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This book explores how arts-based programs designed to reconnect young people with learning and work provide brief, sometimes profound, re-engagements and productive identity shifts. It aims to support youth pushed to the edge of formal education and entangled in structural social and cultural inequality. The researchers, artists, activists, and youth organizations developed process-oriented practices with young people, enacting new creative methodologies building on agentive possibilities to disrupt misrepresentation and invisibility. The book positions arts-based practices at the edge, examining complex systemic issues around youth disengagement and possibilities of collective creativity to navigate broken systems and inform futures. Enacting arts-based methodologies with young people at the edge through co-design shares navigation out of locked trajectories in collaboration with those who listen deeply as allies in their journey of re-presenting themselves to the world. The final section reflects on arts-based practices at the edge eliciting standpoints of young people at the edge. Deborah Price is Research Degree Coordinator, Senior Lecturer and Centre for Research in Educational and Social Inclusion (CRESI) Executive member, University of South Australia: Education Futures and President Australian Curriculum Studies Association. Her research spans inclusive education, disability studies, curriculum, wellbeing and advocacy for capabilities and strengths approaches valuing young peoples lived experiences. Belinda MacGill is Senior Lecturer, artist and researcher at the University of South Australia: Education Futures with a focus on decolonisation through arts-based pedagogies and creative methodologies. Her primary research interests draw on the fields of environmental art education, postcolonial theory, visual methodologies, arts pedagogy and critical race theory. Jenni Carter is Lecturer in Literacy and English Education at the University of South Australia: Education Futures. Her current research focuses on culturally responsive pedagogies stories, image and the arts and has significant experience in community-based education, professional development and creative pedagogies in school and community settings.

Das Nachbauen mittelalterlicher Instrumente dank Bildquellen und musiktheoretischer Traktate oder das "Einpflanzen" von Alltagsgegenständen in Landschaften, um so das Begriffspaar Natur-Kultur neu zu verhandeln - diese Beispiele zeigen, wie Kunst als Mittel zur Erkenntnisgewinnung die Wissenschaft bereichert. Die Beiträger*innen experimentieren mit der Verbindung von Kunst und Wissenschaft und richten besonderes Augenmerk auf die noch junge Disziplin der Designforschung sowie deren gesellschaftliches Engagement. Dabei illustrieren sie nicht nur die Bandbreite der Forschung in und mit den Künsten, sondern stellen auch Verbindungen zur Grundlagen-, anwendungsorientierten und aktivistischen Forschung her.

This article sets to examine some of the impacts the notion of "political correctness" has on the art world today. It argues that what started as the noble attempts to compensate for the grievous history of racism by way of inclusive speech and affirmative action has, in the end, generated new forms of discrimination and closure. In this context, instead of pushing the boundaries of what is considered acceptable in social, moral or aesthetic terms, art is itself being pushed back within these boundaries and rendered inert and ingratiating.

Este trabajo pretende mostrar los principales hallazgos acerca del concepto de estado del arte, luego de la revisión y análisis de textos de las bases de datos de cuatro principales universidades de Medellín, que cuentan con programa de psicología, a la luz de un diseño cualitativo e interpretativo, de tipo documental, el cual giró en torno a las siguientes categorías de análisis: definición del estado del arte, historia del estado del arte, propósitos-objetivos-fines del estado del arte, método-técnicas-estrategias, concepciones-teorías y teóricos o representantes. El proceso de investigación tuvo como objetivo principal establecer el concepto del estado del arte en una muestra documental. Entre las conclusiones se destaca que el estado del arte es una metodología de investigación cualitativo-documental de carácter crítico-interpretativa que revisa los estados producidos por las personas en su representación bibliográfica, conformada por tres fases, la planeación, el diseño y gestión y el análisis, formalización y elaboración; en la cual se usan los instrumentos de matriz bibliográfica y matriz analítica de contenido. © Revista Colombiana de Ciencias Sociales.

O trabalho de caráter ensaístico, tem por finalidade apresentar reflexões desenvolvidas a partir de fundamentos do pensamento marxiano, acerca de possibilidades do caráter interventivo do feixe entre as mediações teórico práticas da arte, do trabalho e da educação no exercício do filosofar crítico sobre a vida cotidiana. Partimos do pressuposto de que tal unidade propicia aproximações à condição psicofísica da automediação humana, para as quais, a atenção crítica ao universo da diversidade social é componente de grande importância. Diante disto, apresentamos através do projeto de ensino GETEPSS (Grupo de Estudos sobre o Exercício Profissional do Serviço Social), na Universidade Federal Fluminense, uma metodologia de trabalho que vem sendo desenvolvida desde 2015, orientada pelos princípios da interdisciplinaridade com aspirações para a transdisciplinaridade, portanto, assentada em uma pedagogia que valorize a identificação da unidade existente no universo da diversidade. O projeto apresenta como propósito básico o apoio à formação na graduação em Serviço Social, procurando articulação entre o ensino, a pesquisa e a extensão, nucleada pelo debate de aspectos dos fundamentos teóricos e políticos da profissão. Tais aspectos, envolvendo originariamente estudos e debates sobre classe, trabalho e cultura, tem sido aprofundada agregando o estudo da diversidade de gênero, de etnia e o racismo no Brasil. Para auxiliar este processo, temos incluído leituras e estudos sobre a arte a partir de Marx, por entendermos que os princípios da dialética, trabalhados pelo pensamento deste autor, são tratados de uma forma que favorece a compreensão da essência do debate sobre a diversidade sociocultural, determinada por questões de gênero, de classe, etnia e racismo e está em consonância com a metodologia deste trabalho. Esta linha de trabalho, reforça uma proposta educativa assentada no que denomina-se marxismo humanista, cuja radicalidade dos processos democráticos e da formação humana constituem-se como premissas maiores.Palavras-chave: Educação. Diversidade sociocultural. Arte. Trabalho. Serviço Social. Formação humana.

Feminism compels us to reconceptualize aesthetic inquiries, as it erases the boundaries between the traditional realm of aesthetics—value judgments and personal pleasures—and the historical and social contexts that generate those judgments and pleasures. In the visual arts section of our annotated bibliography, we try to suggest the breadth of feminist interventions in the field of aesthetics in the past twenty years.

AbstractFuturism was launched as a revolutionary, iconoclastic movement encompassing the arts, politics and society. It rejected all ties with the past and preached with missionary zeal the advent of a new man and the total reconstruction of society. Despite its powerful impact on Italian politics, the importance of Futurism has scarcely been addressed in the social sciences. Yet, it continues to attract the interest of historians, literary critics and art historians. In fact, the major methodological hindrance for a more articulated research remains the latter's unchallenged hegemony, with their selective propensity to eulogistic accounts. The result is the neglect of Futurism's political dimension as a fully fledged nationalist movement. Aiming to redress this imbalance, the article analyzes Futurist politics through the movement's actions, proclaims and manifestos. It distinguishes early Futurism's anti‐establishment ultra‐nationalism (1909–1915) from the more institutionalized 'muscular' patriotism adopted after its merger with Fascism (1924–1944). In a global context of mounting nationalist state‐building and spiralling inter‐state rivalries, Italy's unitary, homogenizing nationalism provided a congenial matrix for the advent of war‐mongering patriotism and irredentism. Here, Futurism found an ideal structure of political opportunities, in which it could articulate its unique repertoire of action. The futurists' peculiar talent in 'manufacturing consent' through the media was put to test in their marketing of war as adventurous boundary‐building enterprise, a vision subsequently appropriated by Fascism.

This paper discusses the contribution of the early twentieth century avant-garde art to the conception and implementation of military camouflage techniques during the First World War. Some issues are analyzed, such as the cubist origin of mimetic camouflage designs (called Disruptive Pattern Material), the role played by the artists in the ideation of numeorus trompe l' oeil for military purposes and camoufleur condition as an artist - soldier, a subject divided between functionality and aesthetics. All this serves as a foundation to support the thesis that the war context served as a field test for techniques, desires and art forms of the historical vanguards. ; Este artículo estudia la contribución de las primeras vanguardias artísticas del siglo XX a la ideación y puesta en práctica de técnicas de camuflaje militar durante la I Guerra Mundial. Se analizan así el origen cubista de los diseños de camuflaje mimético (o Disruptive pattern Material), el papel desempeñado por los artistas en la ideación de numerosos trompe l'oeil con fines bélicos y la condición del camoufleur como artista-soldado, un sujeto repartido entre lo funcional y lo estético. Todo ello sirve de fundamento para sustentar la tesis de que el contexto bélico sirvió como campo de pruebas de las técnicas, anhelos y formas del arte de las vanguardias históricas.

Are your students baffled by Baudrillard? Dazed by Deleuze? Confused by Kristeva? Other beginners' guides can feel as impenetrable as the original texts to students who 'think in images'. "Contemporary Thinkers Reframed" instead uses the language of the arts to explore the usefulness in practice of complex ideas. Short, contemporary and accessible, these lively books utilise actual examples of artworks, films, television shows, works of architecture, fashion and even computer games to explain and explore the work of the most commonly taught thinkers. Conceived specifically for the vi

Cet article explore, par l'ethnographie, l'hétérogénéité des arts de faire bureaucratique(s) de producteurs audiovisuels ouest-africains relativement autonomes, qui se sont émancipés avec succès de la télévision publique nigériane au moment de l'ajustement structurel. Au travers d'associations professionnelles, une fragile élite autoproclamée du cinéma nigérian déploie des formes d'adaptation créative devant « faire avec » les processus de bureaucratisation de la société. Ces praticiens se réapproprient, voire contournent, des formes de bureaucratisation, tout en « faisant bureaucratique », c'est-à-dire en se (re)présentant tout disposés à mettre en œuvre des normes issues des modèles de la démocratie libérale et du capitalisme global. Finalement, la bureaucratisation de Nollywood se caractérise par la régulation de cet espace réputé informel saisi comme marché au service de l'État-nation.

The topic of bushidō in education has recently been explored by Gainty (2013), Benesch (2014), and several Japanese historians in Japan, such as Sōgawa (2017). However, martial arts and bushidō, as found in the education for women, remains a largely untreated issue, despite the great attention women and their physical education received in the discourses regarding the creation of a healthy modern nation that took place during and after the Meiji period (1868–1912). By looking at numerous primary sources, this paper, building upon Lukminaitė (2018), focuses on Meiji Jogakkō's instruction of budō as a modern means of physical education (PE). It aims to provide new insights into how budō was perceived, treated in writing, and functionally put into practice.

Com o intuito de trazer aportes para a discussão da gestão na economia solidária, o presente trabalho de natureza teórica empírica se propôs a realizar um estudo da arte sobre a produção na área de administração. Enquanto percurso metodológico se recorreu ao uso de palavras-chave e títulos que se associam ao tema, investigando as dissertações e teses, os periódicos do Extrato A1 a C da Capes, e os congressos na área de Administração, entre os anos de 1970 a 2013. Enquanto resultados e contribuições, a presente revisão da literatura apresentou o balanço da produção da temática problematizando seus limites e desafios, bem como ilustrou alguns trabalhos que trazem inovações para a discussão da gestão nas organizações de economia solidária.

During the pre-colonial era the Balinese arts and design were dominated by the themes of puppetry which contained the Hindu religious teachings. When the Dutch colonial government controlled Bali, the Balinese arts and design changed. This present study is intended to explore the existence of the Pitamaha association and the attitude of the Pitamaha painters towards the domination of the modern arts and design taught by Spies and Bonnet. The qualitative method and the postcolonial theory combined with various other critical supporting theories were used in the present study. The result of the study shows that Pitamaha is the first modern association of arts in Bali. However, Pitamaha still integrated the pattern of the Balinese traditional association. In this association, the royal elites were involved as the mediators between Spies and Bonnet and the Balinese painters. Spies and Bonnet taught the modern arts which were different from and even contrasted with the Balinese arts and design. However, the Pitamaha painters welcome it. This could not be separated from the practice of teaching through hegemony and domination which contrasted with what had been desired by the Balinese painters who intended to maintain the Balinese arts and design. In such an ambivalent condition, they mimed the modern arts and design. The mimicry made was not intended to mime the modern arts and design; instead, the mimicry made was intended to interpret with reference to the norms of the Balinese arts and design.