Interactive sound installations and experiences are increasingly prevalent in museums, galleries, events, and various spaces worldwide. These installations are often powered by microcontroller board running programs that control interactivity and possibly even audio processing. Commonly used microcontrollers such as the ESP32 and Raspberry Pi Pico are generic, necessitating custom implementations for audio-specific functionalities. Existing audio libraries often have limited signal processing features and may not be designed with interactivity in mind. This paper presents the Interactive Audio Toolkit, which focuses on the seamless integration of sound generation with sensors to create interactive sound experiences with low-power, low-cost microcontrollers. This C++ toolkit is structured around sensor input and audio output classes, providing a simple interface to generate flexible audio responses from sensor interactions. This paper details the toolkit’s structure, components, and workflow, highlighting its ability to foster new forms of sonic and musical interactions for artists and audiences. A case study of an installation utilizing the toolkit is also presented.

An issue raised lately in the media about the arts is the question of “appropriation,” typically defined as taking something for oneself that belongs to someone else, or that originates from a culture or community to which one does not belong—often without permission or legitimate authority. Appropriation is commonly viewed as a unilateral act, with little consideration of possible reciprocal forms. This paper introduces the concept of “transpropriation” as a potential antonym to appropriation—a term not found in dictionaries, but used here to describe a process of making something one’s own through relational engagement with other people or cultures. Unlike appropriation, transpropriation emphasizes mutuality and ethical exchange. Bruno Deschênes succinctly explores both the notions of appropriation and transpropriation in regard to arts, in particular world music, suggesting that the latter is an outcome of the former. In world music, to properly master a music from a culture distinct from one’s own, appropriation is insufficient; the musician might have to take a transpropriative comportment.

Over the past two decades, interactive technologies have gradually transformed audience engagement in live performance contexts. This paper explores audience interaction through a mobile web-app designed for immersive sonic experiences. The app transforms personal smartphones into a distributed speaker array and interactive controller. We examine two case studies: Freedom Collective, a contemporary opera where smartphones diffused pre-recorded sounds, creating a spatialized auditory field; and Exo Signals, an interactive sound experience at the Ubimus conference in Macau, where the audience actively shaped the soundscape by triggering audio samples and applying real-time DSP (band-pass filter) through touch interactions. We discuss the artistic and technological challenges in both cases, comparing the levels of immersion and audience engagement in passive versus active participation models.

While objectification theory has been extensively applied to the representation of women in advertising, limited scholarly attention has been given to the objectification of men, particularly within the context of Pakistani television (TV) advertisements. This study addresses this gap by examining patterns of male objectification and exploring how media and art education can function as a critical pedagogical intervention to challenge and reform objectifying advertising practices. The purpose of this research is to explore the trends and patterns of male objectification portrayed in male representation in Pakistani TV advertisements. This research was conducted through the lens of objectification theory. The study also aims to investigate the impact of such objectification on culture, art, and social value systems, as well as how media art education can help abate the objectification phenomenon in advertisements. To achieve this purpose, the present research analyzed selected Pakistani advertisements for their objectified portrayal of men. The study concludes that men are objectified in advertisements in various ways, primarily through an emphasis on their physical attributes. The findings reveal that art and media education can contribute to reforming contemporary advertising norms and values by informing them intellectually and ethically for the well-being of human—beings endowed with sensitive and refined intellect. Art and media education must therefore be considered a critical pedagogy of visual culture.

This article explores the profound influence of visual propaganda in Nazi Germany, focusing on its role in fostering antisemitic sentiments. By systematically analyzing 22 visual artifacts from Nazi propaganda, this study uncovers the key themes of dehumanization, economic manipulation, and political subversion that were instrumental in spreading hatred against Jews. The analysis demonstrates how these themes were strategically employed to desensitize the German populace to Jewish suffering, justify discriminatory policies, and mobilize public support for the Holocaust. The distribution and co-occurrence of these themes reveal a multifaceted approach, with a predominant focus on dehumanization paired frequently with political subversion to portray Jews as existential threats. This dual narrative was effective in normalizing violence and persecution. The study contextualizes these findings within existing literature on propaganda and highlights the enduring impact of these techniques on societal beliefs. The findings reveal that Nazi visual propaganda strategically employed themes of dehumanization, economic manipulation, and political subversion to instill antisemitic sentiments. Dehumanization was the most prevalent theme, often paired with political subversion, to depict Jews as both subhuman and political threats. Economic manipulation reinforced stereotypes of Jews as greedy and corrupt. These visuals effectively normalized hatred, justified discriminatory policies, and mobilized public complicity in the Holocaust.

Since Western postmodernism sparked awareness and shaped our governance and lifestyle at the turn of the millennium, Global North ecosophies have attempted to grasp the ecological and ontological crises, creating their own performative narratives in the process. Pervasive throughout all modes of thought about our relationship to the world, environmental consciousness is part of political ecologies and contemporary hermeneutics. From design philosophies to laws and representations, everyone has an opinion on how we should manage our biospheres. This has led to the Global South being flooded with Western ethics, which are often hostile to them in the manner of imperialist modes of operation. Even more astonishing is the versatile plasticity of these conceptual changes, which are less disruptive than radical and pursue the same resilient environmental ethics that gave rise to them. Thus, the world of contemporary art is flooded with thinkers of a new ecological esthetic modeled on the genesis of the Anthropocene. The era of neoliberal ecological esthetics in communication design has thus become a soft power advocacy for Western imperialism, much like built environment experts who damage the world they claim to protect. It glorifies a myriad of empowering narratives of the corporate, privileged, wealthy, and educated elite, reminiscent of the aristocrats of past Western imperial empires. In an era of mutating environmental esthetics, we will explore the foundations and issues of these ecosophical alternative realities that perpetuate indifference toward both humans and non-humans. We will also examine how contemporary ecological relativism is leading new generations to disengage from generic communication design and embrace other existence praxis.

This study analyzes the conceptualization and design of “Chin’s Journey,” a mobile game inspired by the life of a young girl in 1950s Sarawak, Malaysia. The game, which merges narrative depth with interactive mechanics, serves as a vehicle for cultural preservation, education, and social empathy. The gameplay mirrors the protagonist’s journey of overcoming societal and familial obstacles as she pursues her aspirations for education and empowerment. The game’s design integrates established theories such as Bloom’s taxonomy, social learning theory, and Campbell’s hero’s journey to deliver an engaging and educational experience. The game’s mechanics, including time management, decision-making, mini-games, and cultural immersion, enhance interactivity while addressing themes of resource constraints, identity, and personal growth. By aligning gameplay with narrative progression, the design fosters an emotional connection with players, cultivating empathy and cultural understanding. Furthermore, the paper underscores the potential of mobile games to foster cross-cultural narratives and provide learners with meaningful engagement. The discussion also addresses implementation challenges, such as balancing entertainment and educational content. This study contributes to the growing body of research on narrative-based mobile games as tools for cultural education and social impact, specifically employing a design-based research approach to refine the game’s efficacy.

Intervention studies in sport indicate that attributional training can enhance performance, expectations for future success, resilience, and optimism. However, no such studies have examined its effects in dance. This study investigates the effects of a self-administered attributional training program for dancers. A total of 32 university-level dancers participated in the study and were randomly assigned to an immediate training group (ITG; n = 16) or a delayed training group (DTG; n = 16). Participants completed a battery of tests pre- and post-intervention, including the Sport Attributional Style Scale-Short Form, Positive and Negative Affect Schedule, and Consistency in Dance Performance Scale. The intervention was delivered via cognitive-behavioral bibliotherapy using a 19-day training manual. The manual aimed to help dancers develop more functional attributions and more optimistic thoughts regarding their dancing and self-perception. The ITG received the manual and was given one month to complete it, whereas the DTG was informed they would receive the manual after one month. Once each group had completed the manual, the same battery of tests was administered. Statistical analyses indicated a trend toward more functional attributions post-intervention, although this did not reach statistical significance. Post-intervention, the ITG reported significantly greater positive affect, and the DTG reported significantly lower negative affect. The ITG group also demonstrated significantly greater consistency in dance performance following the intervention. Participant feedback suggested that the manual was largely helpful, although modifications were recommended. Overall, bibliotherapy shows promise as an intervention for dancers, improving affective responses and aspects of wellbeing. Future research should replicate this study with a larger sample of dancers.

Contemporary discussions of artificial intelligence (AI) in design disciplines tend to evaluate machine creativity in relation to human cognition, leaving AI’s non-anthropomorphic character under-theorized. The present work uses the filmic narrative of Annihilation (2018) to challenge the persistent dismissal of AI’s creative capabilities. Such skepticism often hinges on the problematic assumption that human traits—such as inspiration, intuition, consciousness, spontaneity, will, or emotion—are pre-requisites for creativity. This line of argumentation relies on an anthropomorphic approach that is unable to imagine or accept non-human modes of perception, cognition, and agency. Instead, the study first proposes adopting an apophatic approach, through which AI is defined not by the projection of human qualities but rather via negation, emphasizing what lies beyond human understanding. It then advocates for “alien phenomenology” as a method for accepting the non-human cognitive capabilities of AI. Accepting AI as an “alien intelligence” shifts the role of the artist toward critique and curation, underscoring the artistic talent in recognizing unexplored, alien forms of beauty.

The Balkans are rich in cultural traditions that have pre-Christian origins. Many of these traditions have survived over time and continue to be practiced in the contemporary period. In the Republic of North Macedonia, the Džolomar, a winter masked ritual, is performed during the Orthodox New Year in some communities by an all-male ensemble wearing elaborate costumes. These male performers portray various characters and are mostly notable for the large cowbells attached to their belts. Containing pre-Christian elements, the Džolomar invokes fertility relating to pastoral life, repels evil spirits, and brings good fortune to the community. This article explores the winter masked rituals in Resava and Begnishte, two neighboring villages in Kavadarci. Fieldwork, which consisted of interviews with locals, observations of rituals, and participation in associated practices, was conducted to gather data for the study. By exploring the tradition through the lens of material culture theory, the study confirms that the material elements in Džolomar affect local communities in three ways: the formation of identity, the preservation of cultural traditions, and the reconnection of villagers with their historic past.

The growing influence of audiovisual media on destination image has positioned film-induced tourism as a strategic tool for the diversification and cultural repositioning of coastal destinations. This article examines the evolution of film-induced tourism in Peñíscola (Valencian Community, Spain) as a key element in the transition from mass tourism models toward hybrid and culturally sustainable configurations. Through a qualitative case study, it explores the interaction between cultural identity, tourism governance, and technology in the destination’s transformation process. The research combined documentary analysis, empirical indicators, and interpretive methods to assess the integration of audiovisual heritage into tourism planning and its alignment with the Sustainable Development Goals. Findings revealed significant progress in digital innovation, product diversification, and community participation, alongside persistent challenges related to data interoperability, unequal benefit distribution, and institutional fragility. Moving beyond overly optimistic narratives of screen tourism, the study adopted a critical stance on its cultural sustainability, identifying risks of fictionalization and dependence on external imagery. Peñíscola thus emerges not as a fixed model but as an experimental site of creative governance, whose practices contribute to understanding the complex interrelations between art, territory, and sustainability in Mediterranean cultural destinations.

The primary art markets of Spain and Portugal developed in parallel with the dominant centers of the global art system and were shaped by delayed modernization, limited institutional support, and enduring historical and linguistic ties with Latin America. This study examines the evolution of the Spanish and Portuguese primary art markets from the mid-20^th century to the present, analyzing how geopolitical shifts and historical ties have shaped their role as mediators between Europe and Latin America. Combining a historical perspective with art market studies, the study employs a qualitative and quantitative methodology based on archival research, exhibition catalogs, and case studies of galleries and collectors. The study argues that Spain and Portugal, despite their small scale and delayed modernization, have leveraged their transatlantic connections, linguistic affinities, and private initiatives to establish resilient and internationally connected art ecosystems. Through analysis of pioneering galleries, such as Galería Luis Adelantado, Galería Travesía Cuatro, Galeria Askanasy, and Galeria Graça Brandão, and collectors including Luiz Augusto Teixeira de Freitas and Ella Fontanals-Cisneros, the analysis highlights how private actors compensated for institutional fragility and became central agents of cultural diplomacy. Events such as ARCOmadrid and ARCOlisboa further reinforced the Iberian Peninsula’s role in southwestern Europe as a platform for South-South exchanges and decolonial dialogues within the European art market. The findings demonstrate that the Iberian markets operate as transatlantic nodes that contribute to the diversification of international artistic production. By mobilizing historical affinities and cultural collaborations, Spain and Portugal have transformed their semi-peripheral condition into a strategic advantage, promoting alternative routes of art circulation and expanding the geography and narratives of the international art system.

The Džolomari (Џоломари), or Džamalari (Џамалари), are masked pagan performers of the Kavadarci region in North Macedonia, traditionally active during the winter season to expel evil spirits and ensure fertility, health, and prosperity. The performers’ rhythmic and coordinated movements are considered the central point of this ritual, which gives the ceremony its structure and symbolic meaning. The present study examines the Džolomari ritual through these embodied actions, showing how movement transforms the ritual into a living form of dance. Fieldwork in the villages of Begnište and Rasava included participant observation and interviews with performers and residents, documenting not only the physical movements but also their cultural significance. The performers’ repeated jumps, rightward circles, bell-shaking, and symbolic fertility gestures are passed down through generations and recognized as essential to the ritual. Drawing on theoretical frameworks from dance anthropology, techniques of the body, symbolic anthropology, and performance theory, the present study shows that the ritual’s meaning emerges through the body rather than through words. Movement creates unity, expresses cultural values such as renewal and protection, and turns the village itself into a performance space. The Džolomari ritual can therefore be regarded as a ritual dance, in which rhythmic, symbolic, and structured movement tells a story of social, spiritual, and cultural continuity.

The lavish, gem-encrusted goldwork of the Ming dynasty (1368-1644) represents a pinnacle of Chinese decorative arts, emerging concurrently with the seven maritime expeditions of Admiral Zheng He (1405-1433). While traditional research has treated the maritime history of the voyages and the art history of courtly gold as parallel but separate narratives, this study argues for their intrinsic interdependence. This study posits that Zheng He’s voyages acted as a direct and dynamic catalyst for the transformation of Ming imperial goldsmithing. This transformation was dual: first, an aesthetic revolution prompted by the influx of overseas gemstones, shifting the paradigm from the understated elegance of jade to vibrant polychromatic splendor; second, a technical synthesis facilitated by contact with Islamic traditions, leading to the refinement of indigenous filigree (huasi, fine wirework) and granulation techniques for mounting these new stones. Integrating historical texts, archaeological evidence from the Tomb of Prince Liangzhuang, and recent comparative studies of Indian Ocean trade, this paper traces the feedback loop between imported materials and adapted techniques. The findings challenge the view of Ming art as a self-contained tradition, demonstrating instead that the “imperial style” was a globalized product of cross-cultural exchange.

This study explores the relationship between defiance and desire in Oroonoko, placing the work within a postcolonial framework to reveal its revolutionary qualities. Through the portrayal of Oroonoko as a noble yet tragic figure, Aphra Behn exposes the power structures of colonialism while highlighting the complex hopes and struggles of her characters. The analysis focuses on themes of agency, resistance, and identity conflict in a colonized world, suggesting that Behn’s narrative extends beyond its historical setting to resonate with modern discussions of racism and imperialism. The paper argues that Oroonoko not only reflects the tensions of its time but also stands as a powerful testament to the resilience of the human spirit in the face of injustice. It examines the interaction between love and betrayal, showing how personal relationships are shaped by broader social and political forces. Oroonoko’s tragic fate becomes a sharp critique of the commodification of human life under colonial rule. Attention is also given to Behn’s language and narrative style, demonstrating how her stylistic choices deepen both the emotional and political impact of the story. The relationship between Oroonoko and Imoinda illustrates how love can function simultaneously as a form of resistance and a site of power struggle. The study, then considers Behn’s role as a female writer within a male-dominated literary tradition, arguing that her perspective enriches postcolonial discussions by foregrounding marginalized voices and challenging dominant narratives of authority and empire.