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The article presents the discussion on Japanese artist Katsushika Hokusai creating the most memorable artwork, Beneath the Waves off Kanagawa. Topics include living in a time of volatility, uncertainty, complexity, and ambiguity (VUCA); and living in an era of digital music streaming, online experiences, and intelligent instruments shaping new patterns of music creation and consumption.

The mobility of people and objects is a central motif in the work of contemporary artist Sophie Calle. In this article, I compare two of Calle’s exhibitions that take a particularly unusual approach to mobility. In Fantômes and Prenez soin de vous, the objects are an email and works of art and their mobility arises from their displacement. In both exhibitions, Calle obliges the spectator to look at other people looking at the artefacts, which I refer to as the ‘double look’. In this article, I analyse how this technique serves to question the notion of a unitary, individual artist behind each work of art, how it questions the parameters of spectatorship, and how it challenges understandings of intimacy in contemporary culture. [ABSTRACT FROM AUTHOR]

A total of 179 participants completed the Nostalgia Proneness Scale, a measure of historical nostalgia, and the Nostalgia Inventory, a measure of personal nostalgia. Participants were also asked to indicate how much they "liked" four different artworks and to indicate how much the artworks "made them think." The results indicated that respondents with higher historical nostalgia reported liking artwork that included human figures more than artwork with no such inclusion; and that they found these artworks more thought-provoking. These findings are consistent with previous research suggesting that nostalgia involves some component of social connectedness. [ABSTRACT FROM AUTHOR]

The use of non-invasive spectral measurements to control the conservation status is a part of the preventive conservation of artworks which nowadays is becoming increasingly interesting. This paper describes how to use a spectral measuring device and an illumination system specifically designed for such a task in a very large dimension artwork painting (7.8 m wide x 3.5 m high). The system, controlled by a Cartesian robot, allows spectral measurements in a spectral range of 400-780 nm. The measured data array has a total of 2201 circular regions with 5.5 mm spot diameter placed on a square grid. Colorimetric calculations performed from these spectral measurements may be used to characterize color shifts related to reflectance changes in specific areas of the paint. A color shifting from the expected gray has been shown. [ABSTRACT FROM AUTHOR]

To address the sub-theme of the journal: Artistic Practices in a Time of Crisis, the author discusses the context of economic cuts and recent international crises on his PhD interactive and visual design research project undertaken in Australia. Identifying an apparent root-cause of current global crises, the author in reply, has structured a research plan and created a suite of new media, interactive, technology artworks, and installation art. Notions of Zen Buddhism, and stillness through meditation, are applied in the research and context of the artworks to support awareness of wellbeing, in response to the root-cause condition. The discussion will focus on the overarching question: how can one obtain value through the arts during current times of economic reduction conditioning? [ABSTRACT FROM AUTHOR]

The article offers information on the artwork "Again? No!" by Nikos Navridis in which the original idea is inspired by writer Samuel Beckett's phrases. The artist stated that failures gives way to frustration and despair, migration, and violence. Navridis also mention that failing are nothing short of a nightmare.

An image of hypermodal inquiry artwork, titled "Bounds of Meaning," is presented.

An image of hypermodal inquiry artwork, titled "Presence and Absence," is presented.

An image of the hypermodal inquiry artwork, titled "Disciplining Hypermodality," is presented.

An image of hypermodal inquiry artwork, titled "Textual Explosions," is presented.