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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.

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&#x2009;<&#x2009;.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&#x2009;&#xb1;&#x2009;9.96). However, a higher daily frequency of weekly practical classes (P&#x2009;=&#x2009;.034) and more years of ballet practice (P&#x2009;=&#x2009;.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&#x2009;>&#x2009;.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.

Infertility is a growing global issue that causes significant mental health distress. Individuals with infertility can experience stress, anxiety, depression, and post-traumatic stress disorder. Infertility counseling is a growing field, and the introduction of expressive arts therapies has allowed for a more in-depth understanding of the client's infertility experience. Currently there is no research on the use of music and imagery with the infertility population, and very little research into the use of expressive arts with the same population. The aim of this study was to engage infertility clinicians through interview to explore current symptoms and treatments in the infertility community, and to explore how music and imagery as an arts-based method shaped clinician reflection. This qualitative phenomenological study used arts-based research methods to introduce the use of music and imagery with the infertility population, starting with clinicians currently working in the infertility field. Purposive sampling was used to recruit five infertility clinicians, four women and one man. Data were collected via a Zoom consisting of an artistic music and imagery experience and interviews. Using thematic In Vivo and photo-elicitation methods to analyze data, four clinical themes and three artistic themes were identified. A total of five themes were identified, with subthemes- (1) The Complicated and Widespread Experience of Loss (emotional loss, loss of confidence, loss of fertility education, loss of genetic children because of my body, loss of social comfort, complicated structures of loss, colors/imagery representing loss), (2) Inconsistent Support Around the Infertility Experience (individual vs. couple/group, male vs. female, third party, clinical/medical, financial, isolating imagery), (3) The Long-term Mental Health Impact of Infertility (mental health, family), (4) The Long-term Mental Health Impact of Infertility (mental health, family, resolution in imagery), and (5) Reflection of Client Experience (facilitation of reflection through music, possible uses with clients). Findings from this study demonstrated the potential of music and imagery as a positive tool for infertility mental health. Symptoms reported by clinicians corroborate past research on the impact of infertility on mental health, and participants identified a sense of loss in all areas of life. Participants discussed the music and imagery experience, with all noting the potential positives for use with clients. Limitations to this study and recommendations for future research were identified.

A recent study has provided the first direct evidence that the greater noctule bat (Nyctalus lasiopterus) preys on and consume nocturnally migrating passerines in flight, using a combination of biologging, acoustic and movement monitoring, and molecular analyses. This result builds upon evidence accumulated over the past two decades. The research began with the first study reporting passerine feathers in the feces of this bat species. Subsequent fecal pellet analyses revealed peaks in the consumption of migratory avian prey, which coincided with migration periods. This body of evidence culminated in the recent publication demonstrating that greater noctules capture and consume migratory birds in flight at high altitudes. Here, we show that this interaction was depicted more than four centuries ago. In the canvas Air (1611), a painting by Jan Brueghel the Elder that contains detailed representations of more than 60 bird species, the artist also included three bat species. One of them, unmistakably identified as noctule bat, is represented in flight with a small passerine in its mouth. Although the behavior portrayed does not fully match contemporary descriptions of prey handling, the specificity of this predation scene suggests some familiarity of the artist with this behavior in the greater noctule. As the digitization of art collections accelerates and analytical tools continue to advance, the value of these sources to provide valuable data-previously difficult to extract and often overlooked-and complement modern research approaches will notably increase.

The Hellenistic bronze known as The Boxer at Rest presents one of the most striking representations of trauma in ancient art. Unlike the idealized athletic bodies of Classical Greece, the sculpture depicts a fighter marked by swelling, facial asymmetry, auricular deformity, scars, and signs of repeated injury. Viewed through a contemporary medical lens, these features correspond closely to the cumulative consequences of chronic exposure to blunt-force trauma. This article examines the sculpture at the intersection of medicine, neuroscience, and anthropology. The visible injuries represented by the artist evoke conditions that remain familiar to modern clinicians caring for athletes involved in combat sports. Beyond the external signs of trauma, the work also invites reflection on the invisible neurological consequences of repetitive head impacts, including chronic traumatic encephalopathy and other long-term sequelae of brain injury. The sculpture serves as a starting point for a broader discussion of regulated violence as a recurring feature of human societies. From ancient boxing and gladiatorial combat to contemporary boxing and mixed martial arts, organized forms of violence have persisted despite increasing awareness of their biological costs. The Boxer at Rest thus emerges not only as an artistic masterpiece but also as a clinical document and an ethical prompt, illustrating the enduring tension between admiration for human resilience and recognition of the physical and neurological damage incurred in its pursuit.

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.

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 &#x2026; A2, B2,, C2 &#x2026;) rather than a blocked sequence (e.g., A1, A2, A3 &#x2026; B1, B2, B3 &#x2026;). 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.

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.

To further improve the controllability and artistic expressiveness of photography generation in new media art creation, this study proposes a multi-level conditional control generation framework based on diffusion models. The framework constructs three-level conditional fusion methods of semantics, layout and style. It integrates Contrastive Language-Image Pre-training (CLIP) text guidance, spatial structure feature mapping and style loss optimization into the Latent Diffusion Model (LDM). Meanwhile, this study introduces self-attention mechanism and consistency loss to enhance the spatial coherence of generated images. Experimental results show that the Fr&#xe9;chet Inception Distance (FID) value of the patterns generated by the model is 15.3, the Inception Score (IS) value is 28.7, and the CLIP Score is 0.312, which are better than those of baseline models such as Stable Diffusion 1.5. The results of ablation experiments show that the layout control and style control modules play a key role in the generation quality of the model. After removing the layout control, the FID value of the model increases to 17.2. After removing the style control, the visual realism of the generated patterns decreases. The above results indicate that the proposed framework can generate photography works with both high visual quality and high artistic matching degree. This provides a new technical path for new media art creation, and also promotes the development of generation models in semantic understanding and narrative expression.

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&#xa0;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.