Amidst epidemics of youth alienation and cultural polarization, community-based artistic practices are sprouting up around the world as antidotes to policies of austerity and social exclusion. Rejecting the radical individualism of the neoliberal era, many artistic projects promote collectivity and togetherness in navigating challenges and constructing shared futures. The Art of Collectivity is about how one such creative social program deployed this approach in service of a post-neoliberal vision. Focusing on a national social circus initiative launched by a newly elected Ecuadorean government to help actualize its “citizens' revolution,” the book explores the intersection between global cultural politics, participatory arts, collective health, and social transformation. The authors include scholars and practitioners of community arts, humanities, social sciences, and health sciences from the Global North and Global South. Sensitive to hierarchical binaries such as research/practice, north/south, and art/science, they work together to provide a multifaceted analysis of the way cultural politics shape policy, pedagogy, and aesthetic sensibilities, as well as their socio-cultural and health-related effects. The largest study of social circus to date, combining detailed quantitative, qualitative, and arts-based research, The Art of Collectivity is a timely contribution to the study of cultural policies, critical pedagogies, collective art-making, and community development.

How do we organize ourselves to accomplish shared goals? Our well-worn modes of collective action—from markets to hierarchies, from institutions to movements—have so far provided a limited vocabulary to investigate, let alone invent, new forms of open, networked, and trans-sectoral collaboration. Yet new forms of collective action are continually emerging, defined by openness, polycentricity, and plurality while still strategic and goal-oriented. Martin Kornberger pursues these experimental models to offer a vocabulary for the hitherto "untapped capability" to organize and strategize distributed and collective action. He introduces a novel set of concepts including shared concerns, symbols, interface designs, participatory architectures, evaluative infrastructures, network strategy, and leading as diplomacy, which together combine goal-orientated, purposeful action with scale, openness, and creativity. With a new vocabulary we can explore alternative ways of thinking and strategies to address the significant challenges and crises of our times.

How to co-create—and why: the emergence of media co-creation as a concept and as a practice grounded in equity and justice. Co-creation is everywhere: It’s how the internet was built; it generated massive prehistoric rock carvings; it powered the development of vaccines for COVID-19 in record time. Co-creation offers alternatives to the idea of the solitary author privileged by top-down media. But co-creation is easy to miss, as individuals often take credit for—and profit from—collective forms of authorship, erasing whole cultures and narratives as they do so. Collective Wisdom offers the first guide to co-creation as a concept and as a practice, tracing co-creation in a media-making that ranges from collaborative journalism to human–AI partnerships. Why co-create—and why now? The many coauthors, drawing on a remarkable array of professional and personal experience, focus on the radical, sustained practices of co-creating media within communities and with social movements. They explore the urgent need for co-creation across disciplines and organization, and the latest methods for collaborating with nonhuman systems in biology and technology. The idea of “collective intelligence” is not new, and has been applied to such disparate phenomena as decision making by consensus and hived insects. Collective wisdom goes further. With conceptual explanation and practical examples, this book shows that co-creation only becomes wise when it is grounded in equity and justice. With Coauthors Juanita Anderson, Maria Agui Carter, Detroit Narrative Agency, Thomas Allen Harris, Maori Karmael Holmes, Richard Lachman, Louis Massiah, Cara Mertes, Sara Rafsky, Michèle Stephenson, Amelia Winger-Bearskin, and Sarah Wolozin

Over the last ten years Lachlan MacKintosh has kept his sobriety through hard work, focus, and strict routines. Then he meets one dragonwoman a year prior, a woman with easy smiles and humor, and he starts to wonder if his routines are enough. When he’s assigned a major project on Lochguard, one to bring together human and dragon artists, he’s forced to live with the dragon-shifters and work with the woman who caught his eye all those months ago. He tries to resist her, knowing temptation could be his downfall. But instead he falls more under her charm with each passing day, making him wonder if he’s strong enough to overcome his demons so he can have her. Despite Cat MacAllister’s never-ending schedule of helping her family, art is her true passion and so when she’s asked to help with a major human-dragon art collective, she jumps at the chance. The only downside is the human male in charge—he’s the one she met the year before and has been constantly sketching ever since. She attempts to keep their relationship professional, but soon she asks him to kiss her and it changes her life forever. As the pair try to figure out if they fit together, they not only have to face Lachlan’s past but a new threat emerges before the start of the art project. Will they find a way to stay together, or will Lachlan have to give up everything to protect those he cares about?

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

This book addresses the theme of collective bargaining in different legal systems and explores legal framework of collective bargaining as well as the role of different bargaining models in domestic labour law systems in altogether twenty-one jurisdictions throughout the world. Recent development of collective bargaining regimes can be viewed as part of a larger development of labour law models that face increasing challenges caused by globalization and transition of work and workplaces. The book places particular emphasis on identifying and examining most important development trends affecting domestic labour law regimes and collective bargaining and regulatory responses thereto. The analysis offered extents to transnational dimension of collective bargaining. As the chapters analyse the influence of the legal frameworks of collective bargaining in different countries they provide unique comparative insight into the topic which is central to understanding the function of labour law.

The early modern period inherited a deeply-ingrained culture of Christian remembrance that proved a platform for creativity in a remarkable variety of forms. From the literature of church ritual to the construction of monuments; from portraiture to the arrangement of domestic interiors; from the development of textual rites to drama of the contemporary stage, the early modern world practiced 'arts of remembrance' at every turn. The turmoils of the Reformation and its aftermath transformed the habits of creating through remembrance. Ritually observed and radically reinvented, remembrance was a focal point of the early modern cultural imagination for an age when beliefs both crossed and divided communities of the faithful. The Arts of Remembrance in Early Modern England maps the new terrain of remembrance in the post-Reformation period, charting its negotiations with the material, the textual and the performative.

Transnational Belonging and Female Agency in the Arts interrogates the politics of space expressed via womxn's artistic practices, which prioritise solidarity and collaboration across borders, imagining attentive geographies of difference. It considers belonging as a manifestation of processes of becoming that traverse borders and generate new spaces and forms of difference. In doing so, the book aims to catalyse mutual social relations founded upon responsibility and response-ability to each other. The transnational framework activates concerns around belonging at a time of intensified divisions, partitioning global narratives, unequal trajectories and increasing violence against bodies of the most vulnerable, largely founded on Eurocentric paradigms of political, economic and cultural superiority. The contributors engage in a conversation signalling transversal thinking and artmaking in order to articulate and activate 'in-between' spaces. This is to welcome co-affective models of belonging that question versatile embodiments of subjectivity as both agentic and as interrelational. Organised around the triangulation of modes of belonging: spatial, affective and collective, overarched by a transnational lens that acknowledges non-hierarchical, local and socially relevant genealogies against universalising politics of globalisation, these essays consider afresh ways in which female agency disrupts borders and activates concerns around different forms of belonging, citizenship and transnationalisms. Cover Image credit: Keren Anavy, Garden of Living Images (2018), general installation view (detail). Courtesy of the artist and Wave Hill. Photographer: Stefan Hagen