Arts最新文献

{"title":"Seeing the Unborn: Artificial Intelligence and the Iconographic Visibility of Pregnancy in Early Modern Iberian Religious Art","authors":"Jose Luis Bartha","doi":"10.3390/arts15050106","DOIUrl":"https://doi.org/10.3390/arts15050106","url":null,"abstract":"This article examines the visibility and invisibility of pregnancy in early modern Iberian religious art through artificial intelligence. While sacred imagery in Catholic Spain and Portugal between the 14th and 17th centuries includes representations of the pregnant Virgin Mary and scenes related to maternity, such depictions are often symbolically coded and devoid of embodied detail. Using the Astica Vision AI system, a two-phase methodology was applied to a total of fifty-two artworks depicting the Virgin of Expectation, the Visitation, and the Nativity of the Virgin. In the first phase, images were submitted without context to observe whether the AI could independently identify pregnancy or maternal affect. In the second phase, the same images were reanalyzed with iconographic metadata. Findings show that AI frequently fails to detect gestation in sacred images, and even when context is provided, rarely describes bodily signs or relational affect. These findings reflect the visual logic inherent to sacred art, which tends to prioritize theological meaning over biological or emotional realities. The inclusion of a modern secular photograph of pregnancy highlights the contrast: there, AI readily identifies maternal embodiment, emotion, and connection. This contrast reveals how cultural and doctrinal frameworks shape visual codes of legibility. Rather than a neutral observer, the AI becomes a diagnostic tool, amplifying iconographic silences and revealing how sacred art disciplines perception. The article proposes a new methodological role for machine vision in the humanities: not to mimic human reading, but to uncover what remains unseen in visual culture.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"17 1","pages":"106"},"PeriodicalIF":0.5,"publicationDate":"2026-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148289697","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}

{"title":"The Téchne of the 21st Century Transgressive Laughter: Stiob, Holy Foolishness, Rock Counterculture and Carnivalesque Trolling","authors":"Mark Yoffe","doi":"10.3390/arts15050103","DOIUrl":"https://doi.org/10.3390/arts15050103","url":null,"abstract":"This article offers a comprehensive theorization of stiob as a historically sedimented, culturally specific, yet increasingly globalized modality of ironic discourse whose logic of deadpan overidentification has migrated from late-Soviet conceptualist counterculture into twenty-first-century political communication. Revisiting the folkloric, carnivalesque, and double-voiced foundations of stiob, this study situates the phenomenon within the longue durée of Russian humor, holy foolishness (юрoдствo), and the grotesque tradition described by Dmitry Likhachev, Aleksandr Panchenko, Mikhail Bakhtin, and Sergei Averintsev. The argument proceeds to demonstrate how contemporary political actors—most prominently Donald Trump and Vladimir Putin—have appropriated stiob and its adjacent practices (holy foolishness, trolling, strategic sacrilege, and carnivalesque inversion) as powerful rhetorical instruments capable of destabilizing discursive norms, undermining institutional authority, and creating a semi-permanent state of “infernal laughter.” Drawing on examples from political speech, social media, public performance, and mediatized spectacle, the article contends that both Trump and Putin deploy a repertoire of ironic aggression, misdirection, double-voiced innuendo, and taboo-breaking parody that weaponizes cultural archetypes of the jester, trickster, and holy fool. This mode of communication, simultaneously theatrical and destructive, produces a new form of political carnivalesque in which hierarchical orders are inverted, outrage is instrumentalized, and the distinction between sincerity and mockery collapses. Ultimately, this article argues that stiob, trolling, and holy foolishness now constitute a transnational discursive formation reshaping public culture in the twenty-first century.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"140 1","pages":"103"},"PeriodicalIF":0.5,"publicationDate":"2026-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285633","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}

{"title":"Mike Kelley’s Speculative Architectures: Rethinking Public Art, Pedagogy, and Memory in Social Engagement","authors":"Amy Bowman-McElhone","doi":"10.3390/arts15050104","DOIUrl":"https://doi.org/10.3390/arts15050104","url":null,"abstract":"This article examines Mike Kelley’s Educational Complex (1995) and his culminating public artwork, Mobile Homestead (2005–2013), as speculative architectures that negotiate the fraught intersections of pedagogy, memory, and public engagement. While Educational Complex mobilizes the language of architectural models and dioramas to materialize “blanks” as forms of pedagogical repression and institutional affiliation, Mobile Homestead extends this inquiry into public space through a community-oriented artwork that simultaneously invites access and withholds subterranean, private zones. Situating these projects within discourses of socially engaged and public art, the article argues that Kelley stages a productive paradox: his sustained skepticism toward public art’s political agency is folded into works that nonetheless generate collective encounters, informal pedagogies, and disaffiliated publics. Read together, these speculative architectures reconceptualize failure, disobedience, and disaffiliation not as negations of public engagement, but as critical strategies for exposing institutional complicity while constructing alternative architectures of memory, play, and social relation. By repositioning Kelley—often read primarily through psychoanalytic frameworks—as a pivotal yet overlooked figure in the histories of socially engaged and public art, the article unsettles prevailing narratives of community, resistance, and the public good.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"45 1","pages":"104"},"PeriodicalIF":0.5,"publicationDate":"2026-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148289737","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}

{"title":"Allegorical Mise en Scene Between Pilate and the Prophet","authors":"Kamil Lipiński","doi":"10.3390/arts15050105","DOIUrl":"https://doi.org/10.3390/arts15050105","url":null,"abstract":"The article discusses the contexts and frames of presenting the film Pilate and Others directed by Andrzej Wajda by introducing intermedia tools for analysis and interpretation, especially its symbolic overtones. In Mieke Bal’s theoretical perspective, mise-en-scène is comprehended as a theatrical metaphor describing the staging of a visual narrative in between the contexts. The focus shifts from the contexts of Wajda’s film to the visuals that open the flashback and futuroscope, which accompany and interweave the main narrative. With the figure of “transposition” in mind, our concern is to analyze the literary and cultural contexts in the new staging of the urban environment. The main plot focuses on the martyrdom of Yeshua Ha-Nocri expressed in an allegorizing manner.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"69 1","pages":"105"},"PeriodicalIF":0.5,"publicationDate":"2026-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285634","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}

{"title":"Blind Spots: The Future of Art History and the Ecology of Early Modern Silver","authors":"Helen Hills","doi":"10.3390/arts15050099","DOIUrl":"https://doi.org/10.3390/arts15050099","url":null,"abstract":"This essay examines the visual culture of what might be termed “the ecology of silver” between 1492 and 1710 in relation to colonialism on both sides of the Atlantic, with particular attention to both its shiny allure and the blind spots that that shininess produces. It focuses on three inter-related areas: depictions of Potosí, the great silver mountain in viceregal Peru; silver’s shine in European elite material culture; and the deployment of silver in celebrating the Spanish monarchy in viceregal Sicily, part of its empire within Europe. Current scholarship on early modern silver bifurcates between historical, political, and anthropological studies of silver’s extraction in the Americas and colonialism on one hand and a celebratory art historical scholarship focused on high-end European silver goods on the other. Scholars have energetically examined its extraction, the global trade in bullion, the rise of capitalism that it fed, and the wars that it fomented and paid for, but they stop short of inquiring into the ends to which silver was deployed within Europe and Asia beyond the naming of the principal ports. Meanwhile, studies of silver in Europe are overwhelmingly tightly drawn and connoisseurial, often with no reference to where the silver came from, let alone the circumstances of its extraction, transport, or even its effects. This split is due partly to a prevalent notion that silver’s value is inherent, objective, and caused by “rarity”; and it is partly due to art history’s unswerving identification with the rich and powerful. Such approaches overlook silver’s remarkable material and alchemical qualities and ignore its capacity to turn grubby profit into charismatic sparkle, which simultaneously drove the ecological and environmental damage and exonerated its profiteers. Early modern silver linked environmental destruction, colonialism, genocide, and coloniality to high culture, making it a particularly relevant topic for art historical analysis in this context. But more than that silver entwined them in complex, convulsive, and transformative ways, turning imperialism, violence and exploitation into beauty, shimmer and cultural sophistication. Hence, this essay insists on the centrality of imperial issues in the Old World as in the New, underscoring colonial dynamics within metropolitan culture while critically examining the work of seduction of art. The paradoxical quality of shine is the lens through which is seen the relation between violent coloniality and the allure and ecology of early modern silver.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"173 1","pages":"99"},"PeriodicalIF":0.5,"publicationDate":"2026-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148289738","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}

{"title":"Negotiating Stereotypes in the Film Black Panther: A Critical Scoping Review","authors":"Berit Sandberg","doi":"10.3390/arts15050102","DOIUrl":"https://doi.org/10.3390/arts15050102","url":null,"abstract":"The film Black Panther (2018) has been the subject of extensive discussion, particularly within the context of representational politics in contemporary Hollywood cinema. This critical scoping review maps how academic literature interprets the film‘s treatment of colonial, racial, cultural, gender, and disability-related stereotypes and examines how these interpretations are shaped by epistemic context. A systematic search and screening process yielded 52 publications from 2018 to 2024 that were analyzed with qualitative content analysis and descriptive mapping. The review indicates that scholarly response to the film is defined by structured ambivalence. While scholarship predominantly frames Black Panther as challenging colonial and racial stereotypes, it also points to inconsistent representations and reinforced stereotyping, particularly with regard to cultural homogenization, exceptionalism, and patriarchal governance. Interpretive stances vary systematically across epistemic positions. Scholarship based in Africa emphasizes counter-stereotypical readings, whereas scholarship from the United States, accounting for half of the reviewed contributions, displays greater interpretive diversity, including more critical and ambivalent positions. These findings suggest that Black Panther does not function as a counter-stereotypical text. Rather, it is a site where representational politics in global blockbuster cinema, industry constraints, and epistemic authority intersect, extending the soft-power dynamics of the Marvel Cinematic Universe into academic knowledge production.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"34 1","pages":"102"},"PeriodicalIF":0.5,"publicationDate":"2026-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285635","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}

{"title":"Crossing Creative Encounters at Thresholds as Pulse of Suburban and Urban Spaces: Diaspora Performing Material Practice of Culture","authors":"Varuni Kanagasundaram","doi":"10.3390/arts15050101","DOIUrl":"https://doi.org/10.3390/arts15050101","url":null,"abstract":"Material practices of cultural rituals continue to be performed by the diaspora, initiating relational connections in places they have settled. The ritual of Kolam is a drawing on the ground undertaken by Tamil women in South India and Sri Lanka to mark the threshold. Groups of women from the diaspora in Australia and Singapore carry out the traditional Kolam in public spaces during auspicious days. Observations of performative acts of place making served to develop the methodology for a contemporary practice. As a member of the Tamil diaspora, the author (re)imagines the performance of the traditional ritual to activate connections relevant for the wider communities living in the inner suburbs of Melbourne. The paper describes how tacit knowledge, materials, and processes are adapted for the broader society. The ethics of the traditional practice and the agencies harnessed upon performing become integrated into contemporary creative methods of participatory activity. Passersby using common paths and residents in a social housing complex created a series of visual drawings on bark using clay and natural materials. Ground installations of the assembled drawings conveyed stories through material dialogue. The less visible spaces and communities were revealed as part of the pulse of the suburban rhythms of movement. The paper demonstrates the potential significance of performing the cultural practices of the diaspora through collective acts of place making that strengthens social bonds not only for the diasporic group but also for society at large.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"55 1","pages":"101"},"PeriodicalIF":0.5,"publicationDate":"2026-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285489","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}

{"title":"Biological Otherness: Multispecies Agencies and Elastic Temporalities in Exhibition Practices","authors":"Carolina Ramirez-Figueroa, Pei-Ying Lin, Antony Nevin","doi":"10.3390/arts15050100","DOIUrl":"https://doi.org/10.3390/arts15050100","url":null,"abstract":"This contribution examines how contemporary exhibition practices engage with biological otherness through the interplay of material, technological mediation and curatorial practice. It explores how organisms and materials often considered marginal, such as viruses, microbial life, dust, and ash, can operate as co-authors in exhibition-making, unsettling hierarchies and binary frameworks that privilege human perception and control. Biological matter becomes a medium for thinking with and through nonhuman perspectives, revealing entangled temporalities, rhythms, and ecologies that exceed conventional scales of perception. Through three case studies: Living Ashes II, Studies of Interbeing—Trance 1:1, and The Materialised Temporality of Dust, the paper interrogates how decomposition, infection, and microscopic life are translated into relational, multisensory experiences. In Living Ashes II, protocells and ash are staged as agents of emergent vitality; in Studies of Interbeing—Trance 1:1, SARS-CoV-2 is re-materialised through textile and performative practices, fostering intimacy and affective encounter; and in The Materialised Temporality of Dust, immersive VR and spatial sound render microbial and dust temporalities perceptible within architectural space. Across these projects, digital technologies function not as neutral instruments but as active mediators, shaping the conditions under which nonhuman agency, vibrancy, and unpredictability are apprehended. Collectively, these works demonstrate that exhibitions can operate as relational laboratories in which biological otherness is co-produced, negotiated and experienced. They foreground an ethic of care and attunement, emphasising the multispecies, temporal, and technological entanglements that redefine what it means to exhibit living and non-living matter in the digital age.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"328 1","pages":"100"},"PeriodicalIF":0.5,"publicationDate":"2026-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285482","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}

{"title":"Decoding Immersive Cinema: An Integrated Analysis of Narrative Framework and Audience NLP Data in Avatar: Fire and Ash","authors":"Rocío Sosa-Fernández, Roi Méndez-Fernández, Ana Lorena Jiménez-Preciado","doi":"10.3390/arts15050091","DOIUrl":"https://doi.org/10.3390/arts15050091","url":null,"abstract":"This study examines how immersive narrative resources, whether technological–sensory, narrative–structural, or contextual, are deployed in contemporary blockbuster cinema and to what extent audiences recognize and value them in their evaluations. Using Avatar: Fire and Ash as a case study, the research follows a sequential mixed-methods design. In the first phase, a qualitative film analysis identifies eight types of cognitive immersion, drawing on established theoretical frameworks of narrative immersion. The second phase is quantitative and involves the computational analysis of 1133 valid reviews from Internet Movie Database (IMDb) through Natural Language Processing (NLP) techniques, including n-gram frequency analysis, Latent Dirichlet Allocation (LDA) topic modeling with 3 topics after perplexity minimization, and sentiment polarity analysis. The LDA model reveals three discursive clusters, experiential and emotional, technical and comparative, and critical, with the latter concentrated mostly in low-rated reviews. Text sentiment and numeric ratings show a moderate positive correlation (r = 0.53, p < 0.001), pointing to a general but imperfect alignment between the two modes of evaluation. Markers of content fatigue (nothing new, predictable, boring) appear in 25.1% of the reviews, yet a third of those are still rated 8 or higher. When cross-tabulating the immersion categories with audience language, phenomenological and affective dimensions such as Emotional Engagement (59.8%) and Haptic/Sensory Experience (59.1%) emerge as the most frequently discussed, while cinematographic techniques like Bracketing (2.6%) are barely mentioned. Taken together, the findings suggest that the franchise sustains its appeal through a form of embodied sensory engagement that operates largely independent of narrative novelty.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"140 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285712","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}

{"title":"Tools for Liberation: Labor, Gender, and the Factory Workbench in Early Soviet Culture","authors":"Emma Simmons","doi":"10.3390/arts15050092","DOIUrl":"https://doi.org/10.3390/arts15050092","url":null,"abstract":"Representations of industrial life have long been understood to be essential to the Soviet project, and this article analyzes the distinctive, but overlooked, functions of narratives and images of women workers at the factory workbench in the 1920s, and their ramifications for understanding Soviet paradigms of gender. Examining the place of mechanized labor in Aleksandra Kollontai’s theory of women’s emancipation in conjunction with the programs of labor theorist Aleksei Gastev demonstrates the establishment of mechanized labor and its tools as essential to utopian representations of Soviet social and gender relations beyond the factory. In this light, the article traces the establishment of the stanok, or factory workbench, as a metonym for new collective labor, and an interface with other nascent Soviet institutions and the new byt, or everyday life, in the mass illustrated periodical for urban women, Rabotnitsa (The Woman Worker), in the 1920s.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"3 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148285715","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}