"Our richly illustrated volume takes a multifaceted approach to the giant continent of Africa, transcending prejudices and stereotypes through cultural history and contemporary art, constant shifts in perspective, and artistic diversity: human history encounters the colonial past and the omnipresenc
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e of Africa in countless regions of the world. On the one hand, surprising views of Africa are presented from Europe. On the other hand, works and installations created locally by Africans or members of the diaspora present ideas, impulses, and identities that all mean Africa. The texts illuminate the broad temporal arc from the first humans to Pan-Africanism and Afrofuturism and also offer literary and philosophical narratives. Artists: Dele Adeyemo, John Akomfrah, James Gregory Atkinson, Sammy Baloji, Arébénor Basséne, Memory Biwa, María Magdalena Campos-Pons, Catpc, Omar Victor Diop, Sokari Douglas Camp, William Kentridge, Kongo Astronauts, Susana Pilar Delahanta Mantienzo, Roméo Mivekannin, Zanele Muholi, Josèfa Ntjam, Kaloki Nyamai, Emeka, Ogboh, Zineb Sedira, Sandra Seghir, Yinka Shonibare, The Singh Twins, Géraldine Tobe, Kara Walker, Carrie Mae Weems." (Publisher description)
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"To learn how the climate justice movement can engage in, with and through art, this report aims to learn from existing climate justice advocacy work that integrates art. The outcomes of this mapping exercise are used to understand how art campaigns impact climate justice advocacy and learn how art
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can mobilise and strengthen the movement through inclusivity, creativity, and innovation. This mapping exercise was conducted through an online search and scoping exercise, combined with 16 interviews with artists, artist collectives and civil society organisations using art to advocate climate justice, and 3 donors. We identified 131 changemakers using art as a medium for climate justice advocacy. The types of initiatives, campaigns, platforms, or organisations include galleries and curated content, campaigns and pledges, programmes, and platforms or collaborations. The different initiatives have adopted a wide range of art forms, including visual arts such as paintings or photography, performance arts such as dance and music, and literary arts such as poetry and storytelling." (Summary, page 6)
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"In this article, we analyze experiences in which Brazilian and Kenyan artivists (artists who are activists) used animation to challenge colonial hierarchies that devalue Global Southern knowledges, histories, and stories. We draw from ethnographic observations, in-depth interviews, and artivists
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f experiences in two animation workshops: (a) Portrait of Marielle, produced with Kenyan artivists in Nairobi; (b) Homage to Wangari Maathai, produced with Brazilian artivists in Salvador. We ask: how can artivist creative practices be used as tools for global movement building, contesting the colonial legacy of fragmented relationships between Global South peoples? We evoke decolonial and standpoint intersectional feminist perspectives to propose an understanding of artivism that considers the specificities of Global South contexts, connecting it to two axes: (a) establishing dialogical spaces and (b) mobilizing memories and histories. Our understanding of South-to-South artivist dialogues results from the ways in which notions of "pluriversality", "incompletness" and "humility", which stem from Latin American and African scholarship are intertwined. When marginalized groups exchange "situated knowledges" and express themselves through artivism from "intersectional standpoints" or "lugares de fala", this can have a binding nature, creating transformative connections between Global South peoples." (Abstract)
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"Der Umgang mit der Kolonialgeschichte, die hierzulande lange im Schatten der Aufarbeitung des Nationalsozialismus und des Holocaust stand, unterliegt gegenwärtig einem grundlegenden Wandel. Zwar zählt auch Deutschland faktisch zu den postkolonialen Gesellschaften Europas, doch ist diese Tatsache
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kaum in das Bewusstsein der Menschen und in das Handeln der Politik vorgedrungen. Der Sammelband zieht Bilanz und will zugleich die notwendige Auseinandersetzung um eine Dekolonisierung globaler wie lokaler Machtverhältnisse und eine Dekolonialisierung der immer noch dominierenden Wissens- und Deutungsmacht des »Westens« anregen. Die aktuellen Debatten um den Völkermord an den Herero und Nama oder die koloniale Beutekunst im geplanten Humboldt Forum in Berlin richten den Fokus ein ums andere Mal auf eine koloniale Vergangenheit, die nicht vergehen will." (Verlagsbeschreibung)
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"The courageous acts of whistleblowing that inspired the world over the past few years have changed our perception of surveillance and control in today's information society. But what are the wider effects of whistleblowing as an act of dissent on politics, society, and the arts? How does it contrib
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ute to new courses of action, digital tools, and contents? This urgent intervention based on the work of Berlin's Disruption Network Lab examines this growing phenomenon, offering interdisciplinary pathways to empower the public by investigating whistleblowing as a developing political practice that has the ability to provoke change from within." (Publisher description)
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"Este libro muestra los resultados de una investigación cuyo objetivo fue explorar la producción académica sobre Consumos Culturales en la Argentina en el período 2000-2012. Con el fin de poder delimitar el alcance del estudio, en un primer momento se definieron las dimensiones que esta indagaci
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ón atendería, teniendo en cuenta que los consumos culturales generalmente abarcan prácticas, o conjunto de prácticas, numerosas y diversas. Se decidió seguir el camino de la definición convencional. Es decir, se contemplaron aquellas publicaciones que tratan los fenómenos estudiados bajo el paraguas de esa expresión e investigaciones reconocidas tradicionalmente en el país que son comentadas tanto en el marco referencial como en otros s de esta obra. En este sentido, los textos analizados sustentan argumentos, o son producto de investigaciones, que examinan la asistencia a cines, teatros, festivales y fiestas populares, las audiencias y los públicos de radio y televisión, la lectura de prensa gráfica y de libros de circulación masiva y el uso y la apropiación de tecnologías de la información y la comunicación (TIC). Si bien pueden existir referencias a investigaciones o estudios que incluyan prácticas diferentes, las citadas son las que aparecen más recurrentemente estudiadas en las publicaciones que pueden enmarcarse como estudios dirigidos a registrar prácticas y hábitos vinculados a los consumos de bienes culturales en el país en la última década." (Introducción, página 15)
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"The aim of this book is to explore digital media and intercultural interaction at an arts college in Tanzania through innovative forms of ethnographic representation. The book and the series website weave together visual and aural narratives, interviews and observations, life stories and video docu
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mentaries, art performances and productions. It paints a vivid portrayal of everyday life in East Africa's only institute for practical art training, while tracing the rich cultural history of a state that has mixed tribalism, nationalism, Pan-Africanism, and cosmopolitanism in astonishingly creative ways. While following the anthropological tradition of thick description, Digital Drama employs a more artistic and accessible style of writing. Dramatic, ethnographic details are interspersed with theoretical reflections and postulations to explain and make sense of the unfolding narratives. The accompanying Web site visualizes and sensualizes the stories narrated in the book, unfolding a dramatic world of African dance, music, theater, and digital culture." (Back cover)
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"Being creative and collaborative” is the motto of UNESCO’s Young Digital Creators (YDC). YDC is designed for young people of different cultures to collaboratively construct deeper understanding of each other’s cultural values and shared perspectives on global issues of our time. In YDC, the d
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igital tools are used to carry out creative projects, to show them and to talk about them with people from different cultures. YDC is a programme that makes the Internet and the web work to the benefit of young creators around the globe. This YDC Educator’s Kit is designed to help teachers and educators working in schools, youth clubs, community centres, and training institutes to generate and manage project-based learning activities with young people. The focus is on the creative use of information and communication technologies, global challenges of development, cultural diversity and inter-cultural dialogue. The first part of the Kit explains some basic concepts of the initiative. It starts with a brief introduction on project-based learning, then discusses creative thinking and expression, as well as cultural diversity. The last section of the first part gives an introduction to online cooperation in creative projects with Internet and web learning environments. The second part of the Kit introduces a detailed lesson plan with a number of learning activities that are expected to be implemented in sequence. The lesson plans are designed to help educators carry out a full project-based learning process with young people, starting from brainstorming and framing of the themes of the project to presenting the results of the project through exhibitions or concerts." (Introduction, page 16)
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"Medienethik beschreibt und erklärt neue ethische Probleme. Zunächst werden Grundprobleme der Disziplin dargelegt, dann werden die zentralen medienethischen Positionen von Platon bis zur Theorie der Hypermedien vorgestellt. Schließlich erörtert der Autor Felder neuer medienethischer Fragestellun
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gen, z.B. des Journalismus, des Rechts, der Information und Dokumentation, der Wissenschaft, der Kunstproduktion und -rezeption und der Medienerziehung." (Verlagsbeschreibung)
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"Une série d'articles consacrés au festival mondial des arts nègres, tenu à Dakar — Discours, exposés, colloques, interviews, reportages sur l'art africain en général: peinture, sculpture, danse, cinéma, musique, etc... Voir à Blaise SENGHOR: Le Cinéma Africain vers un nouveau départ, d
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ans « Afrique », n° 57, pp. 35-36." (Jean-Marie Van Bol, Abdelfattah Fakhfakh: The use of mass media in the developing countries. Brussels: CIDESA, 1971 Nr. 814, topic code 9)
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