Abstract Educational inequity in arts learning disproportionately marginalizes students with Autism Spectrum Disorder (ASD), who require structured, predictable environments for aesthetic development and sensory regulation that traditional pedagogies fail to provide. This study introduces an AI-powered e-learning platform that addresses these systematic barriers through intelligent cross-modal integration, democratizing access to personalized art education for neurodivergent learners. Our DeepSeek-based system transforms visual art features into structured musical accompaniments that accommodate individual sensory processing patterns, cultural backgrounds, and neurodevelopmental profiles while maintaining the predictability essential for ASD learning success. The platform employs enhanced ResNet-50 architecture, high-dimensional manifold mapping, and conditional generation models specifically optimized for sensory regulation principles. Comprehensive evaluation with 203 participants (including 53 neurodivergent learners) and 19 autism education specialists demonstrates substantial improvements: sensory comfort ratings of 4.6/5, learning satisfaction of 4.3/5, and educational outcomes showing 20.5% NAEP score improvements compared to 8.2% for traditional methods (p < 0.008). Technical performance achieved superior cross-modal consistency (MSE 0.05, PCC 0.92) with 89% accommodation success across diverse sensory profiles. This research offers a promising model for inclusive digital education by demonstrating how AI can contribute to mitigating educational inequities for neurodivergent populations. It provides a scalable framework that advances accessible arts education, embracing neurodiversity while maintaining academic rigor.
Este artículo analiza la función del sonido en relación a la experimentación que algunos músicos y artistas sonoros han realizado para generar estados alterados de conciencia y explorar el campo de la vibración en las ondas cerebrales. Desde estados místicos a experiencias ilimitadas de realidades, el sonido siempre ha estado presente en las experiencias que conforman las ramas de la ciencia y la mística siglos atrás. Sin embargo, con el uso de nuevas tecnologías y a partir de la segunda mitad del siglo XX, la exploración de diferentes estados de conciencia en relación al sonido ha generado distintos acercamientos que confirman la íntima relación que existe entre las ondas cerebrales y la frecuencia de ciertos sonidos, ya sea por que se incita a estados expandidos o porque éstos producen nuevas exploraciones sonoras en el campo de la experimentación artística.
Sustainability has become a central theme in contemporary fashion branding, yet the ways in which companies articulate their commitments can vary significantly. This study examines how French ethical fashion brands construct their discourse on sustainability through linguistic choices, focusing on terminology, conceptual associations, and emotional framing. Using a lexicometric approach, we analyze a corpus of brand communications through word frequency analysis, co-occurrence heatmaps, and sentiment analysis. The findings reveal that sustainability discourse is structured around key themes such as materials, transparency, and cultural identity, with a strong emphasis on traceability and responsible production. Despite expectations of aspirational messaging, neutral sentiment dominates, suggesting a preference for factual, credibility-driven communication over overt emotional appeal. The study also highlights how labels and certifications play a pivotal role in reinforcing sustainability claims, though they may also serve as marketing tools rather than verifiable indicators of corporate responsibility. Additionally, the absence of key terms like “upcycling” suggests that linguistic choices shape how sustainability practices are framed and understood within the French ethical fashion industry. These insights contribute to a broader discussion on how sustainability is communicated in fashion branding and raise questions about whether changing geopolitical dynamics and increasing environmental awareness will influence the evolution of these narratives in the future.
Marine Scientist and Geoscience Research Consultant Sophie Mackaness reflects on the opportunities and challenges of building connections between science, art, and people
Bakhtin believes that human life in the middle centuries were in two ways; one was a completely formal life under a hierarchical system and combined with fear, dogmatism and submission formed in piety, and the other was life in a carnival and social atmosphere. He deals with the carnival as an independent event and expands it in the field of art and literature. Bakhtin's carnival theory provides a new way to investigate and research the dimensions of popular celebrations. To understand the carnival, Bakhtin mentioned the ideas and themes leading to the formation of the carnival structure. Some of the numerous features that he listed for the carnival are its components and some others are hidden in the topic and theme of the carnival. In the carnival, people join the crowd by putting masks on their faces. In fact, the person who wears a mask has put aside the individuality that distinguishes him from the crowd in order to experience his physical and material uniqueness and unity with the crowd. The theme of game also plays an important role in conceptualizing the carnival. The game is one of the side activities of the carnival; there is no hierarchy in popular games. The other point is that in the carnival the lower classes have the opportunity to somehow stand in front of the tough and official culture of the rulers of the church and make fun of it. Another theme that exists in the carnival is the theme of madness. Madness makes a person look at the world through a different perspective, a perspective not limited to solid frameworks of common and conventional ideals and judgments. Similar to the theme of madness, the images of the vagrant idiot and clown help create a carnival atmosphere due to their opposition to conventional social, political, religious and cultural norms. Bakhtin clearly declared that it is impossible to hope that carnival would change the world, but it is possible to change the inner relationship of man with the world.Iranian painting with various subjects and themes is a suitable platform for analyzing Eastern and Western theories. In the meantime, the illustrated horoscopes that were written to determine the fortunes and misfortunes of affairs provide a visual collection of religious subjects and folk traditions, which sometimes have no written roots; One of these folk narratives in Tahmasbi's Falnama is a picture of the people’s celebration and joy at the time of Dajjal’s arrival. Dajjal is a person or a creature who is the enemy of Imam Mahdi (AS). He, who is also known as the Antichrist, is an evil character who, according to Muslims, will pretend to be the Jesus at some point in the future before the Day of Judgment, and people will be deceived and join him. To state the problem, the image of the arrival of Dajjal contains themes and images that can be compared and analyzed with the features of Bakhtin's carnival in many ways. The purpose of this research, which is descriptive-analytical and carried out in a qualitative and theory-based way, is to "study the components and themes of Bakhtin's carnival in the image of Dajjal in Ṭahmāsbi's dispersed Falnama". Answering these questions seems necessary in order to achieve this purpose: What are the components and themes of Bakhtin's carnival in the image of Dajjal, in separate? How can the image of the Dajjal's arrival be analyzed based on Bakhtin's carnival theory?The method of this research is analytical descriptive with a qualitative approach. In order to answer the questions raised, first of all, the recognition and understanding of the carnival and Bakhtin's theory in this case were done through library sources, and the components and themes of Bakhtin's carnival were identified separately. Then, the characteristics of the carnival in the image of Dajjal’s arrival were explained, and finally, the components of Bakhtin's carnival, which are presented as visual elements in the image, and the themes of Bakhtin's carnival, which are hidden in the content of the work, were analyzed.The findings show that in Bakhtin's point of view, carnivals were popular and mostly non-religious festivals or street plays in which the culture of the ordinary people was represented; An insolent and blatantly, free and unrestrained culture that used to joke, play and go crazy in contradiction to the holy rules. The image of Dajjal can be analyzed by inspection of the visual elements according to the carnival components and the content of the themes used in it. The main components of carnival, laughter, games, masks, inversions and grotesque in Bakhtin’s point of view match the elements used in the image of Dajjal. In the image of the Antichrist's arrival, an anti-religious celebration with no presence of religious figures and against the existing laws induces a double atmosphere game in which a kind of madness is perceived.
The production of art conceived for the Internet experienced a period of decline in the 2010s. However, with the need for social isolation due to the COVID-19 pandemic starting in 2020, artists turned their attention to the Internet as a medium of creation, transcending the diffusion of other types of art works. Production is strengthened, with a substantial number of creations conceived during the critical period of the Pandemic. But, as life goes back to normal, is Internet art production destined for a new downfall? In light of this, artists Fabio FON and Soraya Braz launched a call for artists entitled Net art died but is doing well, with the purpose of understanding the current status of that production. An online exhibition is held in the context of the sixth edition of The Wrong Biennale, one of the largest digital art events in the world, which started in November 2023.
MAPA [fragmentos postais] é um ensaio visual e sonoro, e elabora uma escrita em campo ampliado ao conjugar fotografias de pesquisa in situ, cartografias com dados factuais e três cartões postais – imagem em preto e branco (frente) e sinopse com QR Code para escuta de uma composição sonora com arquivos (verso). Cada fragmento postal pode ser lido como recorte poético-territorial de uma pesquisa artística mais ampla, a partir da Lista de Agrotóxicos oficialmente disponível para uso no Brasil. Série com início em 2020, cada trecho dedica-se à correspondente letra do alfabeto e articula sonoridades produzidas por corpos humanos e não humanos, aparatos e aspectos do cenário geopolítico, contextos ambientais, imagens e práticas de arquivo. MAPA (I) Ministério da Agricultura, Pecuária e Abastecimento; (II) Desenho de território, cartografia; (III) Imaginário das coisas que nos entram pela boca e das palavras que nos faltam diante das políticas socioambientais do Brasil. Como nomes tóxicos e sonoridades orgânicas compõem traços e desvios, constroem e desestabilizam imagens?
Of the major modernist movements in the 20th century, Abstract Expressionism long retained its canonical status as a radical avant-garde detached from a broader mass culture [...]
This paper makes explicit the claim that the proper goal of visual arts research is visual art. This claim is consistent with the view held by many scholars in the visual arts community, who see art as a form of research (cf. K. Macleod and L. Holdridge, Thinking through Art: Reflections on Art as Research, London: Routledge, 2006), but accept that research is an original investigation undertaken in order to gain knowledge and understanding. This being the case, the knowledge acquired either resides in the art object and/or secondary outcomes (e.g., a texts). This paper argues against the proposition that the art object is a form of knowledge. Although consistent with Biggs' (2002) paper 'The role of the artefact in art and design research', published in International Journal of Design Sciences and Technology. 10:2, 19-24 (which did not actually appear in print until 2004), Biggs holds to the above definition of research and subsequently focuses on experiential knowledge (2004). However, if, as claimed here, the proper goal of visual arts research is visual art, and if visual art is not a form of knowledge, then visual arts research is not in essence a knowledge acquisition process. This dilemma is resolved by proposing that visual art making serves a different purpose to knowledge acquisition and that visual arts research would be better described as original creation undertaken in order to generate novel apprehension, thus developing the fundamental proposition presented a paper published by the author in the International Journal of Design Sciences and Technology in 2002. Biggs, M. A. R. (2004). Learning from Experience: approaches to the experiential component of practice-based research. Forskning-Reflektion-Utveckling. H. Karlsson. Stockholm, Swedish Research Council: 6-21. Scrivener, S.A.R. (2002) Characterising creative-production doctoral projects in art and design. International Journal of Design Sciences and Technology, 10(2), pp. 25 - 44. (appeared 2004)
Bajo una metodología de narrativa de experiencias profesionales, se presenta una primera aproximación sobre las experiencias vividas y las actitudes observadas en un taller de arte textil para adolescentes en una escuela privada de nivel secundaria, dicho taller se plantea como un espacio de recuperación de la propuesta hecha por el Nuevo Modelo Educativo planteado en México por la Secretaría de Educación Pública (SEP) en 2017 en torno a los llamados Ámbitos de Autonomía Curricular que a partir de 2019 entraron en desuso. La observación activa de los fenómenos acaecidos en este nuevo taller propicia la reflexión sobre la relación entre el desarrollo de las habilidades manuales, los procesos cognitivos y el desarrollo de habilidades socioemocionales que se suscitan mientras los adolescentes enfrentan experiencias estéticas en espacios de confianza y cooperación por medio de materiales y herramientas textiles.
Ana Mae Barbosa, Annelise Nani da Fonseca, Ana Flávia Tavares de Melo
et al.
Estabelece desafios emergentes e possibilidades para o ensino de artes, a partir de percepções dos professores de artes, do Brasil e do exterior, por meio de um questionário, respondido por mil e nove participantes deste II Congresso. A realização do congresso e a análise em questão evidenciaram desafios emergentes para os processos educacionais de produção do conhecimento em artes. Contribuições que consubstanciam a Abordagem Triangular enquanto teoria de interpretação e suas reconexões para o pensar e o agir na práxis do ensino de artes.
La primera fase del proyecto de investigación surge por la necesidad de profundizar en el campo de la dramaturgia creada por mujeres, y ahondar en temáticas que abordan lo social, cultural, intimista, situaciones de inequidad y marginación desde la creación textual de una mirada femenina, que se aleja de los clásicos estereotipos del género femenino y representación vinculada a las corrientes del feminismo contemporáneo en la construcción textual de la reconocida dramaturga, actriz, guionista, escritora y directora teatral argentina - española Ana Diosdado (1938-2015). Y al considerar las siguientes piezas teatrales de los años 1970s al 2005 y 2015: 1. Olvida los tambores (1970). 2. Usted también podrá disfrutar de ella (1973), 3. Los comuneros (1974), 4. Trescientos veinte uno y trescientos veinte dos (1991), 5. Decíamos Ayer (1997), 6. La imagen del espejo (1998), 7. La última Aventura (1999), 8. Harira (2005). Y se profundiza en el análisis de la temática abordada por los textos teatrales, la construcción de personajes femeninos, los diálogos, la línea dramática o posdramática (la progresión lineal o no lineal y fragmentaria), la relación entre el espacio – tiempo, la simultaneidad de espacios, la reiteración de escenas, los saltos temporales dentro de su construcción.
Abstract The field of art education has been impacted by the COVID-19 pandemic in complex ways. Art educators have been challenged with teaching visual arts skills, practices, and concepts, to students in virtual classrooms using non-conventional means. Their principal goal has been to provide quality education in the visual arts for all students. They recognize that having a visual arts education impacts the quality of life of everyone and their ability to understand and communicate in our complex world. In their efforts to provide meaningful and effective education, art educators have had to manage new instructional delivery systems and to ensure the health and safety and social emotional learning of their students and themselves in their educational spaces. They responded by using social media, video conferencing, and other digital technology to deliver instruction. The National Art Education Association provided a wealth of digital resources to support virtual instruction during this time. These resources enabled art educators to successfully address the educational needs of their students. The long-term impact of the pandemic will require research to understand the nature of the impact of the pandemic on education and how educational policy needs to be adjusted to reflect the new post-pandemic educational landscape
a ic s A rc h te c tu re 0 3 J a n e A n d e so n AVA Academia’s Basics Architecture titles are designed to provide visual arts students with a theoretical and practical exploration of each of the fundamental topics within the discipline of architecture. Packed with examples from students and professionals and fully illustrated with clear diagrams and inspiring imagery, they offer an essential exploration of the subject.
La belleza en las artes no está de moda. El término e imaginario colectivo de belleza se ha quedado anclado en el polémico ideal de belleza del cuerpo, en la naturaleza utópica romántica y se ha devaluado a través de una sociedad que manipula a través de la apariencia y la construcción de identidad. Así, algo bello se relaciona, dentro del marco posmoderno, con algo bonito, púramente estético, de carácter falso y vacío de contenido. Esta crisis de identidad ayuda a deshumanizarnos todavía más, sumándose a la ya existente saturación de imágenes de conflictos diversos, el control que ejerce internet y el Big Data sobre nuestros gustos e intereses, entre otras cosas.
Este texto parte de la hipótesis de la devaluación, pérdida de la belleza en las artes visuales así como del cambio de etapa de la sociedad posmoderna (o sociedad de la información) a una nueva era posdigital. El objetivo: reclamar la vuelta de belleza como necesaria para la rehumanización a través de las artes a día de hoy. Esto es, contextualizar el término, cuestionarlo y actualizarlo.
Very high resolution (VHR) satellite imagery from Google Earth and Microsoft Bing Maps is increasingly being used in a variety of applications from computer sciences to arts and humanities. In the field of remote sensing, one use of this imagery is to create reference data sets through visual interpretation, e.g., to complement existing training data or to aid in the validation of land-cover products. Through new applications such as Collect Earth, this imagery is also being used for monitoring purposes in the form of statistical surveys obtained through visual interpretation. However, little is known about where VHR satellite imagery exists globally or the dates of the imagery. Here we present a global overview of the spatial and temporal distribution of VHR satellite imagery in Google Earth and Microsoft Bing Maps. The results show an uneven availability globally, with biases in certain areas such as the USA, Europe and India, and with clear discontinuities at political borders. We also show that the availability of VHR imagery is currently not adequate for monitoring protected areas and deforestation, but is better suited for monitoring changes in cropland or urban areas using visual interpretation.
Scientific disciplines as diverse as biology, physics, and psychological aesthetics regard symmetry as one of the most important principles in nature and one of the most powerful determinants of beauty. However, symmetry has a low standing in the arts and humanities. This difference in the valuation of symmetry is a remarkable illustration of the gap between the two cultures. To close this gap, we conducted an interdisciplinary, empirical study to directly demonstrate the effects of art expertise on symmetry appreciation. Two groups of art experts—artists and art historians—and a group of non-experts provided spontaneous beauty ratings of visual stimuli that varied in symmetry and complexity. In complete contrast to responses typically found in non-art experts, art experts found asymmetrical and simple stimuli as most beautiful. This is evidence of the effects of specific education and training on aesthetic appreciation and a direct challenge to the universality of symmetry.
Ajaib al-makhluqat wa-gharaib al-mawjudat (The Wonders of Creation, or literally “the Marvels of Created Things and the Miraculous Aspects of Existing Things”) by Zakariya ibn Muhammad al-Qazwini (circa 1203−83) is among the best known texts of the Islamic world. It is often referred to as “The Cosmography”. The work begins with an introduction, and is followed by two sections; the first on supra-terrestrial, and the second on terrestrial creatures. Al-Qazwini concludes his work with a section on monsters and angels. The genre of Ajaib al-makhluqat (The Wonders of Creation), of which al-Qazwini’s work is the most famous example, includes texts in Arabic and Persian that describe the marvels of the heavens and the earth. Knowing the styles of character design in the art of miniature, and study of its conception and evolution can be an inspiration for contemporary artists and open up new perspectives for them. In this way, the images of the amazing version of the Wonders of Creation by Zakariya al-Qazwini are a suitable case to study the character design in the central Asian imagery tradition. The selection of two distinctive versions from two different eras of the Ilkhanid miniature in Iran (Ilkhanid version from Munich Library-No.464) and the Mughal School in India (Mughal version from the library of Astan Quds Razavi-Mashhad-No.47893), from the beginning of authorship and painting of this version to the end of the dynamic miniature schools of the central Asia, can demonstrate the evolution of this style of portraiture. The purpose of this research is to know the fixed and variable factors in designing the fantasy-fictional characters from the 13th to the 17th century AD, with a focus on two indexes and with a form-based attitude. This research is looking for answers to the following questions: What are the representational characterizations of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in the Ilkhanid School, and the version in the Mughal School? What are their communalities and differences? The method of the study is analytic-comparative and the method of collecting information is library research. Statistical population of this study, in the first step and for analysis of general characteristics, is all of the pictures of imaginary-synthetic beings in the two versions, and in the last step and for the sake of analysis of professional characteristics, consists of five miniatures which are shared and equal in both versions. The general results of the study show that the percentage of realistic images is higher in comparison with the fantastic ones in both versions. Among the images of the fantastic creatures in both versions, the special creatures of the sea possess a higher percentage, while the lowest percentage of the fantastic images in the Ilkhanid version is dedicated to constellations, and the lowest percentage of the fantastic images in the Mughal version to the special creatures of the land, angels and stars. Also, the commonality of characterization of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in Ilkhanid School, and in its counterpart in Mughal School, is derived from the style of Persian miniature and its explicit way in application of colors. The Mughal version of the above-mentioned manuscript is painted with more saturated colors in comparison with the Ilkhanid version, which bestows more energy and dynamism to its characters. The texture in the miniatures of the Mughal version is much more obvious and apparent as well, which lead to richness and high pictorial value in the miniatures of this version. The images in both versions have been well imbued with a type of extra-terrestrial and inorganic exaggeration and hybridization and manifest a mixture of heterogeneous elements. It is also noteworthy to add that the lines, compositions as well as low saturated colors are taken from the Chinese art, while the omission of the characteristic empty background in the Chinese painting has added an idealistic effect to the miniatures. In the Mughal-era version of The Wonders of Creation, the imaginary-synthetic figures suggest the inclination of artists to depiction of unrealistic themes and imagination. In the majority of the Mughal images, the tendency to use intense colors, attention to chiaroscuro and perspective are apparent, thus the colors are mature and dark, and the figures seem more corporeal. Finally, qualities such as the application of color and line, use of surrounding frame, realism or foreshortening are the obvious differences of these versions, which also emphasize the quality of portraiture in the Ilkhanid version in comparison with the Mughal one.