Arts最新文献

{"title":"Consumption as a Lens for Viewing the Complexities of Medieval Mediterranean Art","authors":"James G. Schryver","doi":"10.3390/arts15040074","DOIUrl":"https://doi.org/10.3390/arts15040074","url":null,"abstract":"The Mediterranean is being recognized as a helpful frame of reference for scholarship in various academic disciplines focusing on that area of the world. Some of these focus on the sea, while others focus on the countries surrounding it. Proponents laud the commonalities and unities that such an approach foregrounds, as well as the new ways of looking at related cultures and cultural products. At the same time, however, scholars recognize a number of challenges that come with this approach, particularly regarding the balance of micro and macro levels of analysis. Given these challenges, as well as the importance of local contexts for understanding aspects of time and agency in most works of art and architecture, how useful might such a lens be for scholars of medieval art and architecture in the region? How might we capitalize on the benefits of a Mediterranean frame of reference while also allowing for its challenges to be addressed? In response to these questions, consumption is suggested as a framework of analysis. Scholars of certain aspects of consumption have sought to balance similar tensions and their studies provide useful insights into how the local and the regional, the micro and the macro, might be effectively balanced. Such a consciously multiscale approach has the potential to help us see how the local and the Mediterranean are intertwined. In this way, thinking about certain aspects of medieval Mediterranean art via a lens of consumption can help us to make sense of how it reflects some of the complexities of the region.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"18 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147655688","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":"Title Integrating Digital Technologies in Theatre/Drama Education: A Systematic Literature Review","authors":"Vassilis Zakopoulos, Panagiota Xanthopoulou, Agoritsa Makri","doi":"10.3390/arts15040072","DOIUrl":"https://doi.org/10.3390/arts15040072","url":null,"abstract":"This study aims to investigate and analyze the factors that affect the adoption of digital technologies in theatre/drama education by reviewing existing literature. This study employed the Scopus and Google Scholar databases to conduct a systematic literature review (SLR), as well as a bibliometric analysis. The results showed that using digital tools in theatre/drama education makes students more engaged, helps with creative exploration, and facilitates the teaching of sustainability concepts using new methods. The most discussed determinants referred to accessibility issues with infrastructure and technological resources, as well as the presence of digital skills and a related digital culture within the educational environment. The thematic analysis produced key themes, such as training, digital skills, access, and interactivity, showing that the main challenge for digital technology integration in theatre education remains the lack of appropriate digital skills, educators’ training, and infrastructure. The findings can be useful for various groups, including theatre educators, faculty members, education researchers, theatre practitioners, and policymakers. This study adds to the existing literature by highlighting how digital technologies can enhance theatre/drama education, while emphasizing challenges such as accessibility and digital literacy, and the need to keep traditional theatre/drama methods alive in the digital world.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"26 1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147655689","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":"Controlling the Art School: Ideologies of Materials and a Speculative Vision for Hybrid Arts Education","authors":"Dylan Yamada-Rice","doi":"10.3390/arts15040073","DOIUrl":"https://doi.org/10.3390/arts15040073","url":null,"abstract":"In responding to the special issue’s call to examine the shifting space of materiality, this article uses creative writing, hand-drawn comics, and speculative fiction/design as a form of research by practice to critique changes in UK Higher Arts Education in relation to art materials. It shows how embedded neoliberal structures that have been documented to negatively impact HE staff and the arts in general, also now extend to prioritising and excluding some art materials over others. A speculative vision is offered as an alternative in which a nomadic higher arts education is put forward, one that encourages the use of hybrid art materials. The means chosen to make the arguments presented are analogue methods of drawing, cutting, printing, sewing and writing to strengthen the point that digital materials are currently prioritised in UK arts education due to HE’s entanglement with agendas entwinned with Big Tech and most recently the military. The format is also deliberately experimental to move away from common ways of presenting research and theory that have become formulaic as academics are pushed to meet the ideals of the Research Excellence Framework, another neoliberal rubric.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"47 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147655687","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 Techne of Decoding Alexei Chicherin’s Construemes","authors":"Andrey A. Rossomakhin","doi":"10.3390/arts15040071","DOIUrl":"https://doi.org/10.3390/arts15040071","url":null,"abstract":"This paper is the first attempt to interpret the visual ‘construemes’ by the constructivist poet Alexei N. Chicherin, published in the anthology Mena vsekh which appeared in Moscow in1924. ‘Construemes’ can be considered the most enigmatic artifacts of the Russian avant-garde. Although ‘construemes’ can be easily confused with meaningless visual zaum (‘the transrational’), Chicherin’s actions and the very nature of his personality prevent one from interpreting ‘construemes’ as actionist endeavors to scandalize or a ‘play on nonsense’. Analysis of the poet’s treatise Kan-Fun published in Moscow in 1926 required finding the key to deciphering the ‘construemes’, reveals the positivist nature of Chicherin’s visual–phonological exercises. In the treatise, the poet argues for the primacy of the eye and vision. He illustrates synthetic ‘signs’ or ‘pictograms’ with the quotidian example of propaganda posters, capable of influencing millions more effectively than words alone. The study emphasizes the enigmatic nature of the titles of Chicherin’s books, the Nietzschean subtexts of his self-presentation, encrypted allusions to the esoteric and magical tradition of the Tarot, and religious symbolism. Sixteen illustrations help the understanding of Chicherin’s logic behind the creation of his four ‘construemes’, including the most mysterious composition called ‘Raman’ (‘the shortest Kan-Fun Novel in the world’). The structure of this text synthesizes the verbal, visual–graphic, acoustic (phonological symbols) and musical (notes) levels. The article also examines Chicherin’s proven techniques: the appropriation of the sacred dimension and self-presentation as an actor possessing genuine knowledge and capable of competing alone with the entire literary environment.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"19 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147625544","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":"Flying Objects or Architectural Projects of Russian Avant-Garde Suprematism","authors":"Kornelija Icin","doi":"10.3390/arts15040070","DOIUrl":"https://doi.org/10.3390/arts15040070","url":null,"abstract":"The study reconsiders the architectural production associated with Russian Suprematism (which was speaking of “the supremacy of pure artistic sensation” rather than the veritable figurative depiction of real-life subjects) in the early Soviet period as a coherent and conceptually rigorous mode of speculative world-making rather than as a marginal or unrealized appendix to avant-garde art history and theory. By examining the architectural propositions articulated by Kazimir Malevich and then elaborated by his younger colleagues Lazar Khidekel, Ilya Chashnik, and Nikolai Suetin, the study advances the claim that Russian Suprematist architecture constituted an epistemic experiment aimed at redefining the very ontological premises of architecture. Far from functioning as a mere transposition of abstract pictorial language into three-dimensional form, Suprematist planits, architectons, and aerocentric projects operated as instruments for thinking spatiality beyond terrestrial gravity, anthropocentric utility, and historical typology. Situating these projects within the intellectual horizon of Russian cosmism and early aerospace thought, the article demonstrates how Suprematist architecture intersected with contemporary philosophical, scientific, and technological discourses that envisioned humanity’s active participation in the reorganization of cosmic space. The architectural imagination of Suprematism emerges here as inseparable from broader debates on excitation, non-objectivity, transformation of matter, and the reconfiguration of human corporeality. Through close analysis of formal strategies, pedagogical frameworks, and theoretical writings, the paper reveals the internal plurality of avant-garde Suprematist architectural inquiry, ranging from ecological proto-urbanism and hovering settlements to magnetic and cruciform spatial systems. Ultimately, the paper argues that the historical non-realization of these projects should not be interpreted as a failure but as an intrinsic feature of their speculative methodology. Suprematist architecture is thus redefined as an anticipatory practice whose unresolved propositions continue to resonate with contemporary discussions on space habitation, planetary design, ecological responsibility, and post-human architectural thought, challenging inherited assumptions about the scope and function of architecture as such.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147619695","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":"Symbiotic Intelligence: Rethinking AI with Mycelium","authors":"John Wild, Shira Wachsmann","doi":"10.3390/arts15040069","DOIUrl":"https://doi.org/10.3390/arts15040069","url":null,"abstract":"Symbiotic Intelligence (SI) rethinks dominant evolutionary narratives within Western artificial intelligence (AI) development through a practice-led research methodology centred on co-creating with mycelium. This research investigates how living mycelium can inform and reframe prevailing AI narratives, particularly those shaped by evolutionary logics. These narratives, found in developer manifestoes and futurological discourse, often frame intelligence within competitive, deterministic paradigms rooted in social Darwinism and invoke eugenicist ideas such as the g-factor in intelligence. Through the creation of responsive art installations, the project positions mycelium as a material and conceptual collaborator, opening new spaces for dialogue. This article inverts the curatorial strategy of incorporating AI technology into artistic practices. Instead, we show how arts-led ‘making’ practices can generate new narratives that propose alternative ethical frameworks and sustainable directions for technological development. We argue that a direct, generative but non-deterministic relationship exists between AI narratives and the technical actualisation of AI. Specifically, SI contends that: (i) evolutionary narratives underpin Western AI imaginaries; (ii) these often reflect reductive social Darwinist models; (iii) counter-narratives grounded in collective assemblage and symbiotic intelligence are essential for shaping more complex and sustainable AI futures.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"64 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147619689","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":"Differentiating Spaces: Exploring Epistemic Qualities of Film Scenography in The Grand Budapest Hotel (2014)","authors":"Margret Nisch","doi":"10.3390/arts15030063","DOIUrl":"https://doi.org/10.3390/arts15030063","url":null,"abstract":"Film scenography often suffers from a dual problem of invisibility in academic theory and hypervisibility as mere ‘spectacle’ in popular reception. This study addresses the lack of integrated theoretical frameworks that connect scenographic design to its emotional and narrative functions. Utilizing a reception-focused analytical approach, this research applies Peter Wuss’s model of film perception to Wes Anderson’s The Grand Budapest Hotel (2014). Analyzing the broad range of the film’s scenographic methods, this article investigates how high degrees of scenographic visibility operate as affective mechanisms rather than just stylistic signatures. The analysis identifies specific epistemic qualities of film space that facilitate emotional engagement and narrative movement. By examining scenographic elements across multiple scales, this study reveals how these design choices operate simultaneously across concept-guided, perception-guided, and stereotype-guided cognitive structures. Ultimately, the research demonstrates that scenographic visibility is intrinsically motivated by affective function. This challenges conventional film theory dichotomies and repositions scenography as fundamental to understanding cinema’s epistemic operations.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"13 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147489837","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":"Cruel Optimism and Gender Identity: A Case Study of Jawani Phir Nahi Ani and Oye Motti in Contemporary Lollywood","authors":"Muhammad Sohail Ahmad, Amina Malik, Rana Yassir Hussain","doi":"10.3390/arts15030064","DOIUrl":"https://doi.org/10.3390/arts15030064","url":null,"abstract":"This paper examines how Pakistani popular cinema reproduces a cruelly optimistic attachment to gender identity and thinness, where weight loss is imagined as the key to love, success, and social acceptance. Rather than surveying the entire industry, this study focuses on two emblematic case studies—Jawani Phir Nahi Ani (2015) and Oye Motti (2021)—to show how Lollywood normalises fatphobia through comic ridicule, makeover tropes, and exclusionary casting practices. The analysis reveals how fatness is framed not as an identity but as a flaw to be corrected, rendering overweight characters undesirable despite their talents or personalities. Thus, fatness is usually treated as an obstacle to social acceptance, marriage, and personal happiness; the very hope of inclusion becomes an instrument of exclusion, exemplifying Berlant’s concept of cruel optimism. In Berlant’s terms, cruel optimists always struggle to achieve unattainable fantasies of a better life that promise upward mobility.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"7 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147489836","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":"Finding a Way Back: Reimagining Ritual and Trance in Post-Soviet Russia","authors":"Thomas P. Riccio","doi":"10.3390/arts15030062","DOIUrl":"https://doi.org/10.3390/arts15030062","url":null,"abstract":"This article documents and analyzes a three-month intercultural performance collaboration with Metamorphosis Theatre in St. Petersburg, Russia, during the summer of 1992—a pivotal moment following the dissolution of the Soviet Union. Drawing on the author’s fieldwork methodology developed through decades of collaboration with Indigenous communities in Alaska, Southern Africa, and Siberia, the project employed trance techniques, rhythm-based training, and ritual archaeology to reconstruct pre-Christian Slavic performance practices. The resulting production, Shadows from the Planet Fire, emerged through a process that positioned ritual not as nostalgic revival but as a living technology for addressing cultural trauma and existential displacement. This account contributes to performance studies, applied theatre, and cultural heritage discourse by demonstrating how cosmocentric Indigenous methodologies can be adapted to address the spiritual and psychological wounds of post-industrial, post-colonial societies. The work establishes foundational principles for what the author terms “Techdigenous” practice—the synthesis of Indigenous wisdom traditions with contemporary performance contexts—and argues for ritual as a necessary consciousness technology in an era of ecological crisis and cultural fragmentation.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"13 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147489839","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":"A Layer of Salt for My Oblivion: An Artist’s Reflections on Archives and Resistance","authors":"Sara Sallam","doi":"10.3390/arts15030061","DOIUrl":"https://doi.org/10.3390/arts15030061","url":null,"abstract":"In this essay, the author reflects on the entangled histories of archaeology, colonial extraction, and heritage dispersion through the lens of her artistic research project, A Layer of Salt for My Oblivion. Centering the displacement of the Old Kingdom mastaba of Neferirtenef from Saqqara to the Royal Museums of Art and History in Brussels, the author unearths the silences embedded within archival photographs. The archive in focus is that accumulated by Belgian Egyptologist Jean Capart, several of whose archaeological missions were funded by the Belgian industrialist Baron Empain. The latter’s imperial ambitions also defined the urban fabric of the author’s own childhood in Egypt. Blending essay, archival intervention, and poetic voice, the author proposes an alternative mode of listening to displaced heritage: one that honours the agency of the silenced, embraces rupture over restoration, and invites the possibility of care over control.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"10 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147489883","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}