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1. Laughing in an Emergency: Weaponising Humour in Contemporary Art -- Fictional Pasts, Experimental Futures: Humour, Art and Temporality -- 2 Humour, Critical Inversion and the 'Age of Commemoration': An Interview with Stefanos Tsivopoulos -- 3 "And a More Offensive Spectacle I Cannot Recall": Humour in …No Other Symptoms: Time Travelling with Rosalind Brodsky (1999) by Suzanne Treister -- 4 Humour, Collective Identities and Speculative Futures: An Interview with Larissa Sansour -- Towards an Art Historical Humour: Art Markets and Art Historical Legacies -- 5 Kara Walker's Fons Americanus: A Comic Anti-Monument -- 6 After Salzmann: Thoughts on Humour, Erasure, Photography and Palestine -- 7 The Significance of Authorial 'Play Spaces' for Seriously Funny Art -- Outsiders Out, and Insiders In: Humour, Art and Identity -- 8 Humour as Heterotopic Friction -- 9 Making "Funny" Art During the Greek Crisis... so what? -- 10 Positioning Humour within Indigenous Paradigms: An Interview with Richard Bell -- 11 Tragedies Interrupted: An Interview with Voluspa Jarpa -- A Turn to the Right: Humour and Spectres of Violence -- 12 Art as Archive: Subversive Humour and Authenticity in Brazilian art -- 13 Thoughts and Prayers: Laughter and Parody in Post-Columbine America -- 14 Is Art a Means for Resistance in Times of Global Crisis? Public Art, Humour and De-Fictionalization of Far-Right Narratives in Today's Italy.

In the resistance to the violence of gender-based oppression, vibrant - but often ignored - worlds have emerged, full of nuance, humour, and beauty. Correcting a glaring omission of writing about contemporary feminist work by Canadian artists, Desire Change considers the resurgence of feminist art, thought, and practice in the past decade by examining artworks that respond to themes of diversity and desire. Essays by historians, artists, and curators present an overview of a range of artistic practices including performance, installation, video, textiles, and photography. Contributors address the desire for change through three central frames: how feminist art has significantly contributed to the complex understanding of gender as it intersects with sexuality and race; the necessary critique of patriarchy and institutions as they relate to colonization within the Canadian national-state; and the ways in which contemporary critiques are formed and expressed. The resulting collection addresses art through an activist lens to examine intersectional feminism, decolonization, and feminist institution building in a Canadian context. Heavily illustrated with representative works, Desire Change raises both the stakes and the concerns of contemporary feminist art, with an understanding that feminism is always and necessarily plural.--

As the Internet created borderless and free society, its effects concluded with the expansion of networks that enabled new forms of interaction and communication. Also via this new form of communication, artists obtained another form of interactivity, by which the quasi-liberated artists have included ?tactics? to interact from within an institution or merely using public space, or cyberspace under the development of ?New Media Art?. While both photography and video receded as sole mediums, instead with the aid of this exciting new communication tool new modes of representation have emerged through the mixture of different mediums. So artists? standpoint has changed from being an artist that only produces an art object to be on display at an institution to being an artist that seeks to generate a question mark by provoking the audience?s experience or knowledge and by engaging in dominant political and economical order. The coining of the term Tactical Media corresponds with the development of new media tools. Tactical Media artists use genealogies of new media art and carry their discourse to another level of interaction, intervention and disruption. By studying Tactical Media practices in contemporary art in Turkey that engage in different media outlets in order to create a critique rather than an opposition, this thesis aims to recognize the new media tools, artistic intentions and tactics of representation emergent in contemporary art in Turkey. ; Internetin sınırsız ve özgür toplumu yaratması, iletişim ağlarının küresel olarak genişlemesine neden oldu. Bu sayede özgürleşen sanatçılar bu yeni iletişim platformunu kullanarak, kurumlar bünyesinde, kamusal alanda veya sanal alemde Yeni Media Sanatı adı altında taktikler kullanmaya başladılar. Sanatçının duruşu müzede sergilenmek üzere sanat objesi tasarlayan kişi olmaktan çıkmış, yerine dominant politik ve ekonomik düzene dahil olan, izleyicinin deneyim ve bilgisini dürtmeye yönelik sorular üreten kişi olmuştur. Taktiksel Medya teriminin ortaya çıkması yeni medya araçlarının doğuşu ve gelişimine denk gelmektedir. Taktiksel Medya sanatçıları, yeni medya sanatının tamamını kullanarak kendi tartışmalarını müdahale, bozulma ve etkileşim gibi farklı kavramlarla birleştirmişlerdir. Bu tez, Türkiye Çağdaş Sanat'ında var olan ve farklı medya araçlarını kullanıp genel geçer düzeni eleştirmeyi hedefleyen Taktiksel Medya pratiklerini inceleyerek, Türkiye'de yükselmekte olan yeni medya araçlarını, temsil taktiklerini ve sanatçı insiyatiflerini araştırmayı amaçlamaktadır.

Since art is a world-recognized platform for the representation and interpretation of social processes, in this paper we take an original approach and use the opportunities offered by art-based research in order to analyze the development of new narratives about the migration phenomena. Particularly, we apply a selected review of the main work of several contemporary artists whose interest is strongly focused on the economic, social and political issues related to migrations. Moreover, the paper explores the possibilities and obstacles offered by art for the dissemination of related research. In this regard, we believe that our paper contributes by enhancing the important relationship between art and social phenomena, like migrations. This relation includes, at least, two shared areas: first, the understanding that art is a space for the representation of various social processes traditionally addressed by social science. For instance, although political science scientists, economists, sociologists, historians, anthropologists, geographers, etc. have extensively dedicated their work to study the migration phenomena, it is less recognized the large work of artist on migrations. Accordingly, artists are accustomed to transdisciplinary intellectual work and creativity and therefore, the discourse of art on the migrations phenomena brings a fresh perspective and is welcome. Second, one of the differences between scientific research and artistic research is that in the latter, the decisions on how to dispose the elements that participate in the research and even the protocol itself is decided previously by rationalistic hypothesis and method. However, in artistic research, a final result is not as relevant, but rather the importance of the research lies in the process itself. The process approach leads each artist sets their own rules of action and this does not have to be justified beforehand. In this sense, our aim is not to replace the scientific discourse but to rescue the artistic approach as complementary and take advantage of its seductive, emotional, creative and formative potential.

This article explores artistic production in the region of Oceania that resists the ahistorical and future-oriented temporality of climate change discourse, as it perpetuates colonial structures of power by denying Indigenous futures and ignoring the violent histories that have led to the current climate breakdown. In the video poem Anointed (2018), prominent climate justice activist Kathy Jetñil-Kijiner strategically combines spoken word poetry with visual montage in order to situate Cold War nuclear tests by the US military within the same temporal plane as rising sea levels currently threatening the Marshall Islands. Katerina Teaiwa's exhibition Project Banaba (2017) similarly mobilizes archival imagery in order to visualize the genealogical relationship between Banabans and the settler landscapes of Aotearoa New Zealand and Australia. Sean Connelly's architectural and design practice in Hawaiʻi Futures, an ongoing digital design project that engages with the threats of sea level rise and coastal erosion in Hawaiʻi, problematizes linear formations of time and favours a future structured around cyclical, ecological time instead. Interacting with vastly different sites, strategies and temporalities, these three multidisciplinary projects provide critical alternatives to the ahistorical framing of colonial climate change in Oceania and thus play a crucial role in constructing a more just future.

Operational art is the use of creative thinking by commanders and staffs to design strategies, campaigns, and major operations and organize and employ military forces. This article is a sequel to the study published in a previous issue of this Military Revue. The author discusses the fundamental pillars of operational art, upon which Alliance countries build their doctrinal and defence documents concerning operational art. A separate section deals with conditions and status of operational art in the Army of the Czech Republic in the last 20 years. The author calls for the need to introduce operational art in several key areas of Czech doctrines. He recalls the necessity to implement those issues in the prepared Doctrine of the ACR.

Bagby reviews 'Herodotus and the Origins of the Political Community: Arion's Leap' by Norma Thompson.