Arts最新文献

{"title":"Bulbous Roofs in Late Ottoman Architecture: An Istanbul Case Study on Morphological Diversity and Politics of Representation","authors":"Mert Ağaoğlu","doi":"10.3390/arts15100227","DOIUrl":"https://doi.org/10.3390/arts15100227","url":null,"abstract":"This study examines the bulbous roofs appearing in buildings constructed or comprehensively restored in the capital city of Istanbul during the late Ottoman period, moving beyond the one-dimensional interpretations predominantly found in existing scholarship. While previous research has largely attributed these Eastern-origin forms directly to a conscious “Orientalist” or “self-orientalizing” mindset orchestrated by the palace or patrons, this paper provides a comprehensive comparative analysis. The structures examined include the Selimiye Barracks, Taksim Artillery Barracks, Ahmed Afif Pasha Mansion, Theron Damon Mansion, Heybeliada Madam Mari Mansion, Çengelköy Vahdettin Mansion, Alay Köşkü (Procession Pavilion), Arnavutköy Anonymous Mansion, Dikranyan Mansion, Huber Pavilion, Sirkeci Terminal, Mekteb-i Tıbbiye-i Şahane (Imperial School of Medicine), Dolmabahçe Clock Tower, Kumkapı Tavaşi Süleyman Agha Mosque, Hidayet Mosque, Kadirihane Tekke Hacı Piri Mosque, Akbıyık Masjid, Sheikh Zafir Tomb, and Hobyar Mosque. The research follows a four-stage methodology, categorizing these forms according to their morphological attributes and analyzing them within the contexts of aesthetic, urban-architectural, and political representation layers. The resulting data indicate that bulbous roofs emerged as a composite resultant of the desire to create focal landmarks in the urban silhouette, 19th-century eclecticism, the pursuit of diplomatic prestige, and the aesthetic tastes of period patrons and architects.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"9 1","pages":"227"},"PeriodicalIF":0.5,"publicationDate":"2026-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123133","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":"Performative Imaging and Platform Politics in Sneaky Sasquatch","authors":"Matteo Bittanti","doi":"10.3390/arts15100225","DOIUrl":"https://doi.org/10.3390/arts15100225","url":null,"abstract":"This essay reads the video game Sneaky Sasquatch as a moving-image environment whose interfaces administer the world they display. The essay examines administrative recognition as a modality of performative imaging: interfaces make institutional standing actionable, while repeated play sustains the roles through which Sasquatch participates in the game’s social world. The game’s disguises, meters, licenses, keycards, balances, and alerts allocate access, direct bodily movement, and normalize institutional labor. In Sonia Fizek’s account of the video game as an algorithmic spectacle, on-screen images arise from computational processes and participate in the game’s operations. Judith Butler’s theory of performativity supplies a theory of subject-formation through repeated norms, which the essay then translates into administrative and interface performance. Bettina Bódi’s concept of cozy agency identifies the comfort through which that order becomes ordinary. The analysis moves from disguise and social legibility to jobs, banking, governance, care work, platform dependency, everyday domestic use, and the absorption of nonhuman agency. Apple’s May 2025 acquisition of RAC7 places these image operations inside an integrated corporate ecology. Sneaky Sasquatch shows how a child-facing, platform-distributed game organizes action and subjectivity through ordinary play, most powerfully when its lessons feel least like instruction.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"95 1","pages":"225"},"PeriodicalIF":0.5,"publicationDate":"2026-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123207","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":"Beyond Vernacular: Translating Heritage Knowledge into a Place-Based Model for Climate-Responsive Housing","authors":"Izabela Sykta, Anna Staniewska, Agnieszka Greniuk","doi":"10.3390/arts15100226","DOIUrl":"https://doi.org/10.3390/arts15100226","url":null,"abstract":"Contemporary housing is increasingly shaped by standardized models that weaken local identity and overlook the ecological knowledge embedded in vernacular settlements. While vernacular architecture is widely recognized as a source of inspiration for sustainable design, considerably less attention has been devoted to translating this knowledge into transferable design frameworks applicable to contemporary housing. This paper investigates how research on the architectural and landscape heritage of a small town can be transformed into a place-based model of residential design through the integration of Research by Design (RbD), Project-Based Learning (PBL), and Transhistorical Pedagogy (THP). The empirical basis is the interdisciplinary 10+1 Hrubieszów Climate Houses and Gardens project developed at the Faculty of Architecture, Cracow University of Technology within the research programme Local Development of Hrubieszów—From Participation to Implementation (2021–2024). A comparative multi-criteria analysis of eleven housing proposals demonstrates that the resulting design model is structured around three interrelated principles: the creative reinterpretation of vernacular traditions through the strategy of “good continuation”; the redefinition of the homestead—rather than the individual building—as the primary unit of design; and the integration of contemporary climate-responsive strategies with local ecological knowledge. Together, these principles constitute a transferable framework for designing culturally rooted, regenerative and climate-resilient residential environments applicable to small-town contexts beyond Hrubieszów.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"45 1","pages":"226"},"PeriodicalIF":0.5,"publicationDate":"2026-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123206","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":"Does Music Reduce Stress and Enhance Aesthetic Mindset? Investigating the Impact of Neuroarts-Informed Concert Design","authors":"Gretchen Renshaw, Carmen Merrick, Audrey Bacharach, Allison Barron, Sarah Graham, Ashley Kordsmeier","doi":"10.3390/arts15100223","DOIUrl":"https://doi.org/10.3390/arts15100223","url":null,"abstract":"The field of neuroarts is rapidly growing its understanding of the impact of art on well-being. This conceptual design aims to apply the neuroarts in a musical concert with the aim of lowering stress levels and increasing aesthetic mindset for the concert performers. The conductors of the Hendrix College Chamber Orchestra, Choir, and Wind Ensemble chose a program of music intended to promote well-being. Then, conductors and ensemble members co-designed a concert experience that would educate performers and audience members about the field of neuroarts, while collecting pre- and post-concert data on measures of performers’ well-being. The preliminary results suggest likely decreases in measures of stress and anxiety, and likely increases in measures of social connection, confidence in problem-solving, and aesthetic mindset. As a result, this conceptual design suggests that active participation in a musical concert could improve well-being along these five measures.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"421 1","pages":"223"},"PeriodicalIF":0.5,"publicationDate":"2026-09-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123213","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":"From Repatriation to Responsibility: Rethinking the Conservation of Nigerian Cultural Heritage in the 21st Century Through Hybrid Museology","authors":"Ogechukwu Elizabeth Okpalanozie, Zainab Uche Kilba","doi":"10.3390/arts15100222","DOIUrl":"https://doi.org/10.3390/arts15100222","url":null,"abstract":"In recent years, the call for the return of Africa’s tangible cultural heritage has increased, leading to the repatriation of cultural objects, and Nigeria is no exception. Amidst the growing demands for the restitution of Africa’s cultural heritage objects, post-restitution conservation is rarely incorporated into restitution plans despite its critical role in ensuring sustainable care and interpretation. There is a need to give this negligence utmost attention not only for the purpose of preserving the objects but also because holding institutions refuse to return objects, claiming that there is poor conservation capacity in Africa. This paper explores the limitations of some Western conservation methods in the Nigerian context using the National Museum, Lagos, as a case study. It discusses how effective indigenous knowledge systems and community engagement can be included in the conservation strategies of Nigerian museums. The present study used a qualitative method to identify the gaps in post-restitution conservation with a theoretical framework based on ‘Third Space’ and ‘Contact Zone’ concepts. The outcome of the research showed that repatriated objects can be conserved in the National Museum, Lagos. A hybrid conservation approach and collaboration with holding institutions were recommended for sustainable post-repatriation conservation.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"245 1 1","pages":"222"},"PeriodicalIF":0.5,"publicationDate":"2026-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123532","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":"Spatial Relations of Photography—An Attempt at Classification","authors":"Krzysztof Ślachciak, Joanna Stefańska","doi":"10.3390/arts15100221","DOIUrl":"https://doi.org/10.3390/arts15100221","url":null,"abstract":"This article proposes a conceptual framework for analysing spatial relationships between the photographic image and its surroundings, understood both as an exhibition context and as an element shaping the viewer’s experience. The analysis begins with the native features of photography, including its indexical relationship to the referent and the historically established trust viewers place in photographic images, which is now being challenged by AI-generated imagery. Drawing on the concept of the photo-object and critical analyses of gallery space, the article introduces a two-level analytical framework. The first level identifies the direction of adaptation: photography may be adapted to space (complementarity), space to photography (development), both processes may occur simultaneously, or no deliberate adaptation may take place. The second level concerns the semantic mode of the relationship: convergence (symbiosis), divergence (dissonance), or an intermediate configuration. The framework was developed through logical and conceptual analysis, while its practical applicability is explored through selected examples drawn from the authors’ artistic practice and from exhibitions they curated or co-curated. The article offers an analytical tool for examining photography in expanded spatial practices, contemporary art, and visual culture.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"7 1","pages":"221"},"PeriodicalIF":0.5,"publicationDate":"2026-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123533","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":"Chamber Cumbias: Dancing with Race on the Argentine Contemporary Dance Stage","authors":"Victoria Fortuna","doi":"10.3390/arts15100220","DOIUrl":"https://doi.org/10.3390/arts15100220","url":null,"abstract":"Buenos Aires-based choreographer Julia Gómez’s 2016 work Chamber Cumbia explores cumbia culture through contemporary dance vocabulary, an ostensibly odd pairing. Cumbia, a popular music and dance form with diverse influences originating in Colombia, gained immense commercial popularity across the Americas in the late 20th century. In Argentina, a version known as cumbia villera emerged during the 1990s in the context of deep structural inequalities that left millions of Argentines and migrants from neighboring countries living in poverty in villas or urban shantytowns. In Argentina, cumbia generally and cumbia villera specifically are associated with racialized, working-class, and often migrant bodies, despite broad commercial appeal. Contemporary dance, in contrast, continues to be situated in the realm of ‘high’ art and is frequently understood to be racially unmarked and universal in its themes. Where, then, do we locate Gómez’s particular mix of high/low and racially unmarked/marked work within Argentine dance history? More broadly, what does this work signal in the context of pervasive academic, artistic, and public discourses that continue to situate Argentina as exceptionally white and European among Latin American nations, an enduring project perpetually haunted by its own incompleteness? Cumbia de cámara, I contend, makes visible tensions and contradictions inherent in Argentine racial projects that simultaneously rest on and refuse acknowledgment of racial difference. This article nuances a small but growing body of scholarship about cultural production that challenges Argentine Whiteness and Europeanness through its focus on dance.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"91 1","pages":"220"},"PeriodicalIF":0.5,"publicationDate":"2026-09-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149123821","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":"Seeing and Being Seen: Argive–Corinthian Mirror Biographies and Visual Translation in the Pontic Steppe","authors":"Denis Topal, Lavinia Grumeza","doi":"10.3390/arts15100219","DOIUrl":"https://doi.org/10.3390/arts15100219","url":null,"abstract":"This article examines a corpus of so-called “Argive–Corinthian” bronze mirrors from the northern and western Black Sea region, exploring their circulation, use, and reinterpretation within Scythian, Thracian, and related non-Greek societies during the late sixth to fourth centuries BC. Rather than treating these mirrors as mere Greek luxury imports or markers of Hellenisation, the study examines how they acquired new meanings after entering local funerary and social contexts. The analysis combines typological study, archaeological context, chronology, distribution, and iconography to reconstruct these objects’ biographies. A catalogue of securely documented mirrors reveals consistent patterns in their geographical distribution, with Olbia emerging as the principal intermediary through which these prestige goods entered the Pontic hinterland. Most examples derive from richly furnished female burials, where they occur alongside jewellery, imported pottery, horse equipment, pigments, spindle whorls, and other high-status objects, indicating their role in elite representation and ritual performance. Particular attention is paid to mirrors decorated with gorgoneia, sphinxes, and frontal female figures. These motifs are interpreted not as fixed carriers of Greek mythological meaning but as visual forms whose significance was reshaped in local cultural settings. Evidence for repair and prolonged use, especially at Mereni and Mamay–Hora, demonstrates that many mirrors remained valued for generations, functioning as curated possessions or heirlooms whose biographies extended well beyond their original production. This article argues that these mirrors should be understood as active participants in processes of cultural translation rather than passive indicators of exchange. Their movement across the Black Sea frontier involved not the straightforward transfer of Greek meanings, but their selective reinterpretation within local systems of status, gender, ritual practice, and social memory. By tracing the circulation, reuse, and deposition of these objects, this study contributes to broader discussions of intercultural interaction, object biographies, and the role of material culture in mediating relationships between Greek colonial centres and the societies of the Pontic steppe.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"9 1","pages":"219"},"PeriodicalIF":0.5,"publicationDate":"2026-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149124193","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":"Indigenous Relational Ontologies and the More-than-Human Paradigm: Reframing Art Historical Method","authors":"Gerald McMaster","doi":"10.3390/arts15100218","DOIUrl":"https://doi.org/10.3390/arts15100218","url":null,"abstract":"This essay argues that Indigenous relational ontologies provide a foundational framework for rethinking art historical method in ecological terms. Drawing on Plains Cree intellectual traditions, it foregrounds concepts such as wâhkôhtowin (kinship and interdependence), kanawâpâtahmowin (the condition of seeing), and miýikosiwin (a gifted form of relational insight) to demonstrate how Indigenous visual knowledge contests the human/non-human and nature/culture divides that continue to structure Western art history. Rather than treating relationality as a recent theoretical innovation associated with post-human or ecological thought, the essay shows that Indigenous epistemologies have long articulated more-than-human understandings of culture in which land, water, animals, ancestors, and spiritual forces actively participate in the production of knowledge and memory. Drawing on Blackfoot scholarship, particularly the work of Betty Bastien, alongside the teachings of Blackfoot Elder Herman Yellow Old Woman, the essay reframes testimony, survivance, and visual practice as relational processes grounded in networks of responsibility among human and more-than-human beings. By placing Indigenous epistemologies in conversation with contemporary critiques of colonial knowledge systems—including Max Liboiron’s analysis of structural colonialism in research practice and Ngũgĩ wa Thiong’o’s critique of linguistic imperialism—the essay argues that the ecological future of art history depends not on expanding its thematic scope but on rethinking its methods. It proposes an approach grounded in Indigenous pedagogies that foreground reciprocity, relational accountability, and the living relationships through which knowledge is sustained, transmitted, and held responsible.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"47 1","pages":"218"},"PeriodicalIF":0.5,"publicationDate":"2026-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149124192","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":"Embodied Musical Gesture Analysis from Audio Representations: A Review of Datasets, Audio Descriptors, and Deep Learning Approaches","authors":"Ioanna Miliaresi","doi":"10.3390/arts15100217","DOIUrl":"https://doi.org/10.3390/arts15100217","url":null,"abstract":"Machine learning approaches have enabled increasingly powerful analysis of musical audio, allowing computational models to capture complex acoustic patterns related to musical structure, performance, and expression. However, whether learned audio representations preserve information related to the bodily actions underlying musical sound production remains an open research question. This review examines how machine-learned audio representations encode information associated with embodied musical processes by connecting perspectives from embodied music cognition, computational music analysis, and multimodal machine learning. It establishes a conceptual framework that organizes embodied musical information according to gesture type, acoustic observability, and the relationship between physical action and sound production, distinguishing sound-producing gestures, expressive movements, individual embodiment, and collective performance processes. The review then surveys datasets for audio–gesture research, including motion-capture recordings, instrument-performance datasets, audiovisual resources, and large-scale audio-only datasets, highlighting challenges related to embodiment fidelity, scalability, annotation, and multimodal alignment. It further examines conventional audio descriptors, deep neural and self-supervised audio representations, cross-modal learning approaches, and evaluation methodologies for assessing embodied information within learned representations. Particular attention is given to gesture–sound ambiguity, limited benchmarking resources, generalization across performers and instruments, and the distinction between gesture-related encoding and acoustic correlation. Current evidence suggests that learned audio representations contain partial and task-dependent traces of embodied musical information, particularly for gestures with strong acoustic coupling, while evidence for higher-level expressive and communicative movements remains limited. Determining whether these representations capture meaningful relationships between physical performance processes and musical sound remains an open challenge requiring multimodal, interpretable, and perceptually grounded evaluation frameworks.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"146 1","pages":"217"},"PeriodicalIF":0.5,"publicationDate":"2026-09-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"149124194","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}