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This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with "House of Imagination, School Without Walls" and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more-than-human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the "Forest of Imagination," a long-term participatory contemporary arts and architecture event in Bath, UK. "Forest of Imagination" offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world.

This paper explored the relationship between graffiti arts and civic education among young people in Nigeria. A mixed methods approach was employed to generate and synthesize empirical data. The study was guided by Barbara Rogoff's social constructivism theory. Findings indicated that graffiti arts and artists were present in Nigeria, driven by desires for self-expression, financial gain, and training opportunities sponsored by NGOs for up-and-coming artists. Writing styles varied, but drawing, mural painting, and styles uniquely African remained dominant. Despite the difficulty of acceptance of graffiti as an art form due to its earlier association with transgressive activities, its engagement as a method for emancipatory, participatory, cultural literacy, dialectical relations, and creative learning tools in both formal and informal settings demonstrated its educational-supportive capacity for young adults. The values that graffiti express can help reorient young adults in their thinking and social agency. To this end, this paper recommends rethinking the way we view and relate to graffiti arts and writers; incorporating graffiti art education into school curriculum reforms in Nigeria; and using an interactive approach, including new media, to understanding graffiti art produced and displayed by young adults.

This article discusses the artwork of Azadeh Akhlaghi, a visual artist from Iran. Akhlaghi's series, titled "By an Eye-Witness," explores the documentation of past deaths in Iran's history, focusing on violent and traumatic events. The artist stages scenes depicting the deaths of poets, journalists, students, intellectuals, and political activists, imagining how these events would have been captured if mobile phone cameras had existed at the time. Akhlaghi's work challenges the official version of national history and invites viewers to consider the impact of photography on our understanding of historical events. [Extracted from the article]

The purpose of this paper is to better understand how emerging artists use information to navigate the transition out of university, using their changing ideas of failure, success, information literacy (IL), and transition to frame the qualitative data. A literature review is used to frame the current understanding of emerging artists and feed into the creation of the interview questions. Four emerging artists participated to elicit qualitative accounts. Descriptive and process coding was used to analyse the interviews to form the findings. The findings present how emerging artists use information to shape their criteria for success and failure during the transitional period after leaving art school education. Three core information practices -- sharing, feeding, and balancing -- were observed within the interviews. With this framing insights into the emerging artists' past (learning from historic failings) and the future (envisioning future success) begin to be formed. Furthermore, this paper contributes to the knowledge of emerging artists' information practices, including the impact of their digital media usage and self-referencing as IL. The study uses the work of other IL scholars with the information practices of emerging artists and frames them through three key ideas: IL, transition, and success and failure. This intersection of study has not been explored previously. The results will provide direction for information professionals serving emerging artists, and for art educators preparing their students for their careers outside of university. It also deepens the understanding of the field of transition and information practices of new practitioners across fields.

This paper explores the British art patronage scheme "Pictures for Schools," which sold affordable works of art to educational buyers at annual exhibitions between 1947 and 1969, focusing on the work of "Pictures for Schools" founder and organiser Nan Youngman (1906-1995) as an artist, educationalist and activist. It shows that, while social and cultural changes in post-war Britain around the development of the welfare state provided a receptive environment for "Pictures for Schools," it was largely driven by Youngman's personal convictions and experiences. This paper traces the ideological motivations behind "Pictures for Schools" to the interwar period, exploring Youngman's involvement in two progressive organisations, the Artists' International Association (AIA) and the Society for Education through Art (SEA), which enabled her to campaign for progressive art and education. In doing so, it positions "Pictures for Schools" as a socially engaged intervention into the post-war education system in England and society.

This paper reports on a study that explores how artists might best support very young children's engagement in integrated arts performances. It aims to contribute to a better understanding of the ways in which artists work with very young children in performing arts spaces. The study was designed to intimately examine a work with and for a very young audience. Through a combination of reflective narrative and analytic discussion, this paper will demonstrate how a collective of teaching artists supported very young children's engagement by positioning them as co-constructors of artistic experience.

This paper investigates the preparation of Australian undergraduate university arts students for a life challenging arts-teaching and creative experience in Timor-Leste. It explores university teaching practice and how we may achieve better student experiences in preparation for their futures as teaching artists. This narrative inquiry research hears the voices of the students through their individual, personal stories. The emerging teaching artists articulate challenges, identify shifts in beliefs and values, and confirm skills that are transferable to cultural arts teaching contexts in the future. In all, the research has resulted in 46 recommendations, some minor, and some requiring more significant structural changes that affect course delivery. For the purposes of this paper, we reflect on and discuss three of the major findings and recommendations in the pedagogical, cultural, and artistic areas of the project implementation. As such, this paper represents a reflective analysis of some of the findings regarding curriculum design within this project.

The article discusses the use of computer vision in analyzing the material nature of art. Topics mentioned include the importance of understanding how artworks are made and the inspirations of artists, the examination of surface textures of photographic prints, and the photomechanical reproduction of images.

Art and movement are motivating forces in, through, and beyond education. As populations age, there is an increasing need to support physical and social well-being. Yet, since the onset of the COVID-19 pandemic, there has been a reported exponential increase in feelings of loneliness across generations. Complex challenges require trans-disciplinary solutions, and this paper represents a joint effort within and across disciplines, communities and cultures to find ways to ameliorate this silent epidemic. In this paper, we propose a cross-disciplinary conceptual framework where Aboriginal Artists and Knowledge Holders, Teacher Educators, and Physical and Occupational Therapists come together to explore theoretical and pedagogical insights that encompass intergenerational art-moving-well-being practices, reducing feelings of loneliness and improving social connections across generations. There are two main aims of this paper; first, to better understand current studies that report on integrating art-moving-well-being practices, and the effect this has on health and well-being of intergenerational participants (under 10-year-olds, 20+ year olds and 50+ year olds). Second, based on community needs, the long-term aim is to propose a flexible art-moving-well-being conceptual model that is scalable, sustainable and based on social and relational support systems. We propose a model that is flexible and adaptable within and across our local community and beyond. We argue that feelings of loneliness are unique to each individual, and there is a need to connect specific intergenerational programmes with art-moving-well-being practices that readily engage and integrate varied communities and cultures in sustainable ways and thus, contribute to thriving communities.

The article focuses on the 19th edition of the Hamburg Book and Graphic Art Fair, BuchDruckKunst, highlighting its celebration of exquisite paper art. Topics include the artistic contributions of Anja Harms, the resilience of book culture amidst the digital age, and the participation of various artists and workshops, such as Blinkfüer Handdruck and 38Punkt, emphasizing traditional and contemporary printmaking techniques.

This paper explores the enterprises artist-teachers in adult community learning (ACL) engage with and how these form their identity. This is significant to consider as artist-teachers in ACL are overlooked in the published literature. ACL is comprised of community-based learning delivered by local authorities and general further education colleges. Thornton defines the artist-teacher as an individual dedicated to both art and teaching. This is visualised in his Artist Teacher Model. However, Thornton ignores other enterprises that an artist-teacher could be involved in. This paper then considers Daichendt's use of Wallace and Gruber's networks of enterprises. Using the earliest recorded artist-educator, George Wallis, as a case study, Daichendt highlights how one is often engaged in several enterprises and uses the network of enterprises to visualise this. Participant interviews and focus groups test if this is more appropriate for the artist-teacher in ACL than Thornton's model. The impact of this research on practice is an improved understanding of the multifaceted identities of artist-teachers. The paper helps to produce new knowledge around the identity and introduces newly developed visual tools for tracking this, including the Tetrad Identity Model, and the ATLS. These tools may also be used for other professionals with multifaceted identities.

Money has been the dominant way to understand the motivation for artists to teach. Written from an adult community learning (ACL) perspective, this research is part of a wider study interrogating artist-teacher identity transformation. This paper explores the motivations for becoming an artist-teacher in ACL, questioning the assumption that artists teach for financial security. ACL is comprised of 'community based and outreach learning opportunities, primarily managed and delivered by local authorities and general further education colleges'. ACL is plighted by casual contracts and precarious working hours, suggesting that financial security may not be the main motivator for working in this sector. The research employs autoethnography, to construct a layered account of what motivates individuals to become artist-teachers in ACL (206). Within the autoethnographic approach narrative is used to help understand these motivations (727). The paper helps to produce new knowledge about the motivations of the artist-teacher in ACL. This could have wider implications on the sector, which has generally been devalued and overlooked, including influences on the recruitment and retention of tutors.

In this paper, we use the lens of embodied language cognition and intersemiosis to argue for the importance of developing creative approaches to language work in classroom settings and we cite as an example some activities from a workshop that was developed for modern foreign languages (MFL) trainee teachers in London (https://www.youtube.com/watch?v=M9hR-LQ0xOE). The workshop resulted from a collaboration between an applied linguist (Coffey) and an artist-educator (Patel), and combined their shared understanding of language use as an emotional, embodied enterprise etched into our autobiographical identities. We suggest that working with intersemiotic approaches to language has the potential to reinvigorate language pedagogy by challenging dominant metaphors both of 'language' and of 'learning'. The paper intends both to make a practical contribution in its reporting of activities, which we hope will inspire teachers and teacher educators to develop intersemiotic approaches for their own settings, and also to contribute to the broader scholarship that calls for 'reframing teacher cognition' (e.g. Coffey [2015]. Reframing teachers' language knowledge through metaphor analysis of language portraits. "The Modern Language Journal" 99, no. 3: 500-14), even 'liberating language education' (e.g. Lytra et al. [2022]. "Liberating Language Education." Bristol: Multilingual Matters), to imagine new orientations for how we engage with languages in our lives and our classrooms.

This paper attempts to describe the signifier choice of student artists in thematic representations of digital visual arts and determine its implications for digital pedagogy. Utilising a qualitative approach to research and covering a corpus of six digital artworks of student artists, the semiotic analysis utilising Peirce's (1991) sign modes showed the student artists' preference for mostly indexical and symbolic signifiers in thematic representations of Filipinos' resiliency to the pandemic. This signifier choice of student artists was influenced by their experience, family, self, other artists, and their initiatives for finding information and drawing inspiration from online sources, as revealed in the conducted Focus Group Discussion (FGD) with the participants. Moreover, the individual interviews with the participants demonstrated that the student artists' choice of signifiers served as a vehicle for expression, representation, and impression of ideas, themes, and abstractions dominating their artworks. This study calls for the integration of digital artmaking tools into pedagogy to provide opportunities for artistic expression and support diverse representation. Teachers can introduce various digital tools and platforms, create assignments that encourage creative experimentation, and foster a safe and inclusive classroom environment. Future research could explore the practical applications of digital pedagogy in visual arts education.

This study aimed to explore the magazines and topics that female college students like to read, and the topics that senior and junior high school reading textbooks contain. Findings of questionnaire-surveys with female college students at King Saud University revealed that 77% of the students read women's magazines; 77% like to read about fashion and make-up; 66% read articles about movies, singers, and actors; 24% read poetry; 1-4% read religious, educational, literary, political, computer and internet, and historical articles. Analysis of the reading schoolbooks showed that 10% of the reading texts are devoted to Quranic verses and Prophet Mohammed's Hadiths; 29% are about Islamic history; 13% focus on general topics, and 11% deal with classical literature. It can be concluded that female college students like to read magazines and topics that prevail in satellite T.V. broadcasting and social media such as Instagram. Both magazines and satellite T.V. shows marginalize young people's local culture and distract them from vital social, and political issues. There is a discrepancy between the types of topics students read at school and those they like to read at home. Therefore, this study recommends that reading texts in the school textbooks be re-selected, re-constructed and re-designed in terms of layout, colors, pictures, paper quality, and choosing an attractive cover. It also recommends the utilization of online courses, blogs, mind-mapping software, mobile reading apps and audiobooks, digital reading, global topics and global culture, speed reading practice, and reading from multiple resources. High school and college students should be introduced to new books, magazines, and e-books. Extensive reading of serious topics should be started from the primary grades; reading texts should be diversified; developing students' appreciation skills and visiting book fairs, public libraries, publishing houses, cultural centers should be emphasized as well.

Inspired by Sheldrake's study of fungi [Sheldrake, M. 2020. "Entangled Life: How Fungi Make Our Worlds, Change Our Minds, and Shape Our Futures." London: Penguin Random House] and Barad's idea of entanglement [Barad, K. 2007. "Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning." Durham: Duke University Press], this paper explores music play with young children and artists, a practice that resists adult-centric approaches. As an embedded researcher within an early years arts organisation, I play with a diffractive methodology to read through ideas of Froebel with posthuman writings. Using slow-motion viewing of a video extract of musical play the vibrant agency of materials and sound emerges in micro-moments of playful music-making. Theorising with the mycelium produces ideas of extravagance, music and sound understood as lively intra-active and wild. It communicates through, and within, living and non-living matter. This view of music asks for artists to 'do' and say less, watch more and hold the space for the bursting forth of ripe and ready musical expressions. Through this pedagogical approach, children and adults can experience a sense of becoming with music, with the world.

This paper considers experiences of speculative immersion as artists and children map the multilayered sonic ecology of Birrarung Marr, a traditional meeting place for Aboriginal language groups of the Eastern Kulin Nation. We explore how speculative practices of immersion shaped the mapping of precolonial, contemporary, and future soundscapes of Birrarung Marr, and the ceremonial burial of these sonic cartographies for future listeners. Bringing together Indigenous and non-Indigenous concepts of immersion in mutually respectful and purposeful conversation, we work to re-theorise immersive experience as a process of ecological multiplicity and affective resonance, rather than one of phenomenological containment. By approaching immersion as both a concept and a sensation that ruptures the boundary between body and environment, we follow how immersion 'drifts' across porous thresholds of sensing, thinking, dreaming, making, and knowing in situated environmental education contexts. In doing so, the paper stresses the importance of speculative immersive experience in cultivating liveable urban futures under conditions of climate change, and responds to the need for new understandings of immersion that take more-than-human ecologies of experience into account.

They replace it with yet another piece of paper. i Artist: Ulysses - An Adaptation I Blows raspberries, deletes previous, starts typing again. i Artist: Ulysses - A Useless Adaptation I Escalating frustration. i Artist: USELESS ULYSSES - An Adaption by a Useless Artist. I Ulysses: A Portrait of the Artist on Fire i is the script for a performance that is the outcome of a collaboration between the authors and the Victoria International Arts Festival (Gozo, Malta), who commissioned the work to mark the centenary of the publication of James Joyce's I Ulysses i . Then, the artist's mouth is set on fire. i Artist: YES YES YES YES YES YES NOT TODAY SATAN!!!. [Extracted from the article]

Barbara Leigh Smith Bodichon (1827-1891) was an English educationist, artist, philanthropist, and feminist. Her personal correspondence is quite extensive, containing letters exchanged with her family, friends, and acquaintances. The bulk of her epistolary archive though consists of letters sent to her. Instead of viewing this fragmentation and imbalance as a handicap, this paper argues that the silences her epistolary archive contains can be turned into a meaningful source of information and thus are methodologically relevant. To do so, it examines the extent to which Bodichon herself might have introduced silences ([un]consciously) as a strategy to exercise power over her own narrative. In order to tease out these epistolary silences and make them speak, this paper reads them through the lens of Lisa Mazzei's poetics of silence.

Purpose: This paper critically examines the development and direction of the Fabricating Future Bodies (FFB) Workshop. Troubling notions of co-production as enacting equality or empowering participants, it draws on feminist posthuman and new materialist concepts to understand it as an eventful process that occurs in unpredictable and shifting affect-laden assemblages. Design/methodology/approach: The FFB Workshop formed part of the final phase of my Economic and Social Research Council (ESRC) funded doctoral study, titled "Exploring young people's digital sexual cultures through creative, visual and arts-based methods". With additional support from Wales' Doctoral Training Partnership, the workshop provided sixteen young people (aged 11-13 years) from one fieldwork school with the opportunity to work with two professional artists in order to creatively re-animate research findings on the digitally networked body. In a three-hour workshop, participants produced cut-up texts and life-size body fabrics that re-imagined what bodies might do, be and become in the future. Findings: This paper finds that co-productive practices cannot flatten out the institutional and societal power dynamics operating within schools, highlighting how adult intervention was necessary to hold space for young people to participate. It also observes the agency of the art materials employed in the workshop in enabling young people to articulate what mattered to them about the digitally networked body. While the workshop was limited in its ability to renegotiate institutional and peer power dynamics, it produced rich data that indicated how carefully choreographed arts-based practices offer generative possibilities for digital sexualities research and education. Originality/value: By employing speculative fiction, cut-up poetry and textiles to explore the digitally networked body, this paper outlines an innovative methodological-pedagogical approach to engaging with young people's digitally networked lives.

This paper draws on a three-year inquiry, in which I lived alongside three trans young adults amid their unfolding lives. I used narrative inquiry, a relational methodology that holds relationship central, to explore asset-building processes within relational learning. This article showcases participants' use of artworks, stories, and counterstories to understand experiences and engage communities. Additionally, this study highlights how trans young adults transform their identities at the intersections of race, citizenship, ableism, and health. This research demonstrates the complexity of trans: identity formation; intersectional tensions, and creative possibilities; and, performativity of intersectionality and identities across multiple communities' spaces and places.

This research paper aims to explore a potential model for speaking through which consists of: (a) strategies of using art as a medium for learning English; (b) challenges to use art as a medium for learning English. This qualitative case study uses semi-structured interviews and observation in three schools of South Sulawesi. Data were analyzed through thematic analysis approach. The findings show that there were four strategies of using art as a medium for learning English, namely: (a) using art to learn vocabulary; (b) using art to learn grammar; (c) employing art as a medium for learning process simple writing and; (d) using art as a medium for speaking. In addition, the challenges they face include linguistic and practical challenges. The findings of this study extend the debates of learning English through art media. The implication of this study is that using art as a medium for learning English can be a model for EFL in similar contexts.

Using the Wabash National Study on Liberal Arts Education and a latent class analysis of 28 outside-the-classroom activities and behaviors, we developed a typology of outside-the-classroom student engagement during the first year of college. We find ten classes of student involvement: academic artist, party athlete, serious athlete, conventional non-worker, disengaged, maximizer, moderate worker, detached partier, involved partier, and religious. Next, we examine the relationship between latent classes and students' characteristics through a multinomial logistic regression analysis. Students reporting as first-generation or racially minoritized are overrepresented in the disengaged and involved partier classes. We found an overrepresentation of White students across all party classes. Students reporting as female were likelier to be members of the religious, moderate worker, and disengaged classes and not to be members of the party classes. Federal grant recipients were likelier to be in the academic artist and moderate worker classes. We discuss other sociocultural, economic, and academic relationships in the paper. Next, we explore the relationship of latent class to academic and developmental outcomes. We find academic artists as the only class with a significant positive relationship across the seven dependent measures. Involved partier, moderate worker, and religious classes have positive relationships with at least five dependent measures. The detached partier and party athlete classes have the lowest first-year GPAs of all latent classes. Finally, we discuss the relationships of latent classes, related institutional policy implications, and directions for future research.

This work was carried out for a master's degree thesis concerning the conservation of a contemporary artwork made by the surrealist artist Roberto Sebastian Matta. The artwork is a large (one central panel 180.3 × 405.1 cm; two side panels 179.1 × 150.6 cm) triptych created in 1974 with pastels on tracing paper adhered onto canvas as a secondary support. After thoroughly studying the execution technique and conservation status of the artwork, several issues arose, including a strong acid hydrolysis of both the paper and canvas supports. We focused our intervention on deacidification treatments by comparing either traditional substances, such as calcium propionate in an alcoholic solution, or more innovative methods, such as a nanostructured calcium hydroxide in isopropyl alcoholic solution. Acid hydrolysis degradation was the most difficult issue to address because of the size of the artwork and for the different sensitivities to aqueous methods of the materials used to make the artwork. For the first time to our knowledge, we used an innovative deacidification method consisting of nanostructured calcium hydroxide particles. This intervention would allow the homogeneous atomization of the deacidifying agent in alcoholic solvents to be safe and effective for the work as a whole. [ABSTRACT FROM AUTHOR]

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Art and Indigenous culture are inseparable. From the immaculately decorated lodges and war shirts of thousands of years to contemporary mixed and digital media images, Indigenous arts are expressions of survivance. Creative arts have sustained Indigenous ways of knowing, being, doing, and healing through attempted cultural genocide. Research has shown that art engages youth in life skill-building, learning, emotional regulating, and spiritual healing, supporting art as an intervention for wellness. Culturally-based artistic expression and the process of creating promotes wellness among Indigenous youth. As primary sites of assimilation and colonialism, educational institutions have a responsibility to enact reconciliation through culturally-rooted arts-based approaches to wellness. School psychologists are wellpositioned to support these approaches. This study took place in Kainaiwa in Southern Alberta and explored Niitsitapi artists' and educators' perspectives on the impacts of culturally-rooted arts-based interventions with Niitsitapi middle school students in the classroom. Over 2 days, professional Indigenous artists shared their art practices with students at a middle school in Kainai First Nation in Alberta. We had research conversations with 12 Niitsitapi community members involved in the event using a decolonizing, community-based approach. Indigenous storywork was used to understand research conversations, highlighting information and guidance for school psychologists to inform their engagement with Indigenous students and community members in schools. Findings emphasized art as healing, particularly given its connection to culture. Further, cultural engagement through art supports student wellness and educational engagement. Art can be used to empower voice, overcome deficit narratives, create new stories, and cope with disharmony. Art can also engage youth in discovery and learning, providing an alternative to a lecture style of learning, increasing enjoyment in the classroom experience. These findings have practical implications for future interventions and the integration of art pedagogically. This paper offers recommendations that highlight stark distinctions between culturally-rooted art practice and conventional Eurocentric art approaches in education.

Creativity is a fundamental skill to prepare individuals to work and live in a changing world. Educators have recognised its value and advocate that schools can provide an environment for fostering the creative thinking skills of students. Makerspaces are emerging in school contexts, and they carry great opportunities for engaging students in creative thinking processes. The school makerspace also offers a professional learning space for teachers and artists to collaborate to support students' creative potential through making activities linked to the curriculum. This paper proposes a teacher--artist partnership framework within the makerspace to support mutual professional growth and opportunities to foster a learning environment conducive to creative expressions. The framework consists of three non-linear and iterative processes, namely (a) developing craft knowledge, (b) co-constructing knowledge, and (c) reflection and researching, supported by a community of practice and internal and external communities. Expected outcomes from the partnership for students, teachers and artists, and recommendations are discussed.

This paper presents an educational program for children with disabilities implemented in conjunction with a temporary exhibition of visual artists with disabilities in a museum in Greece. Through the description of the exhibition, the design and implementation of the educational program, and the creative activities offered, the authors identify benefits for the children and stress the importance of developing more collaborations between museums, artists with disabilities, and schools to move towards a more inclusive society.

This paper focuses on the dynamics of education in the interplay of power and seduction as creatively displayed in Takarazuka Revue's performances re-enacting the major players of the Cold War: USA and Russia (rather than former Soviet Union). "Oceans 11" (cosmos troupe, 2019) and "Once Upon a Time in America" (snow troupe, 2020), on the one hand, and "Land of Gods" (cosmos troupe, 2017) and "Anastasia" (cosmos troupe, 2020), on the other hand, lavishly display subtle interactions of longing and belonging, ecstasy and rage, love and betrayal, envy, hatred and passion, while painstakingly building up irresistible tensions between the instances involved in the performative process: actresses, administrators, audiences. The theoretical support is delivered by Robert Greene's pragmatic elaborations in his seminal works "The 48 Laws of Power" (1998) and "The Art of Seduction" (2001): education is never a linear process between a 'master' and a 'disciple', but an interactive game, governed by the pursuit of joy in overcoming challenges and finding ingenious solutions.

The spatial turn in humanities and social sciences has contributed towards a significant discourse on the city and urban spaces, and street art is widely accepted to be one of the ways in which one can analyse and unravel the cityscape. The utilization of the public domain of the city, its entanglements with urban authorities and its diverse potential has sparked several debates, and I seek to engage in the same, and interrogate the role of street art in modifying the cityscape. Through the course of my paper, I seek to interrogate the changing cityscape of Delhi and the role that street art has played in the same, post the events of 13th and 15th December 2019. The walls of Jamia Millia Islamia serve as a canvas for the articulation of resistance against the State and its excesses, its personal testimony of the same, and the graffiti on the same covers a plethora of topics, ranging from assertions of revolution, encouraging slogans and ominous warnings by literary figures, and is a dynamic form of subversion of State Power, unlike the street art projects at Lodhi Art Districts that are aimed at gentrification. The murals have been painted by students but the anonymity of the artists is retained, and thus belongs to no one but the multiplicity. I seek to study the reorientation of the cityscape of Delhi by the protest sites of Jamia and Shaheen Bagh that is not just limited to street art but the rerouting and diversion of traffic, creation of temporary structures like classrooms and libraries outside the institution and on the roads through the works of Henri Lefebvre, and weigh the significance of this protest.

Due to the recent increase in Australian students undertaking study abroad opportunities, an effect of a neoliberal society, there has been a plethora of literature in this area with the extant literature focusing on students' motivations and subsequent benefits of exchange. This paper examines how the capital acquired during intercultural experiences are performed by Australian exchange students. Interviewed before, during, and after Mexican sojourns, the students initially (re)produced a stylised pastiche of 'Mexico'. Made in urban Australia, this imaginary comprises Frida-Kahlo themed restaurants and Day-of-the-Dead exotica. As a result of geographic distance and limited migration from Mexico, Mexicanidad in Australia operates as a vacant conceptual category into which 'cool' yearnings can be inscribed. Despite problematising their pre-departure constructions at times, the students continued to employ this version of Mexicanidad in their performance of the role of Mexican expert, in Mexico and on their return. This article theorises the functions of such identity performances, proposing that exchange experiences, and the intercultural capital they acquire, serve as a method by which students can construct and perform transnational identities.

In this paper, we are juxtaposing the notions of cosmopolitanism and koinopolitanism, to sketch a theoretical perspective in which local productions of knowledge, as a binding force of local communities, can meet more abstract regimes of knowing and more global concerns of democratic elites. We see this issue as politically significant in light of the current problems with democracy which we interpreted as resulting, among other factors, form the lack of connections between those regimes of knowing. The crucial part of our argument is that socially engaged art is capable of effectively building such connections, and we analyze community-based artistic interventions by Agnieszka Wolodzko in this perspective.

They have tried printing without all the make-ready that Middleton relied on, and they tried printing with dampened tympans, not only to discover the details of Bewick's work but also to recreate the methods of early nineteenth-century printers. 'To do justice to his engraving printers must first immerse themselves in Bewick's masterful technique and understand how the blocks were intended to perform.... Those who will never print can improve their looking by better understanding what Bewick accomplished' (p. 252). That has not prevented skilled printers since from exploring what Bewick was trying to achieve. [Extracted from the article]

Maryam Jafri is a visual artist who explores cultural and visual representations of history and political economy. Her work "Independence Day 1934-1975" examines the role of photography in shaping national narratives during the decolonization of Asia, the Middle East, and Africa. The project features over 60 archival photos sourced from public archives in these regions, highlighting the similarities in the first Independence Day ceremonies across different countries. Jafri's more recent works, such as "Disappearance Online," address the digitization of historical images and its impact on cultural memory and copyright law. Her work emphasizes the importance of critically engaging with historical narratives and understanding shared histories. [Extracted from the article]