IF 0.5

Arts Pub Date : 2026-09-03 DOI: 10.3390/arts15090205

Zvi Orgad

{"title":"From Cabinet to Shrine: Carpentry, Craft, and the Making of Torah Arks in Early Modern German Lands","authors":"Zvi Orgad","doi":"10.3390/arts15090205","DOIUrl":"https://doi.org/10.3390/arts15090205","url":null,"abstract":"This article examines a group of Torah arks made for rural Jewish communities in German lands during the seventeenth and early eighteenth centuries. Scholarship on Ashkenazi synagogue furnishings has largely focused on monumental Torah arks associated with larger and wealthier communities. The examples discussed here reveal a different tradition, one that emerged under distinct social and material conditions and served smaller rural congregations. Drawing on an analysis of construction techniques, materials, and design, the article demonstrates that these arks were rooted in regional woodworking practices shared with contemporary furniture, cabinetry, and church furnishings. Produced in local workshops, likely by Christian craftsmen, they adapted familiar carpentry forms to Jewish liturgical requirements. Visible structural compromises, improvised solutions, and simplified construction techniques preserve traces of this process. Rather than evaluating these arks primarily against monumental urban examples, this study situates them within the regional material and craft environments in which they were produced. Their forms reflect a localized process of sacralization through which ordinary woodworking traditions were transformed into ritual furnishings and focal points of communal worship. By highlighting this group of objects, whose carpentry, construction, and relationship to regional furniture traditions have not been systematically examined, the article expands current scholarship on Torah ark design and demonstrates the diversity of material solutions developed by Jewish communities in early modern German lands.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"52 1","pages":"205"},"PeriodicalIF":0.5,"publicationDate":"2026-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899036","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

Performative Imaging and Ecological Encounter: Awe, Immersion, and the Conditions for Transformation in Rituals for Earthly Survival 表演影像与生态相遇：敬畏、沉浸和世俗生存仪式的转化条件

IF 0.5

Arts Pub Date : 2026-09-02 DOI: 10.3390/arts15090204

Roy Hanney

{"title":"Performative Imaging and Ecological Encounter: Awe, Immersion, and the Conditions for Transformation in Rituals for Earthly Survival","authors":"Roy Hanney","doi":"10.3390/arts15090204","DOIUrl":"https://doi.org/10.3390/arts15090204","url":null,"abstract":"Immersive installation is often evaluated through the language of spectacle, sensory intensity, and technological sophistication, yet such terms offer only a partial account of how moving images operate within embodied and participatory environments. This article examines performative imaging through the practice-based case study of Rituals for Earthly Survival, an immersive installation combining Butoh-informed performance, projection, sound, responsive technologies, and participatory ecological gestures. It considers how such encounters might create conditions for transformation through shifts in attention, relation, and imagination. Awe is considered one affective register through which such reorientation may occur, particularly where encounters with vastness unsettle existing perceptual or conceptual frames. Analysis of the installation, supported by project documentation, limited post-show audience feedback, and two independently commissioned peer reviews, suggests that performative imaging can operate as an ecological encounter by entangling images with bodies, architecture, technologies, and material processes. The evidence also reveals uneven experiences of participation, legibility, and immersion. The article argues that transformative potential depends not only on what images represent but also on the conditions they help to produce.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"17 1","pages":"204"},"PeriodicalIF":0.5,"publicationDate":"2026-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899012","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

Performing National Identity: Interpreting the Folkloric Idiom of Lyatoshynsky’s Piano Preludes as Curated Musical Experience 表演民族认同：解读李亚托辛斯基钢琴前奏曲的民俗习语作为策划的音乐体验

IF 0.5

Arts Pub Date : 2026-08-31 DOI: 10.3390/arts15090202

Anastasiia Chirileanu,Tatiana Laura Pocinoc

{"title":"Performing National Identity: Interpreting the Folkloric Idiom of Lyatoshynsky’s Piano Preludes as Curated Musical Experience","authors":"Anastasiia Chirileanu,Tatiana Laura Pocinoc","doi":"10.3390/arts15090202","DOIUrl":"https://doi.org/10.3390/arts15090202","url":null,"abstract":"The piano preludes of Borys Lyatoshynsky (1895–1968)—the Three Preludes, Op. 38, the Two Preludes Based on the Melodies of Ukrainian Folk Songs, Op. 38bis, and the Five Preludes, Op. 44, all composed during the 1942–43 wartime evacuation—have re-entered Western concert life as vehicles of Ukrainian identity. This article asks how performing and curating the preludes afford an experience of Ukrainian identity for the present-day listener, extending the Ukrainian analytical literature on the cycles outward into curation and Western wartime reception. Drawing on recent documented cases—Vadym Kholodenko’s recital programming of Op. 38 alongside the canonical European repertory, and Margaret Fingerhut’s curated album Ukraine: A Piano Portrait—it argues that performance and curation operate not as distinct operations but as interacting practices: different degrees and forms of mediation through which the preludes’ folkloric idiom is configured as Ukrainian for the listener they address. The preludes’ internal difference between literal folk-song quotation (Op. 38bis) and folk intonation (Opp. 38 and 44) becomes a resource that performers and curators mobilise. Situating these cases within three documented strands of Lyatoshynsky’s re-reception during the Russo-Ukrainian war—orchestral, pianistic, and scholarly—the article reframes the wartime prelude as a site where national identity is configured for present-day listeners through layered acts of mediation.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"179 1","pages":"202"},"PeriodicalIF":0.5,"publicationDate":"2026-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899013","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

Mudéjar Plasterwork and Mural Paintings in the Palace of Galiana in Toledo 托莱多加利亚纳宫的灰泥和壁画

IF 0.5

Arts Pub Date : 2026-08-31 DOI: 10.3390/arts15090203

Ángeles Jordano

{"title":"Mudéjar Plasterwork and Mural Paintings in the Palace of Galiana in Toledo","authors":"Ángeles Jordano","doi":"10.3390/arts15090203","DOIUrl":"https://doi.org/10.3390/arts15090203","url":null,"abstract":"The Palace of Galiana in Toledo stands within the former royal suburban estate, or almunia, of al-Maʾmūn, ruler of the taifa of Toledo. Following the Christian conquest of the city in 1085, the estate passed to Alfonso VI and subsequently became known as the Huerta del Rey. The surviving residential hall has been attributed to the eleventh-century taifa period on typological and historical grounds, although this attribution still awaits archaeological and fabric-based analysis. This article examines the Mudéjar plasterwork and mural paintings added to the building under Christian rule in order to clarify their chronology, stylistic context, and visual function. The study combines formal and iconographic analysis, parallels with Andalusi and Mudéjar precedents, available technical evidence, and heraldic and documentary sources. The ground-floor plasterwork can be dated more securely to the late fourteenth century, probably around or shortly after 1397, on the basis of converging stylistic, heraldic, and documentary evidence. The painted dados on the upper floor present a more complex chronological problem: the available technical evidence does not provide an independent absolute date, while stylistic and stratigraphic evidence favors a broad chronology within the Christian period, probably between the thirteenth and fourteenth centuries and suggests that the surviving fragments may represent more than one decorative phase. The spatial distribution of the decoration also reveals a close relationship between ornament, views, water, and landscape. Galiana thus offers a significant example of the ways in which Andalusi and Christian artistic traditions were combined and transformed in the Christian-period redecoration of an earlier palatial setting of probable Andalusi origin.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"51 1","pages":"203"},"PeriodicalIF":0.5,"publicationDate":"2026-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899018","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

Engaging Cognition Through Learning to Draw: A Tool for Health Promotion 通过学习绘画参与认知：一种促进健康的工具

IF 0.5

Arts Pub Date : 2026-08-29 DOI: 10.3390/arts15090200

Mariya M. Vodyanyk

{"title":"Engaging Cognition Through Learning to Draw: A Tool for Health Promotion","authors":"Mariya M. Vodyanyk","doi":"10.3390/arts15090200","DOIUrl":"https://doi.org/10.3390/arts15090200","url":null,"abstract":"Engagement in the arts, particularly developing skills in an art form, represents a cognitively rich activity involving attention, memory, executive function, and sensorimotor coordination. Despite widespread assumptions that artistic abilities such as drawing are innate, they are highly trainable through targeted learning. Different techniques exemplify how structured observational drawing exercises can reshape perceptual and cognitive processing. For example, the negative space drawing technique directs attention to the shapes surrounding an object rather than the object itself. Specific techniques can map onto underlying cognitive processes, and this article examines the translational potential of learning to draw as a cognitive intervention. Due to the Arts’ aesthetic nature, the benefits extend beyond cognitive and can impact modifiable salutogenic factors at large. A toolkit of drawing techniques is provided, with information on the underlying cognitive processes. By connecting the cognitive neuropsychology of observational drawing to cognitive aging, this work contributes to a growing body of evidence supporting the arts as a vehicle for brain health, with particular promise in an aging global population. As technology transforms the landscape of arts and aesthetics, the cognitive value of embodied artmaking is underscored.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"57 1","pages":"200"},"PeriodicalIF":0.5,"publicationDate":"2026-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899033","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

“Where Ghosts Reside at the End of the World”: Choreographies of Steadfastness in the Persistence of Empire “世界尽头的鬼屋”：帝国持久中坚定的编舞

IF 0.5

Arts Pub Date : 2026-08-28 DOI: 10.3390/arts15090198

Heather Rastovac-Akbarzadeh

{"title":"“Where Ghosts Reside at the End of the World”: Choreographies of Steadfastness in the Persistence of Empire","authors":"Heather Rastovac-Akbarzadeh","doi":"10.3390/arts15090198","DOIUrl":"https://doi.org/10.3390/arts15090198","url":null,"abstract":"In the 2020 screen-based performance Extraterritorial صوت, artists Dena Al-Adeeb, Sholeh Asgary, Leyya Mona Tawil, and Daiane Lopes da Silva develop a feminist refugee praxis through video, sound, and choreography to reclaim “post-apocalyptic landscapes … where ghosts reside at the end of the world.” Filmed along the San Francisco Bay shoreline, the work brings bodies, rocky terrain, synthetic material, and the spectral into relation with layered histories of displacement, settler colonialism, and (neo)colonial violence. Through an analysis of choreography, cinematic form, and material interaction, the essay develops “steadfastness” as an analytic for examining how performance cultivates practices of remaining within the ongoing coloniality of the postapocalypse. The analysis proceeds across three interrelated dimensions. First, it examines material persistence through the dancers’ sustained contact with shifting ground and Mylar emergency blankets, foregrounding how histories of extraction, Indigenous dispossession, and humanitarian governance endure through embodied and environmental relations. Second, it examines temporal duration, showing how delay and recurrence interrupt accelerative temporalities and cultivate an unfinished present by rendering slow violence discernible as an ongoing condition. Third, it turns to spectral persistence, where ancestral relations and colonial violence continue to inhabit bodies and landscapes while unsettling dominant regimes of visibility. Working within the incommensurable frictions between Indigenous sovereignty and SWANA (Southwest Asian and North African) displacement, these dimensions establish steadfastness as a choreographic analytic that foregrounds the labor through which livability is sustained within the postapocalypse.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"28 1","pages":"198"},"PeriodicalIF":0.5,"publicationDate":"2026-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899060","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

Making of a Meadow 草地的制作

IF 0.5

Arts Pub Date : 2026-08-28 DOI: 10.3390/arts15090199

Jessica Potter

{"title":"Making of a Meadow","authors":"Jessica Potter","doi":"10.3390/arts15090199","DOIUrl":"https://doi.org/10.3390/arts15090199","url":null,"abstract":"‘Making of a Meadow’ is an expansive research project developed in 2024, culminating in the ‘Language and Landscape Impact Fellowship’ in 2025, funded by the Arts and Humanities Research Council Impact Acceleration Account, the Royal College of Art, in collaboration with the Kent Downs National Landscape. The project consists of a series of public workshops led by selected artists across the KDNL. The KDNL is applying for UNESCO Geopark status, and these creative projects form part of a body of evidence demonstrating the importance of the relationship between creativity, geodiversity and biodiversity. A key aim of the project is to expand access to and provide creative engagement with the bio- and geodiverse habitats of the Kent Downs in support of this application. The project also supports creative learning through the design of an educational resource for the KDNL (Making of a Meadow Notebook) for schools and the public to use to encourage, celebrate and attend to geo- and biodiversity. This article evaluates and advocates for creative methods of paying attention to chalk grassland habitats to support understanding their value alongside expanded conceptions of literacy, textual, sonic, visual and linguistic, raising awareness of the vital importance of bio- and geodiverse habitats to the health of the world in both human and planetary ways.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"17 1","pages":"199"},"PeriodicalIF":0.5,"publicationDate":"2026-08-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899014","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

Deconstructing the Redundancy, Essentialism, and Value of an Ecological Approach in (East Mediterranean) Archaeology and Its Relationship to Art History 解构（东地中海）考古学中生态方法的冗余、本质主义和价值及其与艺术史的关系

IF 0.5

Arts Pub Date : 2026-08-27 DOI: 10.3390/arts15090197

Louise A. Hitchcock

{"title":"Deconstructing the Redundancy, Essentialism, and Value of an Ecological Approach in (East Mediterranean) Archaeology and Its Relationship to Art History","authors":"Louise A. Hitchcock","doi":"10.3390/arts15090197","DOIUrl":"https://doi.org/10.3390/arts15090197","url":null,"abstract":"The historical connection between art history and archaeology dates back to the origin of art history in emerging as a discipline from classical archaeology. The practices of both continue to diverge and intersect, rendering an ironic status for both as summarised in this contribution. Ecological approaches to archaeology are problematic, with the role of -scapes (land, sea, sky, etc.) and environments being weighted differently, depending on region, time period, and research questions. These are influenced by broader methodological approaches such as environmental determinism (processualism), traditional art history, field archaeology, and the emphasis of environmental studies on macro (-scape studies) and micro (archaeobotany and phytolith analysis) levels. Field archaeology is by necessity interdisciplinary, requiring different but complementary areas of expertise as discussed below. This contribution will elaborate on the relationship between archaeology, its intersecting disciplines and approaches, and the role of collaboration. It concludes with a brief case study summarising the relationship between trade, complex society, and scapes in the Late Bronze Age (ca. 1700–1200 BCE) Mediterranean and the possible role of climate change, piracy, and religion that caused its collapse in the 12th century BCE.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"14 1","pages":"197"},"PeriodicalIF":0.5,"publicationDate":"2026-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148899015","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 Case Against ‘Dance Objects’ 反对“舞蹈物品”的案例

IF 0.5

Arts Pub Date : 2026-08-26 DOI: 10.3390/arts15090196

David Davies

{"title":"The Case Against ‘Dance Objects’","authors":"David Davies","doi":"10.3390/arts15090196","DOIUrl":"https://doi.org/10.3390/arts15090196","url":null,"abstract":"It is generally assumed that works in the performance arts are objects. They are not physical objects, of course, but abstract objects of some kind. Such abstract objects are made available to us through the activities of composers, playwrights, choreographers and dance companies, and are appreciable through performance events. Dance objects in a strict sense, it is assumed, are such abstract objects. And, it is further assumed, such abstract objects are properly thought of as types which have particular performance events as their tokens. Dance inherits this ontological picture from classical music, where it is the central element in what I have termed the ‘classical paradigm’. I begin by briefly sketching the classical paradigm as it applies to musical works and performances, and the reasons it has been widely assumed to be ‘the only game in town’. I then present what I take to be powerful objections to the classical paradigm in its ‘pure’ form, and some desiderata for any adequate philosophical account of works in a performing art. I sketch what I take to be the most plausible strategy for defending a ‘type’ theory of works in the performing arts, Jerrold Levinson’s view of musical works as ‘initiated types’. I then argue that this view as its stands fails to account for one very significant desideratum, but might be amended so as to address this challenge. I consider here Anna Pakes’ account of dance works in her Choreography Invisible. I suggest, however, that any account of dance works as types, pure or ‘initiated’, faces serious difficulties. Finally, drawing on Wollheim’s account of multiple artworks as ‘types’, I offer an alternative account of dance works that does not commit us to works as abstract objects, and that thus denies that there are dance objects in the strict sense.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"36 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148815530","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

Thinking Through Making: A Curatorial Approach to Working with Learning-Disabled Artists 通过制作思考：与学习障碍艺术家合作的策展方法

IF 0.5

Arts Pub Date : 2026-08-24 DOI: 10.3390/arts15090195

George Graham Vasey

{"title":"Thinking Through Making: A Curatorial Approach to Working with Learning-Disabled Artists","authors":"George Graham Vasey","doi":"10.3390/arts15090195","DOIUrl":"https://doi.org/10.3390/arts15090195","url":null,"abstract":"This essay examines a long-term collaboration between writer and curator Dr George Vasey and the London-based organisation Intoart, which supports a group of 24 artists with learning disabilities. Throughout the collaboration, a broad array of practice-based curatorial methods have been employed—including field recording, creative writing, and drawing—to develop an interpretative framework for a growing organisational collection of over 6000 artworks. Drawing on John Dewey’s writing on art as experience, the essay expands on Dewey’s concept of thinking through doing in the context of disability arts, arguing for progressive studio provision as a site of exchange and community learning that emphasises an art of lived experience. The essay explores what an artist-led approach might mean in the context of disability, revisiting Dewey’s practice-led approach and foregrounding embodied and experimental forms of engagement. By centring the voice and intention of learning-disabled artists, the project focuses on facilitative strategies that merge the disciplines of art criticism, visual arts, curating, and pedagogy. The essay contributes to ongoing debates in curatorial and disability studies by demonstrating how facilitative and practice-led approaches can reshape interpretative frameworks, artist agency and knowledge production.","PeriodicalId":30547,"journal":{"name":"Arts","volume":"381 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2026-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148815620","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

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