Oxidative stress and inflammation play a key role in many diseases. This study evaluated the potential of bioactive compounds from Red-belted Bracket and Artist's Bracket mushrooms to mitigate these processes. Multistep extraction yielded fractions with diversified composition (triterpenoids, polysaccharides) and bioactivities, including antioxidant properties and inhibition of pro-inflammatory enzymes. Both species were rich in triterpenoids: ethanolic extracts from Artist's Bracket contained mainly ganoderenic and ganoderic acids (≈31 μg/g d.w.), while Red-belted Bracket extracts contained phenolic acids (≈20 μg/g d.w., mainly vanillic and chebulic acids) and triterpenoids (≈73 μg/g d.w., mainly forpinic and formipinic acids). The alkaline and ethanolic extracts exhibited the highest radical scavenging and reducing activities. Lipoxygenase was inhibited only by ethanolic extracts, with IC50 values of 0.93 mg d.w./mL for Artist's Bracket (mixed inhibition) and 0.62 mg d.w./mL for Red-belted Bracket (noncompetitive). Artist's Bracket was also a potent source of xanthine oxidase inhibitors acting uncompetitively (IC50 = 0.71, 1.39, and 2.06 mg d.w./mL for ethanolic, methanolic, and aqueous extracts, respectively). In contrast, Red-belted Bracket was less active (IC50 = 3.84 mg d.w./mL, noncompetitive). In conclusion, these mushrooms, particularly their ethanolic extracts, are promising sources of compounds with antioxidant and anti-inflammatory activities, acting as effective inhibitors of lipoxygenase and xanthine oxidase.
The 2022-2025 scoring system assigns higher difficulty to complex hybrid elements and acrobatics, which consequently necessitate prolonged underwater immersion. Therefore, it is hypothesized that maximizing scores through extended underwater exertion potentially exposes artistic swimmers to increased physiological demands. Since most quantitative data predates the 2022 rules, traditional routine evidence may underrepresent current competitive stress. This scoping review systematically map literature on artistic swimmers' physiological load and apnea characteristics, establishing a historical baseline to identify critical evidence gaps introduced by the 2022-2025 regulatory changes. Following PRISMA-ScR guidelines and the PCC framework, a systematic search across four major databases identified peer-reviewed original research reporting physiological load and/or apnea-related outcomes in competitive artistic swimmers. Synthesis of 36 articles revealed: (1) Routine execution triggers autonomic conflict (concurrent sympathetic/parasympathetic activation), producing broad heart rate ranges (~56.5-203.8 bpm) Additionally, chronic sport-specific training is linked to distinct cardiovascular adaptations. (2) Apnea duration in late traditional (pre-2022) routines constitutes 59%-64% of total performance time. Post-routine blood lactate concentrations are reported ~5.93-11.5 mmol/L. The revised regulations assign higher scoring weights to complex hybrid elements(officially defined as a combination of five or more lower-limb movements performed with intentional apnea),which aligns with increased underwater duration (Time Underwater, TU), higher anaerobic metabolic contributions, and instances of post-exercise hypoxemia. (3) The "Base Mark" penalty mechanism (the minimum degree of difficulty applied for non-conforming or failed elements) correlates with increased cognitive load. Studies also report stress-induced cortisol elevations and altered recovery of heart rate variability under these conditions. (4) Adolescent athletes exhibit still-developing anaerobic and cardiovascular systems. Consequently, based on legacy baselines, recent discussions hypothesize that younger athletes performing the high-frequency, prolonged underwater choreography promoted by the new scoring system may be exposed to increased acute hypoxic stress. Artistic swimming's exertion and prolonged apnea involve autonomic co-activation, high anaerobic demands, and specific psychophysiological responses. Based on theoretical extrapolation from established physiological baselines, it is hypothesized that the 2022-2025 scoring system increases athletes' exposure to cardiovascular and metabolic loading, presenting safety considerations for adolescents. Since most evidence predates 2022, longitudinal research under valid competitive conditions is necessary to assess the new regulations' physiological impacts. https://osf.io/dxapc/, identifier 10.17605/OSF.IO/DXAPC.
John James Wild, born Jean-Jacques Wild, was an artist and linguist. He was a member of the scientific crew of the historic Challenger Expedition (1863-1876), employed as the artist of the expedition, and secretary to the Expedition Director, Charles Wyville Thomson. During the expedition, two preliminary reports of progress and findings, containing illustrations of protists by Wild, were sent to the Royal Society in London and published in the Proceedings of the Royal Society in 1874 and 1876. Wild's figures of protists in the preliminary report of 1874 were the first illustrations of new organisms published in the scientific press. The figures of protists, and those of the second preliminary report, and an article in Nature, both in 1876, were very widely reproduced at the time, and over the years until present times, in both the scientific and popular press. Some of the figures of protists are now iconic. However, the artist who created them remains obscure as his name appeared rarely in the figure legends or plate inscriptions. Here the story of Wild is told, and his remarkable figures of protists, drawn while on board the Challenger, are shown. Some attention is given to revealing the use of his artwork by a variety of writers, including notable protistologists.
Didic et al. describe the emergence of visual artistic abilities in frontotemporal dementia, moving beyond the traditional focus on dysfunction. Integrating the patient's wife's testimony with clinical, network-based and philosophical perspectives, they show how artistic production can become a mode of communication and challenge conventional boundaries between pathology and creativity.
This study examined the relationship between start order and competition outcomes in men's artistic gymnastics apparatus finals. Competition outcomes from three Olympic Games and nine World Championships were analyzed. Ordinal-based analyses, including Spearman's rank-order correlation and Kendall's tau-b, were conducted to examine the relationship between start order and final rankings. Logistic regression was used to assess the association between start order and medal attainment. In addition, Mann-Whitney U tests were used to compare final rankings between start-order groups; independent-samples t-tests were used to assess differences in Difficulty (D) scores, Execution (E) scores, and total scores; and Chi-square tests were used to evaluate associations between start-order grouping, medal attainment, and continental affiliation. Ordinal correlation and logistic regression analyses showed no significant associations between start order and final rankings or medal attainment across apparatuses. Start-order grouping had limited influence on final rankings across most apparatuses. A significant effect was observed only in the pommel horse, where second-half gymnasts achieved higher E-scores and won more medals. Medal distributions between European and non-European athletes were similar across apparatuses and start-order groupings. Overall, start-order grouping had minimal effects. However, pommel horse results highlight the importance of execution stability. The findings support the general fairness of the current judging system and Code of Points. Future research should examine warm-up procedures under revised FIG regulations and extend analyses to women's artistic gymnastics.
The rapid expansion of AI-generated art tools has transformed creative production, yet its psychological mechanisms in shaping design outcomes remain underexplored. This study examines the associations between perceived usefulness of AI-generated art tools and self-reported creative design performance through three parallel mediating pathways: artistic perception, cognitive engagement, and aesthetic judgment. Guided by aesthetic processing and cognitive engagement theories, a questionnaire survey was administered to Chinese university students enrolled in design-related programs, generating 387 valid responses. Data were analyzed using partial least squares structural equation modeling. The results show that perceived usefulness of AI-generated art tools is positively associated with all three mediators, each of which is positively associated with self-reported creative design outcomes. Cognitive engagement emerged as the strongest mediator, followed by aesthetic judgment and artistic perception. A significant direct effect also remained, indicating partial mediation. The overall model explained 53.2 percent of the variance in self-reported creative design performance, demonstrating both strong explanatory power and meaningful predictive relevance. These findings highlight the multifaceted ways in which perceived usefulness of AI-generated art tools is associated with the perceptual, cognitive, and evaluative processes that underpin creative design, offering valuable implications for design education, digital creativity research, and the integration of AI tools in creative industries.
Through painting and embroidery, victims/survivors of the armed conflict in southwest Colombia, primarily women, linked their pains, wounds, and sorrows left by the war with their hopes for a beautiful/joyful future in which they can live, once again, surrounded by family, friends, plants, animals, and rivers. Both the artistic process and the final installation,Casa Común(i.e. Communal House), promoted some respite and healing that was felt individually and collectively. Such healing was possible thanks to the emotional labor that these women have done for years to support one another, both inside and outside of formal and institutionalized spaces.
To address the limitations of the original Secretary Bird Optimization Algorithm (SBOA), such as insufficient population diversity, weak local exploitation ability, and a tendency to become trapped in local optima when solving complex optimization problems, this paper proposes a Multi-Strategy Improved Secretary Bird Optimization Algorithm (MISBOA). First, a chaotic elite initialization strategy is introduced to improve the quality and diversity of the initial population. Second, an adaptive spiral Lévy flight strategy is designed to enhance the balance between global exploration and local exploitation during the iterative process. Third, a dynamic neighborhood-guided mutation strategy is incorporated to maintain population diversity and improve convergence accuracy in the later search stage. To validate the effectiveness of the proposed algorithm, MISBOA is comprehensively evaluated on the IEEE CEC2014, CEC2017, and CEC2020 benchmark suites. Experimental results demonstrate that MISBOA achieves superior convergence speed, optimization accuracy, and robustness compared with several representative metaheuristic algorithms. Furthermore, MISBOA is applied to Otsu-based multilevel threshold image segmentation. The segmentation performance is assessed using PSNR, FSIM, SSIM, and visual quality comparisons. The results indicate that MISBOA can generate more accurate and stable segmentation outcomes, demonstrating its strong potential for solving complex numerical optimization and artistic image segmentation problems.
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From disparities in the number of exhibiting artists to auction opportunities, there is evidence of women's under-representation in visual art. Here we explore the exhibition history and auction sales of 65,768 contemporary artists in 20,389 institutions, revealing gender differences in the artist population, exhibitions and auctions. We distinguish between two criteria for gender equity: gender-neutrality, when artists have gender-independent access to exhibition opportunities, and gender-balanced, that strives for gender parity in representation, finding that 58% of institutions are gender-neutral but only 24% are gender-balanced, and that the fraction of man-overrepresented institutions increases with institutional prestige. We define artist's co-exhibition gender to capture the gender inequality of the institutions that an artist exhibits. Finally, we use logistic regression to predict an artist's access to the auction market, finding that co-exhibition gender has a stronger correlation with success than the artist's gender. These results help unveil and quantify the institutional forces that relate to the persistent gender imbalance in the art world.
Traditional Chinese painting is an essential component of cultural heritage, and its 3D digitalization plays a crucial role in cultural dissemination and artistic reproduction. However, existing Non-Photorealistic Rendering (NPR) approaches face limitations in reproducing Chinese paintings, such as loss of artistic spirit, unclear workflows, and high learning costs for creators. To address these issues, this study introduces a "Chinese Painting Technique-NPR Algorithm Matching Matrix," which quantitatively maps five major categories of traditional techniques to 24 mainstream NPR algorithms, providing systematic guidelines for algorithm selection. Based on this framework, we develop a layered collaborative 3D digitalization pipeline, exemplified through Qian Xuan's Eight Flowers, and incorporate an Artist-in-the-loop mechanism to ensure artistic fidelity. Furthermore, a multidimensional evaluation system was established, combining general metrics (LPIPS, SSIM) with newly designed indicators for color fidelity, brushstroke texture, surface texture, and glossiness, alongside subjective evaluation via blind tests. The results demonstrate that our method achieves a favorable balance between artistic authenticity and computational efficiency, outperforming existing projects in both objective scores and perceptual realism. This research not only provides a new pathway for the digital preservation and dissemination of Chinese paintings but also extends the application potential of NPR techniques in cultural heritage.
Worldwide, new technologies appeared to be inevitable for human being. Man is the creator of all these technologies but the core question is whether these innovations are dangerous and threatening for creativity, especially in arts. Technology significantly influences art creativity by providing new tools and mediums, such as digital painting and virtual reality, which expand the artistic possibilities. It also enhances the accessibility, allowing artists to reach wider audiences and fostering inclusivity within the art community. This relationship between art and technology isn't new, but the digital revolution has accelerated changes at an unprecedented pace, creating exciting new possibilities while challenging the traditional notions of creativity, ownership, and what we even consider "art" in the first place. While AI can enhance efficiency, it lacks the instinct, emotion, and nuance that human-driven storytelling provides. Emerging technologies such as Artificial Intelligence (AI), Virtual Reality (VR), and blockchain are re-shaping the creative industries by enabling new forms of expression, expanding access to global audiences, and redefining how art is produced, distributed, and experienced. However, if an AI creates a piece, should the credit go to the machine, the programmer, or the artist who directed it? There is a completely understandable and reasonable concern that AI-generated art may lead to homogenization, where artworks start to look similar due to reliance on the same algorithms and datasets. While the nature of the creative process is under debate, many believe that creativity relies on real-time combinations of known neural and cognitive processes. Every original work, whether it is a music or a painting, contains within it that invisible sign of inimitableness, which Benjamin called 'the aura'. A convinced suspicion of the original work, whether it be a music, novel or a painting, saves within itself that invisible sign of irreversibility dictated to the aura.
Whilst arts-based approaches are used across healthcare, an arts and health approach to miscarriage is unique in the context of mainstream emotional care provision. This pilot study was set up to explore whether performative rituals could be used as a strategy to support women and health professionals in the aftermath of miscarriage to fill an existing gap in provision. A diverse sample of 12 women who had experienced one or recurrent miscarriages were selected from 100 women recruited via our project partners, Miscarriage Association and HOPE Support Services. A participatory workshop utilizing arts-based approaches was delivered, and a blog of 19 artists' work was presented. Interviews with 9 of the women and focus groups with 6 health professionals were undertaken to discuss the different ways that experiences of loss can be visualized and acknowledged and to understand the potential benefits of these artistic strategies of care. Health professionals recognized an urgent need for more holistic trauma-informed care and the value of a resource that acknowledged miscarriage. Thematic analysis revealed four key themes: the value of non-judgmental support and connectedness; creatively feeling how one wants to feel; the need for support for marginalized experiences and that acknowledging miscarriage helps women's mental health. Performative ritualized interventions offer potential by helping women to validate, acknowledge and move forward from miscarriage whilst also supporting existing NHS service provision in line with women's narratives of need.
Arts on Prescription is a social prescribing model in which health professionals refer adults to community-based artistic activities led by artists or musicians, with the goal of promoting wellbeing and mental health. This systematic review aimed to investigate whether Arts on Prescription improves wellbeing and reduces symptoms of depression and anxiety. PubMed, PsycINFO and Cochrane CENTRAL were searched in November 2024, following a previously developed search strategy. The selection of studies, quality assessment and data extraction were carried out independently by two authors. Disagreements were resolved by consensus. We included randomised control trials, quasi-experimental studies, observational studies and mixed-methods studies assessing the impact of art programmes prescribed by a health professional on adults' wellbeing and symptoms of depression and anxiety. A narrative synthesis of the results was carried out. Of the 3,561 unique citations obtained, six studies met the inclusion criteria. Analysis of the reference lists of the included studies revealed two additional pertinent studies. Five of the studies were quasi-experimental studies and three were observational studies. The sample size ranged from 12 to 1,297 participants, with an average age ranging from 43 to over 80 years old. In all studies, an improvement in wellbeing was reported following participation in Arts on Prescription programmes. Evidence regarding depression and anxiety was limited to one study, which reported statistically significant but clinically modest reductions in both outcomes. Arts on Prescription programmes were consistently associated with improvements in wellbeing across a range of populations and settings. Preliminary evidence suggests potential benefits for depression and anxiety that warrant investigation in more rigorous study designs. Further studies are needed to overcome the limitations of the analysed studies, such as the lack of control groups, small and non-representative samples, and short follow-up periods. https://www.crd.york.ac.uk/PROSPERO/view/CRD42024572685, identifier CRD42024572685.
In the context of classical ballet, pain is widely accepted as part of the artistic journey. However, it can expose ballet students to health risks. The primary objective of this study is to analyze the perception and interpretation of pain among young adult female classical ballet students and, secondarily, to investigate musculoskeletal risks associated with injuries. A cross-sectional observational study was conducted with 59 young adult female classical ballet students (aged 18-35) between March and June 2025. The following instruments were administered: semi-structured questionnaire, Pain Catastrophizing Scale (PCS), Sport Readiness Questionnaire (MIR-Q), and McGill Pain Questionnaire (MPQ). Statistical analysis was performed using Jamovi software (version 2.4.14.0), employing t-tests for independent samples and Fisher's exact test (P < .05). A total of 59 students were reached. All participants reported that pain is viewed as intrinsic to the sport. Most believed, either fully or partially, that pain is a test of strength and endurance during ballet practice (81.3%), that pain also made them stronger (62.7%), that there would be no benefit to not feeling pain (62.8%), and 93.2% ignored the pain when they felt it. No significant levels of catastrophizing were found (PCS 21.3 ± 9.96). However, a higher daily frequency of weekly practical classes (P = .034) and more years of ballet practice (P = .016) were statistically correlated with a higher susceptibility to musculoskeletal injuries. The subjective aspects of pain did not vary according to the duration of practice (P > .05). There is a high prevalence of pain among adult classical ballet students; however, a new subgroup has been identified in which pain does not correlate with artistic progress. Higher weekly frequency of practice may indicate a greater risk of musculoskeletal injuries in ballet.
In a highly influential study across a wide breadth of literature, Kornell and Bjork (Psychological Science, 19[6], 585-592, 2008) showed that learning is enhanced by presenting exemplars (paintings) of to-be-learned categories (artists) in an interleaved sequence (e.g., A1, B1, C1 … A2, B2,, C2 …) rather than a blocked sequence (e.g., A1, A2, A3 … B1, B2, B3 …). However, this study, and nearly all direct replications, used an identification procedure that confounds memory abilities with response biases (i.e., one's criteria for using certain response choices); any interleaving effect assessed through an identification task may be an overestimate or, indeed, an underestimate of the effect (Hautus et al., Detection Theory, 2021). To address this, we conducted a direct replication: online, N = 288; t(287) = 8.08, p < 0.001, dz = 0.48, 96% CI [0.36, 0.59]-for the first time to our knowledge-accompanied by measures of differential learning and response biases across learned categories (which were substantial, with participants using some response categories at a rate several times higher than others). We then conducted a critical conceptual replication, changing the task from identification ("Which artist painted this?") to n-alternative forced-choice ("Which of these was painted by [e.g.] Seurat?"), the gold standard of memory tests (Brady et al., Psychonomic Bulletin & Review, 30, 2023). Reassuringly, the 2AFC experiment showed an interleaving effect comparable to our direct replication: online, N = 276; t(275) = 7.19, p < .001, dz = 0.43, 95% CI [0.32, 0.55]. Put together, this study showcases the challenges of interpretation facing any identification paradigm, illustrates a straightforward method to address them, and puts the interleaving effect on firmer footing.
The purpose of this study was to explore perspectives of children with disabilities, their parents, and age-matched peers following participation in an inclusive dance program. Participants included 12 children with disabilities, 14 parents/caregivers, and 17 age-matched peers. The 5-day program was held for 3 h per day and led by a collaborative team of teaching artists, physical therapists, and musicians. A multimethod (focus group, pre/post-survey, guided reflection journals (visual, written, video, photo-elicitation), reflective memos), qualitative, phenomenological research design elicited perspectives on participation. Theoretical underpinnings provided structure to the diversity of data. Data were analyzed using reflexive thematic analysis. Three themes were generated: "setting the inclusive stage," "boundless" participation, and "opportunities for transformative change." Collaborative, strengths-based program design supported partnership between children with disabilities and age-matched peers. Individualized approaches to inclusion, led by physical therapist and teaching artist, was considered integral for participation of children with complex disabilities. Opportunity for children to relate to each other was a desired outcome of participation in the inclusive dance program. Inclusive community-based dance programs supported by physical therapists may enhance participation for children with and without disabilities. Strengths-based approach is a valued aspect of promoting meaningful participation. Physical therapists are uniquely positioned to enhance participation for children with and without disabilities in community-based recreation and leisure.Children with and without disabilities benefit from autonomy-supportive environments to foster meaningful participation.A collaborative, strengths-based approach enhances participation, adherence, health benefits, and social connections.
Hintze et al.'s recent study highlights the tendency of current-generation vision-language models to converge on overly generic outputs. We argue that considering AI imageries as epistemic artefact and AI-driven artistic practices as socio-cultural processes can provide better understandings around the implications of such conditions beyond merely technical aspects of image generation. Drawing from our ongoing research, we highlight the necessity of bringing the epistemic vulnerability of marginalized artists and users and their hierarchical relations with these tools into sociotechnical design conversations, and by doing so, to explore the possibility for pluriversal and just AI futures, particularly in the Global South.
Cadmium sulfur selenide and cadmium zinc sulfide pigments have been widely employed by artists of the twentieth century. A deep knowledge of these artworks, also in view of their conservation and/or restoration, relies on comprehensive and robust databases of reference materials of the pigments to easily detect their composition and their tendency and routes to deterioration. In this work, we initiate the construction of such a database by applying exclusively non-invasive techniques-X-ray Fluorescence (XRF) and Fiber Optics Reflectance Spectroscopy (FORS) in the Vis-SWIR range-to two sets of historical pigments: a group of pure commercial tube paints and a mixed palette representative of artistic practice. To strengthen the interpretative framework, mock-up samples were prepared using modern Cd-based pigments. These reference materials were first analysed using the same non-invasive protocols to ensure full data compatibility. In addition, they were further characterized through synchrotron-based techniques, namely High-Resolution X-ray Powder Diffraction (HR-XRPD) and X-ray Absorption Spectroscopy (XAS), providing additional structural and phase information not accessible through laboratory non-invasive methods alone. The integration of non-invasive and synchrotron-based data on the modern reference materials enables a more rigorous interpretation of the spectra collected on historical pigments. This combined approach enhances phase discrimination, compositional assessment, and the understanding of pigment variability, thereby increasing the reliability and internal consistency of the historical database. The resulting dataset establishes a solid foundation for future non-invasive studies of twentieth-century Cd-based pigments in complex stratigraphic and binding media contexts.