Search Results (351)

Since the turn of the 21st century, urban studies and planning research has examined the strategic role of artists, arts organizations, and cultural activity as local and regional economic development catalysts. This article shifts the spotlight from the “creative class” and “creative industries” as drivers of a “creative city” to study the role of art, culture, and creative practices in community-led, place-based efforts to stabilize neighborhoods and advance more hopeful, healthy, and equitable urban futures. It explores Boston’s Chinatown, where community-based art activism has a long history of addressing critical issues such as reclaiming land taken by interstate highway and urban renewal projects, as well as combating gentrification and displacement through site activation. The case study focuses on Residence Lab, a community-based arts residency program initiated by the Pao Arts Center and the Asian Community Development Corporation that brought together multimedia artists with residents to collectively preserve Boston’s Chinatown through creative and artistic activation of underutilized sites in the neighborhood from 2019 to 2022. We examine a selection of ResLab projects, which give form and meaning to the struggles and aspirations of being at home in Chinatown and embody the art activism of partner organizations and program participants, along with the ResLab’s impacts on participating residents and artists. The concluding discussion considers ResLab’s contributions and implications for the shifting ways in which urban, political, and artistic cultures have intersected and impacted one another in Chinatown along with the relationship between collective action and the preservation and transformation of culture in the urban frame. Full article

Customers heavily depend on reviews for product information. Fake reviews may influence the perception of product quality, making online reviews less effective. ChatGPT’s (GPT-3.5 and GPT-4) ability to generate human-like reviews and responses to inquiries across several disciplines has increased recently. This leads to an increase in the number of reviewers and applications using ChatGPT to create fake reviews. Consequently, the detection of fake reviews generated or rephrased by ChatGPT has become essential. This paper proposes a new approach that distinguishes ChatGPT-rephrased reviews, considered fake, from real ones, utilizing a balanced dataset to analyze the sentiment and linguistic patterns that characterize both reviews. The proposed model further leverages Explainable Artificial Intelligence (XAI) techniques, including Local Interpretable Model-agnostic Explanations (LIME) and Shapley Additive Explanations (SHAP) for deeper insights into the model’s predictions and the classification logic. The proposed model performs a pre-processing phase that includes part-of-speech (POS) tagging, word lemmatization, tokenization, and then fine-tuned Transformer-based Machine Learning (ML) model DistilBERT for predictions. The obtained experimental results indicate that the proposed fine-tuned DistilBERT, utilizing the constructed balanced dataset along with a pre-processing phase, outperforms other state-of-the-art methods for detecting ChatGPT-rephrased reviews, achieving an accuracy of 97.25% and F1-score of 97.56%. The use of LIME and SHAP techniques not only enhanced the model’s interpretability, but also offered valuable insights into the key factors that affect the differentiation of genuine reviews from ChatGPT-rephrased ones. According to XAI, ChatGPT’s writing style is polite, uses grammatical structure, lacks specific descriptions and information in reviews, uses fancy words, is impersonal, and has deficiencies in emotional expression. These findings emphasize the effectiveness and reliability of the proposed approach. Full article

The classification of political inquiry messages is a crucial task in government affairs. However, with the increasing number of inquiry messages on platforms, it is difficult for government departments to accurately and efficiently categorize these messages solely through manual labor. Existing methods find it challenging to achieve excellent performance due to the sparsity of the features and the imbalanced data. In this paper, we propose a new framework (BTCAM) for automatically classifying political inquiry messages. Specifically, we first propose a topic-based data augmentation algorithm (TDA) to improve the diversity and quality of data. In addition, in order to enable the model to focus on the key information in the text, we propose an applicable streamlined convolutional block attention module (SCBAM), which can highlight the salient features on the channel and spatial axes. Extensive experiments show that the accuracy and recall of BTCAM reach 0.939 and 0.931, respectively, outperforming the state-of-the-art methods. Full article

The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art. Full article

This article examines the persistent conceptual and structural obstacles that pluralism faces within the Euro-United-Statesian art system, particularly in the fields of criticism, art history, and aesthetics. The study situates its inquiry within broader debates around the politics of difference and the decolonization of knowledge, aiming to understand how theoretical frameworks historically incorporated plurality in ways that ultimately neutralize its disruptive potential. Methodologically, the article combines philosophical analysis with a critical rereading of canonical texts by figures such as Clement Greenberg and Arthur Danto, juxtaposed with insights from Indigenous, Black, and decolonial thinkers. The findings suggest that pluralism, while rhetorically embraced, is frequently rendered compatible with a teleological and universalizing narrative that privileges Western aesthetic trajectories. As a result, forms of difference are tolerated only insofar as they can be translated into hegemonic terms. The article concludes by advocating for critical practices that sustain rather than resolve difference, calling for frameworks capable of embracing dissonance, incommensurability, and multiple ontologies without collapsing them into sameness. In doing so, it repositions the contemporary struggle over meaning in art not as a problem to be overcome, but as a necessary symptom of epistemic plurality. Full article

This article traces the historical evolution of mural painting as a medium of cultural expression from prehistoric cave art to contemporary street interventions. Adopting a diachronic and interdisciplinary approach, it investigates how muralism has developed across civilizations in relation to techniques, symbolic systems, social function, and its embeddedness in architectural and urban contexts. The analysis is structured around key historical periods using emblematic case studies to examine the interplay between materiality, iconography, and socio-political meaning. From sacred enclosures and civic monuments to post-industrial walls and digital projections, murals reflect shifting cultural paradigms and spatial dynamics. This study emphasizes how mural painting, once integrated into sacred and imperial architecture, has become a tool for public participation, protests, and urban storytelling. Particular attention is paid to the evolving relationship between wall painting and the spaces it inhabits, highlighting the transition from permanence to ephemerality and from monumentality to immediacy. This article contributes to mural studies by offering a comprehensive framework for understanding the technical and symbolic transformations of the medium while proposing new directions for research in the context of digital urbanism and cultural memory. Full article

The Ukrainian–Crimean artist Maria Kulikovska’s artistic practice has addressed war in Ukraine since the Annexation of Crimea and outbreak of war in the Donbas regions of Ukraine in 2014. In 2019 she created the video-performance Let Me Say: It Will Not Be Forgotten that responds to the ways artworks and women’s bodies are targeted by derisive retaliation and physical attacks during periods of political instability. Informed by explorations of feminism in post-Soviet countries, theories of prosthetic memory, and destruction art of the 1960s, I argue that Kulikovska does not let the destruction of her artwork silence her, but, rather, she uses destruction as a strategy to take control of oppressive forces. In their place, I argue that Let Me Say: It’s Not Forgotten demonstrates subjective and complex ways of building resilient feminist presents and futures that overcome oppressive violence and testify to continual perseverance. Full article

This study examines the relationship between student loan debt and civic engagement among college graduates, with particular attention to differential effects by field of study. Drawing on data from the College and Beyond II dataset, this research analyzes how varying levels of debt burden impact political and community participation among 1673 graduates, including 1059 liberal arts majors and 614 graduates from professional, STEM, and other fields. Employing OLS regression models with multiple measures of debt burden and distinct dimensions of civic engagement, this study finds that both medium and high levels of student loan debt (USD 201–500 monthly and >USD 500 monthly) are associated with significantly higher political engagement—a pattern that aligns with relative deprivation theory’s proposition that financial strain may motivate political action aimed at systemic change. This relationship is particularly pronounced among liberal arts graduates, who demonstrate stronger positive associations between debt and civic participation than their peers from other fields. Debt-to-income ratio analysis reveals a potential “sweet spot” at 10–15% of income, where debt appears to optimize civic engagement without overwhelming resources. These findings suggest that liberal arts education may fundamentally alter how graduates respond to financial constraints, potentially by providing analytical frameworks for understanding debt as a systemic issue and civic skills that facilitate participation despite economic pressures. The results challenge assumptions about debt’s uniformly negative civic consequences and highlight the importance of educational context in mediating economic effects on democratic participation. Full article

Youth make up a fifth of the world’s population and will suffer the consequences of the climate catastrophe to differing extents depending on their social and geographical locations. The climate crisis is thus a matter of both intergenerational and racial/imperial injustice. Intersectional and interdisciplinary climate justice approaches are growing in the field of youth climate activism and, more often, these are necessarily engaging with collaborative methods to platform the voices of marginalised youth and those who live the colonial difference. Our paper provides early reflections from a youth climate activism artistic research project titled ‘Theatre of Climate Action: Amplifying Youth Voices for Climate Justice in Guadeloupe and South Africa’ (ToCA). In this project, sixteen young people aged 18-30 from South Africa and Guadeloupe collaborate to design, produce, and create theatre performances that reflect their exploration of climate justice through their lived experiences using artistic research methods. Specifically, we examine the opportunities and challenges in using the framework of Safe(r), Brave(r), and Riskier Spaces to support collaborative and emancipatory art-making practices that allow youth to become co-creators in this project. Insights revealed that an intentional embrace of safety, bravery, and risk as an ethico-political basis for art making was critical to cultivate a sense of community, trust, and belonging for youth co-creators. Full article

This article looks at the ways in which satirical postcards provided political commentary at a pivotal moment in the Franco-Russian alliance. Often overlooked as a medium of communication, turn-of-the-20th-century postcards reflected contemporary cultural values and were an important art form. Here, the focus is on postcards created by Orens and Mille, two of the best caricaturists of the day, as their work offered scathing critiques of Russia’s constant need for financial assistance from its ally and point to the ways in which the public was growing weary of these demands. Closely examining some of their postcards shows how such sentiments were expressed in visual form while also revealing the power of ephemeral materials as historical sources. Full article

This article examines Marcel Janco’s Holocaust drawings, positioning them within the broader discourse of Holocaust representation, trauma, and avant-garde aesthetics. Created in response to the Bucharest Pogrom of January 1941, these works resist both forensic realism and pure abstraction, instead embodying rupture, instability, and fragmentation. Janco’s grotesque distortions neither document events with the precision of testimony nor dissolve into conceptual erasure; rather, they enact the instability of Holocaust memory itself. This essay argues that Janco’s Holocaust works, long overshadowed by his modernist and Dadaist contributions, challenge dominant frameworks of remembrance. Through comparative analysis with artists, such as David Olère, Anselm Kiefer, and George Grosz, it situates Janco’s approach at the limits of witnessing, exploring how his figures embody violence rather than merely depict it. While Olère reconstructs genocide through forensic detail and Kiefer engages with the material traces of memory, Janco’s grotesque forms share an affinity with Grosz’s politically charged distortions—though here, fragmentation serves not as critique but as testimony. Furthermore, the study interrogates the institutional and critical neglect of these works, particularly within Israeli art history, where they clashed with the forward-looking ethos of abstraction. By foregrounding Janco’s Holocaust drawings as both aesthetic interventions and acts of historical witnessing, this article repositions them as crucial yet overlooked contributions to Holocaust visual culture—demanding recognition for their capacity to unsettle, resist closure, and insist on the incompleteness of memory. Full article

This article examines the material data preserved in king’s coffins used to bury and/or rebury five different kings, which represent the surviving material evidence we have of the art produced to manufacture divinized kingship during the New Kingdom: Seqenenre Taa, Kamose, Thutmose I/Panedjem I, Thutmose III, and Ramses II. All of them were removed from their original 17th and 18th Dynasty sepulchers, stripped of valuable materials, modified, and reused in later cache burials of the 20th, 21st, and 22nd Dynasties by 20th and 21st Dynasty High Priests of Amen, who used these recrafted coffins as a means of claiming their political and ideological legitimacy. Supported with detailed evidence of the five surviving king’s coffins as objects of social and political value and sometimes relying on the coffins recovered from Tutankhamun’s tomb for comparison, this article attempts to reconstruct some of the original material state of this art as a tool of power. Full article

Graffiti’s dual existence as both public art and illicit practice has generated sustained legal, cultural, and aesthetic debates. This article examines the role of anonymity in shaping how graffiti is recognized, regulated, and interpreted within both legal frameworks and artworld aesthetics. Focusing on the legal battle over 5Pointz, a prominent New York graffiti site that was whitewashed in 2013 and demolished in 2014, I analyze how the Cohen v. G&M Realty L.P. case reveals a structural tension between graffiti’s collective ethos and the legal system’s emphasis on identifiable authorship. Drawing upon legal studies, urban cultural theory, and aesthetics, this article explores how the Visual Artists Rights Act (VARA) mediated the legal recognition of graffiti, often privileging curated, institutionally sanctioned works while rendering anonymous street art legally vulnerable. I further synthesize scholarly perspectives on 5Pointz to highlight how legal discourse constructs and delimits the status of graffiti within public spaces. Ultimately, I argue that anonymity functions not simply as an absence of authorship but as an aesthetic and political mode of experiencing the object, one that challenges traditional frameworks of artistic attribution and cultural legitimacy. By interrogating the legal and ideological forces that shape graffiti’s recognition, this article situates anonymity as a central, yet often overlooked, feature of graffiti’s critical and aesthetic power. Full article

The Boronia Ridge palusmont, Walpole, in southern Western Australia, is situated in the most humid part of the State. It was a unique hilltop wetland complex and the only one of its type in the State. On its margins, the area also supports the ancient sedge Reedia spathacea, a Gondwanan relict endemic to humid southern Western Australia and the Walpole region and a plant that was ultimately recognised as being of national significance and protected under Australia’s strongest conservation law, the Environment Protection and Biodiversity Act (1999). However, prior to the geoheritage and biodiversity values of the area being known, in the late 1980s, a pristine scenic area west of Walpole, adjacent to the Walpole River and Walpole Inlet, classified as a Class A national park, was earmarked for urban development, in spite of there being “very little demonstrated requirement for land in Walpole”. This appeared to be as a result of poor land-use planning, since the urbanisation proposed was to be located on the Walpole River delta and wetlands. Urban infrastructures would also impact on adjoining wetlands and the Walpole Inlet System. With new information available in relation to the soils, wetlands, and environmental values of the area, in 1993, community groups and scientists combined, at a public Local Government meeting, to demonstrate that the proposed urban development, referred to as Lot 650, and later Boronia Ridge, with its above-land surface wastewater treatment, was inappropriate, both from an engineering perspective and due to the high conservation values of the area. With the support of the local government of the day and expert scientists who confirmed local concerns, the community engaged in a 7-year conflict with the development proponent, government agencies involved in decision making, and politicians of the day. Ultimately, the use of state-of-the-art science and traditional geomorphic, stratigraphic, hydrological, and geoheritage principles failed to prevent the urbanisation of the area in favour of preserving the whole area as a wetland complex. The following three reasons for this failure are identified: 1. political, rather than science-based decision making, 2. government agencies staffed without the necessary training in biological or earth sciences to make informed decisions, and 3. little attention to environmental concerns due to a bias towards development. Walpole, with its population of 400, moved from a low priority on the wastewater treatment priority list in Western Australia to a high priority on the deep sewerage priority list to accommodate a proposed residential development. Full article

In the face of the growing challenges of the Anthropocene—marked by climate change, biodiversity loss, and increasing rates of disease and despair—this paper explores the need for holistic solutions that integrate cultural and spiritual transformation as essential dimensions of change. Recognizing that the interconnected challenges to planetary health stem from destructive socio-political agendas and unhealthy economic structures, we underscore the importance of worldviews and value systems as root causes of social and ecological injustices. Solutions require an understanding of the complex interdependence of systems, fostering mutualistic mindsets, and healing the ‘relationship crisis’ between humans and the natural world by cultivating a deeper level of consciousness. In response to these urgent needs, we describe Earthrise—a community of engaged contemplative practice led by the Nova Institute for Health in collaboration with the Planetary Health Alliance—dedicated to spiritual and cultural transformation in the face of today’s complex crises. Through intentional spiritual relationships—with ourselves, each other, and the natural world—our community emphasizes the power of narrative co-creation in building social cohesion and collective action for environmental stewardship. Our work is not solely contemplative, but also relational and integrative—embodying values through lived practice, community, and ecological engagement. Our activities focus on developing cultural capacities and self-awareness as essential foundations for fair and sustainable social transformation. By integrating diverse perspectives, including ancestral wisdom and Indigenous knowledge systems, we enrich worldviews and deepen our connection to the planet. The Earthrise community seeks to cultivate a sense of belonging, nurturing the meaningful relationships that foster compassion and care. Central to our approach is the use of creative emergence, leveraging the arts to inspire change and catalyze new paradigms. Through this exploration of interconnected themes, we contend that spiritual and cultural transformation is vital to advancing a thriving future, where human flourishing and planetary health are understood as inseparable and interconnected goals. Full article