They were named the "throwaways." Children with learning differences engaged in artmaking as sensemaking to promote issues of social justice in K-12 schools. For the first time, children with learning differences, teachers, staff, and school leaders come together and share how they understand the role artmaking as sensemaking plays in empowering disenfranchised populations.

Faking It! collects eleven chapters which explore the question of forgery from different disciplinary angles: literary historical and art historical contributions share space with discussions of jewels, architecture and coinage. The various case studies take as their focus developments in Renaissance Italy and Early Modern England as well as in France, Germany, Malta, Denmark, Sweden, Iceland, Russia and Australia. While each chapter contributes to a better understanding of the local context of cultural production, together they suggest new answers to how we can understand forgery. The concept of performance allows us to see beyond normative approaches and gain insight into some of the ambiguities concerning the nature of forgery. Contributors include: Brian Boeck, Federica Boldrini, Patricia Pires Boulhosa, Laurent Curelly, Helen Hughes, Jacqueline Hylkema, Philip Lavender, Lorenzo Paoli, Ingrid D. Rowland, Camilla Russo, and Ksenija Tschetschik-Hammerl.

This book is an interdisciplinary study aimed at re-imagining and re-routing contemporary migrations in the Mediterranean. Drawing from visual arts, citizenship studies, film, media and cultural studies, along with postcolonial, border, and decolonial discourses, and examining the issues from within a human rights framework, the book investigates how works of cultural production can offer a more complex and humane understanding of mobility in the Mediterranean beyond representations of illegality and/or crisis. Elvira Pulitano centers the discourse of cultural production around the island of Lampedusa but expands the island geography to include a digital multi-media project, a social enterprise in Palermo, Sicily, and overall reflections on race, identity, and belonging inspired by Toni Morrison's guest-curated Louvre exhibit The Foreigner's Home. Responding to recent calls for alternative methodologies in thinking the modern Mediterranean, Pulitano disseminates a fluid archive of contemporary migrations reverberating with ancestral sounds and voices from the African diaspora along a Mediterranean-TransAtlantic map. Adding to the recent proliferation of social science scholarship that has drawn attention to the role of artistic practice in migration studies, the book features human stories of endurance and survival aimed at enhancing knowledge and social justice beyond (and notwithstanding) militarized borders and failed EU policies.

This book proposes to investigate the arts from the inside, namely to consider, first and foremost, what artists do to create their works in order to proceed fruitfully in the direction of their evaluation and explanation. To this end, it develops a philosophical inquiry that examines the ground zero of the arts, their common foundations, namely the rules for artistic creation, the processes that involve artists in their activities, the forms that they can or cannot achieve. This proposal and its outline for a rule-based ontology of the arts addresses four themes: the relationship between human nature and artistic practices, the features of art-making, the conception of artworks as structures, and the social nature of the arts.

This book can be viewed as a series of investigations into the ongoing imbrications of the practices of art, ethics and education as conducted within each author's specific context of practice as artist, educator, researcher. It constitutes an international anthology of explorations that are by no means exclusive but conscious of the ongoing iterations, mutations and individuations of relations between art, ethics and education, which, in turn, seek to expand how we might conceive these terms as practices. This ongoing evolution reminds us that as practices art, ethics and education are always incomplete processes affected by and affecting their specific milieus and environments. Chapters within the book cover a wide range of ethical questions and educational contexts, broaching subjects as varied as higher education, artificial intelligence, animal ethics, transcultural encounters, collaborative art, the education of senior citizens and experiences of conflict. Art, ethics and education are not conceived in terms of established orders, representations, ideals, criteria or bodies of knowledge and practice, but rather in terms of dynamic, relational processes and their potentialities, that arise within specific locations, cartographies and ecologies of practice. The notions of art, ethics and education are viewed in terms of assemblages that have the capacity to generate new modes of practice that may question established values and advance new overlappings of aesthetic, ethical and political relations. Contributors are: Dennis Atkinson, Hashim Al Azzam, John Baldacchino, Bazon Brock, Carl-Peter Buschkuhle, Sahin Celikten, Ana Dimke, Brian Grassom, Leena Hannula, Brian Hughes, jan jagodzinski, Timo Jokela, Mira Kallio-Tavin, Joachim Kettel, Guillermo Marini, Catarina Martins, Joe Sacco, Francisco Schwember, Juuso Tervo, Raphael Vella and Branka Vujanovic.