Collaborative Praxis And Contemporary Art Experiments In The Menasa Region

This book examines the ways in which artists and arts organizations today forge collaborative, socially engaged situations that involve non-professionals in the process of making art, often over a period of time, through creating opportunities to examine collective concerns and needs. Collaborative art praxis is gaining prominence in the Middle East, North Africa, and South Asia (MENASA) region. This is a discursive method that is experimental, with results that often expand the notions of what art is—and how it can be produced. After an introduction to global approaches to such a practice, Ali examines the foundation of contemporary art in the MENASA that is linked to a longer history of colonialism. The book analyzes artist-led initiatives and community-based organizations through themes including relational aesthetics, war and violence, blight in marginalized places around the world, in addition to questions associated with art and its value in the fields of global contemporary art and society.

Efforts to create greener urban spaces have historically taken many forms, often disorganized and undisciplined. Recently, however, the push towards greener cities has evolved into a more cohesive movement. Drawing from multidisciplinary case studies, Urban Natures examines the possibilities of an ethical lively multi-species city with the understanding that humanity’s relationship to nature is politically constructed. Covering a wide range of sectors, cities, and urban spaces, as well as topics ranging from edible cities to issues of power, and more-than-human methodologies, this volume pushes our imagination of a green urban future.

DIVExamines questions of agency, artisanship, and identity in relation to collaborative art practice./div

At the turn of the twenty-first century, a growing number of Pakistani artists embraced the nations perceived visual languages and political, social, and cultural history to interrogate and unpack Pakistans contemporary society and identity. The fruits of this shifting and mixing were works of art that turned artistic and societal traditions, from miniature painting to matrimonial rites, on their sides even as they upheld their significance. Through their works,artists examined and expressed the complicated nature of Pakistani national and cultural identities by looking at the societys most volatile concerns. The artists did not simply present these critical issues; they played with them. It is this playful contemporary artwork that this book analyses within acontext of art practices in Pakistan, pedagogical methods at art schools in the nation, and the impact of larger historical events and social processes: colonialism, the partition of India and Pakistan, and globalization.

Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today's hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors--from the arts, art history, sociology, political science, and philosophy--to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.

Bridging art and innovation, this book invites readers into the processes of artists, curators, cultural producers and historians who are working within new contexts that run parallel to or against the phenomenon of ‘maker culture’. The book is a fascinating and compelling resource for those interested in critical and interdisciplinary modes of practice that combine arts, technology and making. It presents international case studies that interrogate perceived distinctions between sites of artistic and economic production by brokering new ways of working between them. It also discusses the synergies and dissonances between art and maker culture, analyses the social and collaborative impact of maker spaces and reflects upon the ethos of the hackathon within the fabric of a media lab’s working practices. Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement is essential reading for courses in art, design, new media, computer science, media studies and mass communications as well as those working to bring new forms of programming to museums, cultural venues, commercial venture and interdisciplinary academic research centres.

Jim Cummins is Professor and Canada Research Chair in the Curriculum, Teaching and Learning department at the Ontario Institute for Studies in Education.

Originally published in French as "La Philosophie, une Ecole de la Liberte. Enseignement de la philosophie et apprentissage du philosopher : Etat des lieux et regards pour l'avenir." - This study is dedicated to all those who engaged themselves, with vigour and conviction, in the defence of the teaching of philosophy a fertile guarantor of liberty and autonomy. This publication is also dedicated to the young spirits of today, bound to become the active citizens of tomorrow.