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Art and Visual Culture—Social, Cultural and Environmental Impacts
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Art and Visual Culture—Social, Cultural and Environmental Impacts

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: closed (31 October 2025) | Viewed by 29042

Special Issue Editor

Prof. Dr. Mika Markus Merviö

E-Mail Website
Guest Editor
International Politics, Kibi International University, Okayama Takahashi 716-0018, Japan
Interests: arts and politics; political and social issues; history; art and environment

Special Issue Information

Dear Colleagues,

The global significance of art cannot be understated. I am pleased to invite you to submit your research to be part of this Special Issue that highlights the importance of art in our lives and society as a whole.

Visual works of art are always open to a great diversity of possible interpretations, impressions and opinions. Art is a refuge for the imagination in a society that is otherwise built on modern science, logic and reflexivity. If the originality and freedom of art in terms of its uniqueness and message are lost, art becomes another commodity, with nothing to prevent its mass production. However, art continues to have profound social, cultural and environmental impacts in our world, and this Special Issue provides insights into the ways that art shapes our lives and societies.

This Special Issue, which may be printed in book form, aims to present a collection of at least 10 articles.

In this Special Issue, original research articles and reviews are welcome. Research areas may include (but are not limited to) the following: the social, cultural or environmental impacts of art; the significance of art in the contemporary world.

I look forward to receiving your contributions.

Prof. Dr. Mika Markus Merviö
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 250 words) can be sent to the Editorial Office for assessment.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • impacts of art
  • interpretations of art
  • values
  • meanings
  • environment and art
  • politics and art

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  • Greater discoverability: Special Issues support the reach and impact of scientific research. Articles in Special Issues are more discoverable and cited more frequently.
  • Expansion of research network: Special Issues facilitate connections among authors, fostering scientific collaborations.
  • External promotion: Articles in Special Issues are often promoted through the journal's social media, increasing their visibility.
  • Reprint: MDPI Books provides the opportunity to republish successful Special Issues in book format, both online and in print.

Further information on MDPI's Special Issue policies can be found here.

Published Papers (5 papers)

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Research

13 pages, 1134 KB  
Article
Phytomorphic Elements of Embroidery from Cuetzalan, Puebla: Iconological Analysis
by Reyna I. Rumbo-Morales, Jennifer N. Garibay-Palacios, Susana Vega-Leal, Carmen Elvira Hernández Magaña, Carlos Antonio Quintero Macías, David Guillermo Pasillas Banda, Francisco E. Oliva and Miguel A. Ramírez-Torres
Arts 2026, 15(1), 13; https://doi.org/10.3390/arts15010013 - 6 Jan 2026
Viewed by 612
Abstract
This article analyzes the symbolism of the phytomorphic motif of the mountain vine in the traditional embroidery of Cuetzalan, made by the Nahua women of the Masehual Siuamej Mosenyolchicauani collective. From the iconological approach, the pre-iconographic, iconographic and iconological levels of the motif [...] Read more.
This article analyzes the symbolism of the phytomorphic motif of the mountain vine in the traditional embroidery of Cuetzalan, made by the Nahua women of the Masehual Siuamej Mosenyolchicauani collective. From the iconological approach, the pre-iconographic, iconographic and iconological levels of the motif will be examined, with the support of ethnography. The study identifies that the vine, a recurring plant element in traditional blouses, not only fulfills an ornamental function, but also constitutes a symbol of vital continuity, union and regeneration. Its visual representation alludes to the movement of life and the relationship between the natural and spiritual planes within the Nahua worldview. Through embroidery, the artisans express their connection to the land and the transmission of ancestral textile knowledge, reaffirming their cultural identity in a community context. Full article
(This article belongs to the Special Issue Art and Visual Culture—Social, Cultural and Environmental Impacts)
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21 pages, 959 KB  
Article
Music Festivals as Social Venues: Method Triangulation for Approaching the Impact of Self-Organised Rural Cultural Events
by Milena Kriegsmann-Rabe, Cathleen Müller and Ellen Junger
Arts 2025, 14(6), 164; https://doi.org/10.3390/arts14060164 - 3 Dec 2025
Viewed by 1030
Abstract
The SIKUL research project examines the case of a self-organised music festival, which is understood as a social innovation in the field of arts and culture, in order to answer the following question: What effects do social innovations in arts and culture have [...] Read more.
The SIKUL research project examines the case of a self-organised music festival, which is understood as a social innovation in the field of arts and culture, in order to answer the following question: What effects do social innovations in arts and culture have on the members of the public involved in rural areas? How do they impact the region? To this end, a triangulation of methods has been used in conjunction with seven expert interviews that were analysed using focused interview analysis as well as a multimodal image analysis of the festival’s social media presence supplemented by a descriptive study of the festival’s cooperation, pictured on social media. The festival is a free space for the organisers. It promotes self-expression and learning. For decades and across several generations, a community of care has existed that extends beyond the festival experience into everyday life. Thus, the festival is a self-organised social space. Involvement in the festival allows participants to express and mutually reinforce their connection to the region. The festival primarily cooperates with regional stakeholders within a 10-km radius and is thus a creative driver in the region. Social innovations in arts and culture play a significant role in local cohesion and identity-building in rural regions. Full article
(This article belongs to the Special Issue Art and Visual Culture—Social, Cultural and Environmental Impacts)
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20 pages, 5410 KB  
Article
Art and Landscape: Modes of Interaction
by Olga Lavrenova
Arts 2025, 14(6), 160; https://doi.org/10.3390/arts14060160 - 1 Dec 2025
Viewed by 984
Abstract
This article examines the role of visual and plastic art as a key instrument for constructing and interpreting cultural space. The study synthesizes a corpus of diverse theoretical works on the interaction between art and landscape, systematizes the principal issues within the field, [...] Read more.
This article examines the role of visual and plastic art as a key instrument for constructing and interpreting cultural space. The study synthesizes a corpus of diverse theoretical works on the interaction between art and landscape, systematizes the principal issues within the field, and proposes avenues for further discussion. It investigates how art not only reflects but also physically, visually, and semantically transforms the landscape. Functioning as a mediator between spiritual, material, and symbolic realities, art creates distinctive forms of spatial experience. Through artistic practices, the aesthetics of a landscape are formed, along with visual and semantic codes, and new centers and loci that alter the perception of the environment. On a theoretical level, the research draws upon the semiotics of space, the philosophy of art, and the concept of landscape as text. The mechanisms through which landscape is endowed with meaning—via architecture, sculpture, painting, and literature—are examined, with a focus on narrative and symbolic modes of artistic interpretation. Particular attention is paid to art as a tool for shaping cultural memory, from memorial complexes to heritage museums, which become spaces of a different temporality and “reservations” of meaning. The cultural landscape is a site of interaction between the sacred and the profane, tradition and innovation, and elite and mass art. Art forms the codes for reading the landscape, translating visual characteristics—color, form, the vertical, the horizontal—into the realm of cultural significance. Thus, art is presented as a form of world reconstruction: an instrument for the spiritual and semantic appropriation of space, one that transforms the landscape into a text perpetually rewritten by culture. Full article
(This article belongs to the Special Issue Art and Visual Culture—Social, Cultural and Environmental Impacts)
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32 pages, 6341 KB  
Article
Visual Culture in Architecture: Virgil Abloh’s Cross-Disciplinary Design Language
by Albert Topić, Dejan Ecet, Igor Maraš, Ivana Maraš, Miljan Janjušević and Jelena Atanacković Jeličić
Arts 2025, 14(4), 84; https://doi.org/10.3390/arts14040084 - 31 Jul 2025
Cited by 1 | Viewed by 1968
Abstract
This paper investigates the integration of Virgil Abloh’s Personal Design Language (PDL) within the broader context of architectural methodology. Through a series of workshops, architecture students and professionals engaged with Abloh’s principles to examine how subtle aesthetic and functional adjustments, grounded in artistic [...] Read more.
This paper investigates the integration of Virgil Abloh’s Personal Design Language (PDL) within the broader context of architectural methodology. Through a series of workshops, architecture students and professionals engaged with Abloh’s principles to examine how subtle aesthetic and functional adjustments, grounded in artistic disciplines, can produce transformative effects on iconic 20th-century architectural forms. These workshops underscored the potential of Abloh’s interdisciplinary approach to enhance architectural discourse by introducing a novel lens through which contemporary design methodologies can be evaluated. The findings reveal that employing weighted coefficients for less commonly utilized design principles enabled novel evaluation processes, fostering creative experimentation and innovation. Additionally, this research highlights discrepancies that may arise when employing differing evaluation methodologies in the assessment of architectural work, thereby initiating a critical discussion on the public acceptance of architectural designs and the implications of varied grading frameworks in professional practice. Full article
(This article belongs to the Special Issue Art and Visual Culture—Social, Cultural and Environmental Impacts)
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26 pages, 2672 KB  
Article
AI: An Active and Innovative Tool for Artistic Creation
by Charis Avlonitou and Eirini Papadaki
Arts 2025, 14(3), 52; https://doi.org/10.3390/arts14030052 - 15 May 2025
Cited by 17 | Viewed by 22077
Abstract
This article aims to critically examine AI as both an active and innovative tool in artistic creation, investigating its evolving role in shaping artistic practices, expanding creative possibilities, and redefining the boundaries of human–machine collaboration. It traces the historical, conceptual, and technological integration [...] Read more.
This article aims to critically examine AI as both an active and innovative tool in artistic creation, investigating its evolving role in shaping artistic practices, expanding creative possibilities, and redefining the boundaries of human–machine collaboration. It traces the historical, conceptual, and technological integration of generative AI in art, particularly in relation to Modernism’s challenge to traditional norms. It also examines the ethical, social, and philosophical implications of AI art, focusing on issues such as authorship, legitimacy, and AI’s role in the cultural landscape. Through the analysis of two representative works—Refik Anadol’s Unsupervised and Anna Ridler’s Mosaic Virus—one mainstream and the other critically engaging with AI art’s social impact, the study examines the balance between technical innovation and conceptual depth, emphasizing transparency, originality, and human-centered approaches. Employing an extended literature review across chapters, the discussion synthesizes diverse sources to critically engage with ongoing debates. Ultimately, the article advocates for human–AI collaboration, emphasizing responsible integration to enhance creativity without losing the human essence of art. It offers highly valuable insights into the current debates surrounding AI in art and effectively guides the integration of AI into future creative practices. Full article
(This article belongs to the Special Issue Art and Visual Culture—Social, Cultural and Environmental Impacts)
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