Arts and Humanities

Abstract:

This study uses Autoregressive Integrated Moving Average (ARIMA) forecasting models and regression analysis to explore the impact of three government funding mechanisms on financial sustainability in Singapore’s arts and heritage sector. Based on data obtained from the Ministry of Culture, Community and Youth (MCCY) for FY (FY refers to “Financial Year”, which is generally from 1 April to 31st March of the following year) 2022-2024, we modelled three funding scenarios: direct organisational grants (Scenario A), citizen-directed cultural vouchers (Scenario B), and a hybrid model combining both approaches (Scenario C). The results showed that while direct funding provides the most significant immediate capacity increase, a hybrid model provides a better balance between organisational stability and demand, thereby offering a more sustainable pathway for sector development. Our study makes a methodological contribution by illustrating the application of ARIMA forecasting to cultural policy evaluation, and compared the outcome of supply-side and demand-side interventions in the cultural sector.

Abstract: This paper examines the pedagogical and material implications of wax carving in vocational jewellery education through arts practice-led research incorporating arts-based inquiry. The finger ring operates as both material object and conceptual lens, enabling an exploration of sustainability, temporality, and meaning in craft practice. Industry-standard synthetic carving wax—primarily composed of polyethylene—perpetuates environmentally and bodily harmful material cultures when taught as normative technique. Drawing upon six months of studio experimentation, drawing, and reflective practice, Author 1 interrogated what are considered as “ordinary” material use in her practice as a jeweller and jewellery teacher, with Author 2 who is also an artist/educator/researcher working with metals and sustainable practices. Natural alternatives, including beeswax-resin blends and cheese were explored for alternative mould-making. These experiments generated idiosyncratic cast outcomes and expanded creative and pedagogical possibilities. The inquiry reveals a dynamic interrelationship between making, drawing, and teaching, positioning the educator of crafts and metal art as an alchemic mediator who transforms material practice and knowledge transmission. The paper argues for jewellery and sculpture pedagogy that is rooted in practices, fosters material curiosity, ecological responsibility, and reflective engagement, aligning vocational craft and art education with broader sustainability imperatives.

Abstract: Generative Artificial Intelligence (GenAI) is rapidly transforming creative practice, particularly within the conceptual design process, by augmenting human creativity and enhancing design productivity. Despite widespread adoption, fundamental questions persist about how GenAI influences design cognition, collaboration, and, critically, human agency. This paper synthesizes findings from a systematic literature review of GenAI's role in conceptual design with original empirical evidence drawn from two qualitative studies (Study 1, n = 6; Study 2, n = 7) exploring how individuals experience creative agency during co-creative tasks involving AI-generated images and text. Using think-aloud protocols and semi-structured post-task interviews, we identify four central dimensions of creative agency in human-AI collaboration: creative self-efficacy, control over creative action, autonomy in the creative process, and ownership of the creative product. We further identify self-regulatory and metacognitive mechanisms—including progressive refinement, selective appropriation, and counter-inspiration—that users employ to sustain agency when navigating unpredictable AI outputs. Building on these findings and anchored in the Co-Creative Framework for Interaction Design, we propose the Generative AI Enhanced Conceptual Design (GAECD) Framework, which delineates roles, responsibilities, and interaction modes for effective human-AI co-creation. This paper contributes both a critical evaluation of the current state of GenAI-human collaboration and a practical roadmap for designers, developers, and researchers seeking to harness GenAI's full potential while preserving meaningful human creative agency.

Abstract: This study uses a process -based technical approach combining X-ray radiography, visible and raking-light examination, and cross-modal image comparison to assess the construction logic of a Cubist-period painting associated with Pablo Picasso. Across the X-ray dataset, the painting shows orientation-dependent structural coherence, hierarchically organized planning seams with mechanically sensible terminations, and a multistage base-layer construction that remains interpretable under polarity inversion and rotation. Visible and raking-light images reveal physically incised inscriptions names, places, and numerals with later paint settling into grooves and, in some areas, bridging over them, establishing a clear sequence in which inscriptions precede over-painting. Reduced color and polarity-inversion checks confirm that these features are carried by luminance and surface relief rather than color artifacts. Together, these converging lines of evidence demonstrate a multi-campaign, orientation-aware con-struction process consistent with documented working methods from Picasso’s rele-vant period and difficult to replicate by superficial imitation.

Abstract: Pareidolia is usually framed as a viewer-side illusion, a tendency to perceive meaningful forms, especially faces, in ambiguous inputs. This Concept Paper argues that pareidolia can also be deliberately engineered and therefore provides a tractable entry point into the neurophysiology of visual creativity. We propose a unifying construct in which pareidolia functions as externally scaffolded mental imagery. Minimal visual constraints trigger a completion process that shares functional features with imagery, including reliance on internally generated templates and top-down inference, while remaining anchored to sensory input. This perspective connects mental imagery, visual perception, artistic cognition, and creativity within a single mechanistic narrative. Using Arcimboldo’s composite portraits and Dürer’s embedded face in View of the Arco Valley as complementary case studies, we outline how artists may transform an internally simulated pareidolic template into a stable perceptual outcome in the viewer, anticipating attention, viewing conditions, and individual differences. We then propose an operational bridge to creativity research by linking pareidolia design to constructs classically measured by the Torrance Tests of Creative Thinking, and we formulate testable predictions for behavioral and neuroimaging paradigms. Finally, we discuss cultural motivations for pareidolic techniques, including virtuoso “challenges” between artists and the possibility of layered or contestatory messages embedded through cryptic symbolism, and we highlight clinical resonance in neurodegenerative disorders where pareidolia can be quantified and is clinically meaningful.

Abstract: This work presents the first in-depth investigation of Theodor Aman’s paintings that focuses on three of his heritage artworks: „Hora de peste Olt” (1866), „Teleleice in Harem” (1879), and „Regimul vechi” (1881), and that relies on both elemental and spectroscopic analytical techniques. Non-destructive Raman spectroscopy was employed on all three works of art to identify the pigments used by the Romanian master. In addition, micro-samples were available from "Hora de peste Olt" and "Teleleice in Harem", which were further analyzed using XRD, micro-Raman, ATR-FTIR, and SEM-EDS techniques to provide complementary information on the pigments. SEM-EDS was also applied to study the structure of the preparation layers. The analyses revealed significant differences between the artworks in terms of both the pigments employed and the preparation of the canvas, suggesting that the earlier artwork belongs to one creative phase, while the newer pieces can be attributed to a later phase in the artist’s career.

Abstract: This study is part of the FAIST research project - Agile, Intelligent, Sustainable and Technological Factory, coordinated by the Footwear Technology Centre of Portugal (CTCP), which aims to develop an innovative production process through the creation of a sustainable footwear model fully adapted to the user’s foot anatomy and personalized according to individual aesthetic preferences. Within this context, the need emerged to design an online platform with an interface capable of effectively addressing user needs throughout all stages of the personalization process, from three-dimensional (3D) foot scanning to the aesthetic personalization of the model, while ensuring an efficient, intuitive, and pleasant navigation experience. Thus, this work aims to demonstrate how the design process of a footwear personalization platform, across its different phases, can contribute to the revitalization of the Portuguese footwear industry, as well as to describe its effectiveness, with the goal of being potentially adapted and implemented in similar contexts. The adopted methodology was based on the principles of Design Thinking, an approach centered on user needs. The development of the platform involved the creation of personas, the definition of the information architecture, the development of wireframes and workflows, and the execution of usability tests using the System Usability Scale (SUS). The results demonstrate a high success rate, validating the proposed solution with users and confirming the suitability of the applied methodologies.

Abstract: This paper proposes a new theoretical framework to understand the failure of the NFT market (2021-2023) through a synthesis of Pierre Bourdieu’s theory of The Field of Cultural Production [1] and the theological concept of apostolic succession. The central thesis of this argument is that the collapse of NFT value is not merely a phenomenon of a bursting financial bubble, but a manifestation of a more funda- mental institutional failure—namely, the inability to create a chain of legitimacy required for the transubstantiation of digital objects into valuable works of art. NFTs attempted a ”Protestant Reformation” of the hierarchical structure of the art world (by decentralizing the authority of curators, galleries, and muse- ums) without first building an alternative mechanism to produce collective belief. Without a traceable chain of legitimacy—conceptualized in this paper as apostolic succession—value fails to undergo ontological transformation and remains lifeless digital data, despite technological claims of blockchain-verified artificial scarcity. Through a comparative analysis between consecration mechanisms in tradi- tional art institutions (”The White Cube Church”) and legitimacy practices in the NFT ecosystem (”The Digital Heresy”), this paper demonstrates that cryp- tographic technology, however sophisticated, cannot replace the sociological and temporal infrastructure required to maintain symbolic value [7]. The concept of ontological debt—the collector’s psychological debt to historical narratives—is introduced as a key variable explaining the behavioral differences between traditional art collectors and NFT speculators.

Abstract: Japanese artistic expressions are embedded in particular discourses on technology and religious practices. One of those discourses is the “robot-loving discourse”, that claims that the Japanese have a special and spiritual relationship with robots and technology. Recent research has shown that this discourse was developed throughout the years, since the Meiji era and are not something “inherent” to Japanese culture, besides having potentially negative consequences. The mecha anime genre, in which young men pilot giant robots to fight evil, is a media space where this discourse can be critically analyzed. One of mecha most important dilemmas is that technology can turn its users into either “gods” or “devils”. This article analyzes two mecha anime and their relationships with technology and religion: Nagai Gō’s Mazinger Z and Ishikawa Ken’s Getter Robo. Both made use of the robot-loving discourse and the use of religious play (shūkyō asobi) in order not just to tell a story, but also reflect on the possible deleterious effects of technology on mankind: the same technology that saves the world could also doom it. We read mecha anime under the perspective of Paul Tillich’s demonic, where both the creative and destructive strengths of mankind can be contrasted and warns that humanity must not be under the control of its own creations.

Abstract: Multiband imaging (MBI) is a non-invasive, portable digital technique that has become increasingly widespread in the technical study and condition assessment of paintings, owing to its affordability, and ease of use. This paper presents an experimental research aimed at optimising MBI at the microscopic scale - referred to as micro multiband imaging (µMBI) - particularly with the aim of expanding its diagnostic capabilities. A range of µMBI techniques were used on custom-made mock-ups made up of pigments selected for their spectral responses, and representative of traditional artistic materials. The techniques used included microphotography of polarised and unpolarised visible light (µVIS), raking light microphotography (µRL), transmitted light microphotography (µTL), ultraviolet-induced visible luminescence microphotography (µUVL), infrared microphotography (µIR), infrared micro-transirradiation (µIRT), and infrared false-colour microphotography (µIRFC). The results obtained through µMBI were compared with those from standard MBI methods, allowing for a critical discussion of the strengths and limitations of this emerging approach. Results evidence that µMBI provides high-resolution, spatially specific insights into materials and painting techniques, offering a more detailed understanding at the microscale of how a painting was executed. It also enables the assessment of deterioration processes (e.g., cracking, delamination, and metal soap formation), contributing to a deeper comprehension of the origin and progression of failure phenomena and supporting the development of more informed, preventive conservation strategies.

Abstract: This paper explores the creative process as a human form of knowledge from a Fluxian perspective, integrating art, epistemology, and lived experience. Through the analysis of his own expanded art practice and the exhibitions “El Todo y la Nada” (Museum of Contemporary Art of Bogotá) and “Forever” (La Neomudéjar Museum, Madrid), the author proposes an understanding of art as a path of knowledge irreducible to animal instinct or technical rationality. The text interweaves thought and poetics to situate contemporary art as a space of epistemological and metaphysical revelation.

Abstract: Various heritage objects can be subjected to various types of biodegradations. Mold fungi can cause destruction—be it monumental art or easel paintings. Tempera paintings on wood are at risk of biodeterioration, since the wide variety of organic and inorganic materials contained in art objects often provide an optimal habitat for biological coloniza-tion, causing aesthetic and structural damage. In this regard, the urgent task is both timely identification and characterization of their microbiological destructive potential. The fungi Syncephalastrum sp. STG-160 and Cladosporium sphaerospermum STG-161, isolated from bio-lesion sites of the 16th century icon "Descent into Hell" from State Tretyakov Gallery, Moscow, were identified and characterized morphologically and molecularly in our work. Syncephalastrum sp. showed an unusual habitat that has not been previously described for this species. To determine the biodegradability of the identified fungi their cells were inoc-ulated onto the mock layer—egg yolk ochre and cobalt green tempera pigments, and wa-tercolor black. The addition of cobalt green completely inhibits the STG-161 growth and significantly slows down STG-160 mycelium development, which is most likely due to the presence of heavy metal ions in the pigment. But the ochre pigment, one of the frequently used material in restoration practice, is the leader of biodegradation. Scanning electron microscopy confirmed the presence of isolated spores of fungi-destructors on the surface of the icon in relatively clean places, which can lead to their development in case of viola-tion of temperature and humidity conditions.

Abstract: Based on the Theory of Planned Behavior, this study systematically examines the influence mechanism of sustainable fashion consumption value perception on purchase intention among Chinese and Korean consumers, while also delving into the moderating effect of environmental concern between consumption value and purchase intention. Using a questionnaire survey method, the study collected 1,308 valid samples from university students in China and South Korea (716 Chinese samples, 592 Korean samples), employing quantitative analysis with SPSS 26.0 and AMOS 26.0.0. The research constructed an influence pathway model for sustainable fashion consumption behavior, using the five dimensions of consumption value (functional value, social value, emotional value,precious value, ethical value) as its theoretical framework. Empirical findings reveal: Each dimension of consumer value significantly and positively influences purchase intention among Chinese and Korean consumers. - Environmental concern significantly moderates the relationship between consumer value and purchase intention. Significant cross-cultural differences exist in the relationship between consumer value perception and purchase intention between Chinese and Korean consumers. Additionally, gender significantly moderates consumer value perception, providing crucial insights for targeted marketing strategies. These findings not only provide empirical support for fashion enterprises in positioning sustainable fashion products but also offer robust backing for theoretical advancement and practical innovation in sustainable fashion.

Abstract:

Accelerated artificial aging of ZnO PW4 acrylic artist’s paints was carried out for a total of 1963 hours (~8 10⁷ lux.h) with aging assessment at specific intervals. Color change ΔE* < 2 (CIELab-76 system) over 1725 hours of aging, while the human eye notices color change at ΔE* > 2. Oxidative degradation of organic components in the paint to form volatile products was revealed by ATR-FTIR, Raman spectroscopy-microscopy and scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDS). It appears that deep oxidation of organic intermediates and volatilization of organic matter may be responsible for the relatively small value of ΔE* color difference during aging of the samples. To elucidate the degradation pathways, principal component analysis (PCA) was applied to the spectral data, revealing: 1) the catalytic role of ZnO in accelerating photodegradation, 2) the Kolbe photoreaction, 3) the decomposition of the binder to form volatile degradation products, 4) the relative photoinactivity of CaCO₃ compared to ZnO, showing slower degradation in areas with higher CaCO₃ content compared to those dominated by ZnO. These results provide fundamental insights into formulation-specific degradation processes, offering practical guidance for the development of more durable artist paints and conservation strategies for acrylic artworks.

Abstract: The Museum of Modern Art (MoMA) is a leading institution in the preservation and presentation of historical and contemporary art, with a collection spanning painting, sculptures, photographs, architecture, design, film, performance, and more. This paper examines gender disparity within MoMA’s collection by analyzing both historical and contemporary trends in the representation of female artists. Using a mixed-methods approach, the study combines quantitative analysis of MoMA’s publicly available dataset with qualitative insights informed by feminist art theory. The study reveals systemic biases embedded in curatorial practices and institutional priorities, particularly in terms of exhibition. In particular, the findings highlight a significant gender gap among artists of various nationalities and mediums, revealing a need for museum curators to reassess how artistic value is understood within these institutions. By identifying these disparities and offering targeted recommendations, this research aims to inform more equitable and inclusive museum collections.

Abstract: This study explores the artistic experiences of individuals with low vision in creating clay-based artworks at the Pandawa Social Home for Blind Sensory Disabilities in Kudus Regency, Indonesia. The research used a qualitative, descriptive-exploratory design, and fifteen participants with varying levels of visual impairment were involved. Data were obtained through in-depth interviews, observations, and analysis of their clay creations. The findings reveal that clay, with its tactile qualities, serves as an effective medium for creative expression, enabling participants to explore form through touch and pressure. This process supported the development of fine motor skills, creativity, and self-confidence while fostering emotional well-being and social interaction. Participants relied on memory, imagination, and sensory perception to produce artworks that held personal and aesthetic meaning, despite differing from conventional visual standards. The study underscores the therapeutic benefits of clay art and highlights the crucial role of supportive environments—families, educators, and art communities—in nurturing creativity and enhancing the quality of life for individuals with visual impairments.

Abstract: Gypsum alabaster as material for European sculpture emerged in the 12th century and soon rivalled marble due to its accessibility, ease of sculpting, and aesthetic qualities. Lack of clear terminology and the visual similarity of the two materials have led to a considerable amount of confusion and deliberate misnomers. Despite attempts, since early modern times, to make a clear physical and chemical distinction between both materials, the confusion persists, even in modern collections. Here we present a non-invasive, cost-effective, reliable technique to differentiate the two, using an ultra-portable near-infrared spectrometer. The characteristic NIR spectrum of gypsum alabaster over the range of 900-1700 nm strongly contrasting with the near-featureless spectra of marble and limestone, allows for a simple and straightforward differentiation of these materials. Distinction of marble and anhydrite alabaster is less evident but appears possible due to the frequent partial hydration of natural anhydrites, leading to weak but characteristic features in the 1200 nm and 1400-1500 nm ranges. As demonstrate our two cases, the 15th century Kortrijk Saint Catherine of Alexandria and the 17th century funeral monument of Prince-Bishop Julius Echter in the Würzburg Cathedral, our technique enables rapid lithological identification of complex composite sculptural ensembles.

Abstract: This study aims to break through the traditional sculpture restoration paradigm centred on "geometric fitting", and proposes an aesthetic restoration framework that integrates emotion-gesture-symbol. Different from the geometric restoration that focuses on the symmetry of form and the fitting of points and lines, the aesthetic restoration emphasises the multi-dimensional linkage of emotional communication, dynamic aesthetics and cognitive consistency, and tries to restore the internal logic and sensual semantics of the "ideal beauty" in classical art works. In this paper, we introduce aesthetic cognitive a priori mapping for the first time, embed the emotional structure and visual semantics of classical sculptures into AI models, construct a neural-symbolic joint reasoning system, and integrate Transformer and graph neural network (GNN) to achieve cross-modal construction of gesture dynamics and expression generation. Through the experimental reconstruction of the eight restored versions of the Venus statue and typical postures such as the golden apple and the leaning pillar, combined with the quantitative indexes such as PCK, FID, Aesthetic Score, etc., we verified the model's performance in the areas of "perceptual proportions", "gesture dynamics", "props", and "expression generation". Combined with PCK, FID, Aesthetic Score and other quantitative indexes, it is verified that this model is superior to the traditional restoration path in terms of "perceptual proportion", "gesture and momentum", "props integration" and "divine expression". The study shows that aesthetic restoration is not only a reconstruction of the visual form, but also a deep cognitive reasoning process, and the results are more in line with the context of art history and the audience's perceptual experience. In the future, we will expand the temporal emotion modelling, historical archive enhancement mechanism and virtual reality immersive interaction, in order to promote the systematic application of AI in the fields of digital museums, art gallery restoration and cultural narrative generation.

Abstract: This paper introduces DKR-YOLO, an advanced deep learning framework designed to empower the digital preservation and sustainable management of ancient mural heritage. Building upon YOLOv8, DKR-YOLO integrates innovative components—including the DySnake Conv layer for refined feature extraction and an Adaptive Convolutional Kernel Warehouse to optimize representation—addressing challenges posed by intricate details, diverse artistic styles, and mural degradation. The network’s architecture further incorporates a Residual Feature Augmentation (RFA)-enhanced FPN (RE-FPN) and Efficient Channel Attention (ECA), prioritizing the most critical visual features and enhancing interpretability. Extensive experiments on mural datasets demonstrate that DKR-YOLO achieves a 43.6% reduction in FLOPs, a 3.7% increase in accuracy, and a 5.1% improvement in mAP compared to baseline models. This performance, combined with an emphasis on robustness and interpretability, supports more inclusive and accessible applications of AI for cultural institutions—including small museums and local heritage organizations—thereby fostering broader participation and equity in digital heritage preservation.

Abstract: The automation of Style3D simulation is confronted with dual technical and cultural challenges: (1) systematic incompatibility with traditional planar cutting logic, and (2) anthropological inaccuracies in the digital reconstruction of historical garment semantics. To address these limitations, a rule-driven computational framework is proposed in this study, which systematically integrates the structural heritage of Ming and Han dynastic attire with modern parametric 3D design paradigms. Through geometric analysis of twelve archetypal Ming-era garments (including Daopao robes and Shenyi ceremonial wear), the first quantitative database of Hanfu structural invariants was established. Three axiomatic design principles were rigorously derived: A nonlinear relationship between collar angularity (θ) and body height (H), formulated as θ = 35 + 0.15(H − 160), A golden ratio constraint governing sleeve-root circumference (S_w = 0.618B_w + 5 cm), A fixed 1.5 cm right-overlap margin in cross-collar construction to preserve ritual compliance. These principles were algorithmically encoded into a Style3D plugin, where 3D garment topologies are automatically generated while cultural protocols are enforced through constraint-based validation (e.g., left-overlap errors are systematically prohibited). Experimental validation demonstrated a 68% reduction in modeling time compared to manual workflows, with critical dimensional parameters maintaining <3% deviation from archaeological measurements of Ming Dynasty textile relics. The framework’s efficacy was further authenticated during its deployment at the China International Fashion Week’s digital exhibition, where fifteen procedurally generated Han-style designs achieved a cultural accuracy score of 4.7/5 as evaluated by a panel of heritage scholars. This research establishes a pioneering methodology for formalizing intangible cultural knowledge into computable design axioms, thereby creating new pathways for both digital heritage preservation and algorithm-driven fashion innovation.