladimir Mayakovsky’s Bridges Were Built 先锋派桥梁建设的基础知识，或者亨利·米勒和弗拉基米尔·马雅可夫斯基的桥梁是如何建造的

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Arts Pub Date : 2026-04-15 DOI: 10.3390/arts15040081

Andrey Astvatsaturov, Feodor Dviniatin

引用次数: 0

The Body Remembers: Embodied Trauma, Resilience, and Matrilineal Healing in Contemporary Art 身体记忆：当代艺术中的创伤、复原力和母系疗愈

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Arts Pub Date : 2026-04-15 DOI: 10.3390/arts15040083

Alexandria Zlatar, Hala Georges

{"title":"The Body Remembers: Embodied Trauma, Resilience, and Matrilineal Healing in Contemporary Art","authors":"Alexandria Zlatar, Hala Georges","doi":"10.3390/arts15040083","DOIUrl":"https://doi.org/10.3390/arts15040083","url":null,"abstract":"This paper explores the intersection of embodied trauma, resilience, and healing as represented in contemporary art, focusing on a case study analysis of the autoethnographic practice as a reflexive methodology that integrates personal lived experience with cultural, political, and artistic analysis of the works of Zlatar. Central to this study is examining the notion of rematriation, which calls for the reclamation of women’s histories and the restoration of knowledge passed down through generations. Through a series of her paintings, including works from her series A Serbian Renaissance, Refuge For the Oppressed Body, and The Minotaur Came and I Surrendered, Zlatar interrogates the transmission of trauma across generations of women, from Balkan origins, focusing on issues such as gender-based violence, displacement, and identity formation. These works challenge dominant narratives by centring women’s experiences not through externalized indicators or representations of healing, but mediating how mind–body relationships have dialogue, and her art employs this concept as spaces for memory, survival, and meaning-making. Drawing on feminist philosophy, artwork analysis and trauma studies, this paper situates Zlatar’s art to address historical inequities in women’s healing and the ongoing struggle for women’s agency and safety in contemporary society.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"19 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bubbles of the Dying: Geography and Displacement, History and Erasure 死亡的泡沫：地理与位移，历史与抹除

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Arts Pub Date : 2026-04-14 DOI: 10.3390/arts15040080

Nikos Papastergiadis

{"title":"Bubbles of the Dying: Geography and Displacement, History and Erasure","authors":"Nikos Papastergiadis","doi":"10.3390/arts15040080","DOIUrl":"https://doi.org/10.3390/arts15040080","url":null,"abstract":"In this article, I will use the ecological approach to explore the recent videos of Pinar Öğrenci. I will focus on two works: Agit (2022) and Cemetery of the Nameless (2025). In the latter work, there is a complex examination of the interplay between the precarious paths taken by refugees and the climate change crisis. She also explores the multiple layers of history and memorialization in sites that have been scarred by genocide. In Cemetery of the Nameless (2025), Pinar establishes an analogy between missing bodies and the contamination of the water of Lake Van. However, this connection is not linear and there is no direct cause and effect; Lake Van was meant to be a transit zone for the refugees, not a cemetery. I will argue that the function of analogy is in its suggestion of comparisons, rather than the establishment of equivalence. Öğrenci thereby puts the analogy to work in a dual manner—it both amplifies and concentrates our attention. We listen to the narratives of migration while looking at the scenes caused by climate change. The image broadens the horizon of the narrative, and the voice sucks the gaze into a dark hole. In this manner, Öğrenci’s art of witnessing, which both combines and separates voice and image, amplifies and concentrates the transfer of information. I will also frame this commentary on the artworks with a broader discussion on the politics of care and memorialization.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"42 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Technē of the Scriptor: Graphomania as Technique: Lebiadkin, Khlebnikov, Limonov, and Others 写作者的技术：作为技术的书写癖：莱比亚金、赫列布尼科夫、莱蒙诺夫和其他人

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Arts Pub Date : 2026-04-14 DOI: 10.3390/arts15040078

Alexander Zholkovsky

{"title":"Technē of the Scriptor: Graphomania as Technique: Lebiadkin, Khlebnikov, Limonov, and Others","authors":"Alexander Zholkovsky","doi":"10.3390/arts15040078","DOIUrl":"https://doi.org/10.3390/arts15040078","url":null,"abstract":"The paper examines the poetics of graphomania as a productive aesthetic device within the Russian literary tradition, focusing primarily on Velimir Khlebnikov and extending the analysis to figures such as Fedor Dostoevsky’s Captain Lebyadkin and real authors such as Eduard Limonov, Dmitrii Prigov, and Sasha Sokolov. Building on the article’s central insight that Khlebnikov’s “bad writing,” stylistic shifts, and violations of canonical norms constitute not a defect but a sui generis artistic strategy, the study situates these techniques within broader historical and theoretical frameworks, including the Formalist concepts of parody, junior branch, and heteroglossic subcodes of poetic culture. The article traces the way Khlebnikov’s dynamic alternation of heterogeneous linguistic, prosodic, and generic registers produces a complex, unstable but grandstanding authorial “I” aligned with the traditional figure of the poet-as-character and the culturally embedded myth of the Poet–Tsar. Furthermore, it maps a genealogy of “graphomaniac” writing from the avant-garde to postmodernism, demonstrating how later authors transform Khlebnikov’s innovations—alternately amplifying, parodying, or ironizing them. Through close readings and extensive intertextual contextualization, the article argues that graphomania functions as a critical mechanism for destabilizing aesthetic orthodoxies, exposing, performing and producing literary authority, and redefining the boundaries between norm and deviation, author and character, poetic freedom and canonical constraint.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"6 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

In the Texture of Things: Collage as a Site of Material Constraint and Possibility 在事物的纹理中：拼贴作为一种物质约束和可能性的场所

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Arts Pub Date : 2026-04-14 DOI: 10.3390/arts15040079

molly rosabelle ackhurst

引用次数: 0

Panel Painting to JPEG: The Ontological Failure of Artificial Intelligence Generated Icons 面板绘画到JPEG：人工智能生成图标的本体论失败

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Arts Pub Date : 2026-04-13 DOI: 10.3390/arts15040076

Karen Phan

{"title":"Panel Painting to JPEG: The Ontological Failure of Artificial Intelligence Generated Icons","authors":"Karen Phan","doi":"10.3390/arts15040076","DOIUrl":"https://doi.org/10.3390/arts15040076","url":null,"abstract":"This thesis examines the theological status of artificial intelligence-generated religious imagery through Byzantine icon theory, asking whether such images can participate in the material, devotional, and communal, definitions traditionally ascribed to icons. Situating AI within an intellectual lineage beginning with iconoclasm debates and then turning to Alan Turing’s “Computing Machinery and Intelligence”, this project places contemporary image generation models such as DALL·E and Midjourney in dialog with late antique and Byzantine debates on representation, likeness, and mediation. Drawing on St Theodore the Studite’s defense of icons as relational images grounded in the Incarnation, this thesis argues that AI-generated portraits cannot be understood as icons in a theological or art historical sense. Icons depend upon an embodied triad between maker, prototype, and worshiping community, sustained through liturgical practice, ascetic discipline, and intentional craft. Adding Aristotle’s account of deliberation further clarifies this distinction: algorithmic production lacks the ethical agency and purposive choice intrinsic to sacred image-making. While engaging the scholarship of Robin Cormack, Charles Barber, Bissera V. Petcheva, and many others, this study reasserts the Christological foundations of icon theory while situating AI imagery within contemporary political economies of data extraction, militarism, and environmental cost. AI may attempt to reproduce religious imagery, but it cannot generate objects of real veneration.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"242 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Velimir Khlebnikov and the Fourth Dimension 维里米尔·赫列布尼科夫和第四维度

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Arts Pub Date : 2026-04-13 DOI: 10.3390/arts15040077

Willem G. Weststeijn

{"title":"Velimir Khlebnikov and the Fourth Dimension","authors":"Willem G. Weststeijn","doi":"10.3390/arts15040077","DOIUrl":"https://doi.org/10.3390/arts15040077","url":null,"abstract":"The developments in mathematics in the nineteenth century, in particular non-Euclidean geometry, which was not concerned with flat space, but with curvature, led at the end of the century and the beginning of the next one to much discussion of and experiments with the fourth dimension. The idea of a fourth dimension played a major role in the arts. In literature the Symbolists were convinced that there existed a “higher” reality behind the visible one and tried to suggest it in their poetry. In pictorial art and sculpture completely new forms emerged that distorted reality and in that way showed that one had to look at the world in a different way; there was something beyond the usual three dimensions. Many artists consciously tried to visualize this “beyondness”, the fourth dimension. The followers of the idea of a higher reality considered the fourth dimension as time, most artists as space. Much influence in the discussion about the fourth dimension had Charles Howard Hinton and, especially in Russia, Pyotr Ouspensky; both wrote a book entitled The Fourth Dimension (1904 and 1909, respectively), in which they propagated their ideas. The Futurist poet Velimir Klebnikov did not explicitly mention the fourth dimension in his work, but in view of his scientific interests (he studied mathematics at the University of Kazan, one of whose most celebrated scientists was Nikolai Lobachevsky, the founder of non-Euclidean geometry) and his close ties with the avant-garde painters, he was undoubtedly aware of the ideas about the fourth dimension in his time. Khlebnikov compared himself with Lobachevsky and used his geometry in his own description of the cities of the future. With his experiments with language and numerals he tried to find a new meaning behind the usual ones, and he made endless calculations to determine the laws of time: there must be some principle that rules the continuous stream of events. Establishing this principle, one might transcend history and ultimately find a solution for fate and death. His entire work is devoted to the search of a new dimension.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"2 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147684667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

In the Shadow of the Eclipse (2 June 1509): Giulio Campagnola’s The Astrologer, Venice, and the Science of Stars 在日食的阴影下（1509年6月2日）：朱利奥·坎帕诺拉的《占星家、威尼斯和星象科学》

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Arts Pub Date : 2026-04-13 DOI: 10.3390/arts15040075

Matteo Soranzo

引用次数: 0