Based on over a decade of collective teaching this volume explores the hybrid use of online and in-person collaboration as a means of offering international experience to university-level arts students. Chapters articulate a collective learning based on the experiences of the International Art Collaborations Network (INTAC) Collective Body group and related programs which the authors and contributors have participated in as educators and students.

Illustrated with photographs screenshots and student projects the book inspires reflection on teaching methodologies and student artmaking strategies across cultures and languages. Pedagogical and methodological topics trace an evolution of curricular approaches and use of evolving online platforms. Examples of themes and visual strategies demonstrate the power of student-directed collaborative learning. Diverse voices have been gathered through research conducted with educators and alumni connected to INTAC providing perspectives on working collaboratively in a global context.

Student projects exemplify responses to the challenges of communication and creation that come with distanced artistic partnership. Chapters end with suggested points for conversation whether between educators students of art education or students entering collaborations. Although based on experiences in the visual arts the ideas and methods are applicable to others engaging in inter-institutional education or online collaborative practices.

Fully illustrated with examples of collaborative art projects photographs screenshots diagrams and posters.

From the perspective of art educators museum education is shifting to a new paradigm which this collection showcases and marks as threshold moments of change underway internationally. The goal in drawing together international perspectives is to facilitate deeper thinking making and doing practices central to museum engagement across global local and glocal contexts.

Museums as cultural brokers facilitate public pedagogies and the dispositions and practices offered in 33 chapters from 19 countries articulate how and why collections enact responsibility in public exchange

leading cultural discourses of empowerment in new ways. Organized into five sections a wide range of topics and arts-based modes of inquiry imagine new possibilities concerning theory-practice sustainability of educational partnerships and communities of practice with in and through artwork scholarship.

Chapters diverse in issues art forms and museum orientations are well-situated within museum studies enlarging discussions with trans-topographies (transdisciplinary transnational translocal and more) as critical directions for art educators.



Authors impart collective diversity through richly textured exposés first-person accounts essays and visual essays that enfold cultural activism sustainable practices and experimental teaching and learning alongside transformative exhibitions all while questioning – Who is a learner? What is a museum? Whose art is missing?

By engaging with education contemporary art and global sustainability goals this book connects the artistic way of communication with ecological obligations and social issues and promotes a sense of active citizenship. International empirical and curricular research presents a case for strong learning communities that take a clear political stand in favour of socially engaged art pedagogies.

The main aim of  is to show how shared spaces for exchange in the fields of art education and continuous professional development can reflect inspire and integrate sustainability principles that are becoming crucial in today’s world. The authors propose the idea that coordinated action can lead to a more sustainable future by promoting a sense of community lifelong learning and confidence in the possibility of changing current conditions.

Its three parts combine expertise in visual arts education education for sustainable development contemporary art practice and sustainability activism. While Part I focuses on literature in the field and the interrelation of different disciplines Part II provides concrete examples of professional learning communities and pedagogies that can be used to enrich the field of art education. Finally Part III presents brief case studies illustrating international projects by contemporary artists curators environmentalists and others providing educators with several inspirational models of concrete and creative action.

This collection of stories from two practising GPs describes the reality of working within a failing and highly bureaucratic system where there is a balancing act: regulation versus relationships; autonomy versus standard practice; algorithm versus individual attention.



We aren’t suggesting a return to a ‘better’ time. We don’t object to being bureaucrats embedded within and accountable to the systems we are in. But we do want to consider how and with what the gap left by the old-fashioned GP has been filled. We use stories based on our experience to describe the effect of different facets of bureaucracy on our ability to maintain a nuanced individualised approach to each patient and encounter; and to question the prominence and effect of protocol. We are interested in the way professional relationships are influenced by protocol: between and within organisations; and most importantly with patients/clients/service users..



We are accustomed nowadays to automated telephone lines chatbots website FAQs- the frustration of being unable to connect with another human being who will listen to our particular question and give us something other than a generic answer. The same issues that are facing society at large have changed the way in which we work as GPs and the care we give.

Introduction – an analysis of the different aspects of bureaucracy and regulation which influence decision making in general practice.

1. Poppets and Parcels – healthcare systems are not designed to meet the needs of everyone. This chapter is about a fundamental but undocumented component of general practice - the ‘holding work’ required for patients whose problems can’t be solved in the usual ways the ones for whom there isn’t a simple answer.
2. Waiting to Connect – In this chapter the stories are about flow – the flow of patients through a turbulent over-stretched system in which access and response are often controlled by algorithm.
3. Taking Liberties -this chapter examines the role of GPs as agents of social control in the restriction of civil liberties - in the context of the mental health act and of safeguarding.
4. Guidelines Tramlines Mindlines -how guidelines are developed and the difficulties of applying them in the messy world of general practice.
5. The Elephant in the Room -the stories in this chapter are about biography and biology; about medical categorisation and its effects and shortcomings.
6. The Bureaucracy of Death - In the realm of death protocol -which has become the bedrock of clinical practice- is less useful because the right decisions and the right timing are so individual and nuanced. These stories are about death and bureaucracy.

Conclusion and Afterword



A Labour of Love -a few stories to end of healthcare enacted with love

Over 200 observational drawings created every day from the same window reveal life in an ordinary English street in extraordinary times.



This visual record and accompanying prose is a unique meditation on place nature community time and mental well-being. Through this qualitative work we gain insight into the individual and collective experience and place-specific impacts of the pandemic as opposed to the quantitative statistics of mortality and infection rates that characterise daily media soundbites and scientific discourse surrounding lockdown.



Five themes are central to the drawings highlighting the environmental and social factors influencing daily life and how these can be perceived and recorded via observational drawing: ‘framing space’ foregrounds the importance of widows as an interface between interior and exterior worlds; ‘observing nature and the built environment’ celebrates the street and garden as sites of human-nature relations that support well-being; ‘watching people’ focusses on the activities typify living under lockdown including isolation socially distanced interactions and working from home; ‘drawing’ reflects on the multiple professional and personal benefits of drawing; and mindful awareness is discussed throughout affirming the value of appreciating everyday life through drawing practice.

In 1976 the British band Throbbing Gristle emerged from the radical arts collective COUM Transmissions through core members Genesis P-Orridge and Cosey Fanni Tutti joined by Hipgnosis photographer Peter Christopherson and electronics specialist Chris Carter. Though having performed previously in more low-key arts environments their major launch coincided with the COUM retrospective exhibition Prostitution at London’s ICA gallery showcasing and contextualising an array of challenging objects from COUM’s various actions in performance art and pornography. In a deliberately curated strategy inviting press civic and arts dignitaries extravagant followers of the nascent punk scene and music journalists the band created an instant controversy and media panic that tapped into the restrictive climate and encroaching conservatism of late 1970s Britain. Any opportunities that were being explored by a formative punk ethos and movement around sex censorship and transgression were amplified and exposed by Throbbing Gristle and Prostitution. An outraged Member of Parliament Nicholas Fairbairn took the bait and called the ensemble the ‘wreckers of civilisation’ providing the suitable newspaper headline that would be followed a month later by ‘the filth and the fury’ as the Sex Pistols uttered strong profanities on live television.

The switch from COUM to Throbbing Gristle encompassed a primary mode of expression in making music as opposed to art to further coincide with the energy of the nascent punk scene. The band quickly developed a radically deviant and challenging reputation through pushing the punk format past its strictures in terms of lyrical themes amateurism and considerations of what constitutes music. Through a handful or record releases on their own label Industrial Records and a sporadic string of live performances the band nurtured a strong and devoted following including key journalists and fanzine editors of the punk and post-punk scenes such as Jon Savage and Sandy Robertson. The band’s style of exploring harsh pre-recorded sounds samples of disconcerting narrative and conversation and feeding all sounds through messy electronic processing devices gave rise to the title industrial music. This was further buttressed by performing a strictly timed set of one hour and adopting a non-rockstar mode by appearing disinterested and preoccupied with electronic devices. Having given a name and impetus to the industrial music scene many of their followers and fans formed bands in later years.

Drawing on works such as Andy Bennett’s When the Lights Went Out this book looks at late 1970s Britain before during and immediately after the Winter of Discontent to situate the activism of Throbbing Gristle in this time. It explores how the band worked in and against the time and how they worked in and against punk as punk worked in and against the time and place. Punk acts as a mediating factor and nuisance value as Throbbing Gristle emerged with punk in late 1976 seemingly grappled with it through 1977 and then went on to create and eventually criticise a number of post-punk scenes that had flourished around 1979. Trowell narrates the story through a series of live performances as this is a point where Throbbing Gristle interact with the various city-scenes around England during their original period of operation (1975-1981). The band reflected (and incorporated into their live music) key tropes form the time both ‘mainstream’ and fringe (subcultural avant-garde art counter-culture taboo subjects extremes) such that Throbbing Gristle events had an impact and affect and Trowell traces these as a series of impressions and reverberations amongst fans who went on to do their own music and projects.

This book is for artists teachers and those who prepare teachers. In the field of art and design education there are many theoretical strands that contribute to the practices of teaching and learning in the visual arts. The problem for artist teachers and those who prepare teaching artists is how to frame the diverse methodologies of art and art education in a way that affords divergent practices as well as deep understanding of issues and trends in the field. Teachers need a field guide that provides a contextual background of theory in order to make their own teaching practice relevant to contemporary art practices and important ideas within the field of education. The book in its content and presentation of content is pedagogical; it provides a catalyst and prompt for meaningful and personal artistic inquiry and exploration.



The book describes connections between teaching and artistic practices including the pedagogical turn in contemporary art. As a book for artists and designers it is graphically compelling and visually inspiring. It is designed to be engaging for the practitioner and theoretically robust. A problem with many current texts is that they are written by academics who are often a step removed from the issues of classroom instruction and tend use the language of the scholar which is appropriate for a scholarly journal but can be difficult for other audiences. This book will bridge this divide through its use of design narrative and descriptions of innovative artistic practices. Rather than being a book about “best practice” it is a book about “diverse practices” within art making and teaching.



This field guide to artistic approaches including methods for teaching art frames its arguments around critical questions that artists and art teachers must address such as: What is the role of art and design in secondary education? What will I teach? How do we go about teaching art? How do I know if my teaching is working? What is the role of traditional mediums and methods within contemporary art practices? How can art teachers contribute to the reinvention of schools? How might fluency within a medium be connected to important issues within culture including the culture of adolescents? This book includes examples of approaches that might provoke or inspire artist and pedagogical inquiry. These are approaches that actively engage students in work that disrupts taken for granted conventions about schooling and its purposes. It considers how art and design might transform the school experience for adolescents.

Italy’s 1948 constitution states that Italy is a ‘republic founded upon work’. This book explores women’s labour following World War Two and Italy’s new republic. It focuses its enquiry on three sectors: agriculture (rice weeders) fashion (seamstresses) and religious work (nuns). It studies original oral history interviews and compares women’s own words with their representation in film.

In Italy both war and national reconstruction have typically been framed as masculine undertakings. This book shifts that frame to investigate the labour that Italian women were doing at this critical time of political social and ideological change. By examining (filmed) oral history interviews and postwar fiction films the book brings a vivid engaging and cross-disciplinary account of women’s work.

Historical studies of Italian women’s work in this period are scarce short and almost never in English; this work addresses that critical gap. Film histories almost invariably study women for their beauty and on-screen sexuality; this work critiques and moves beyond this bias. Oral history studies aim to give voice to the under-represented; this book shares that goal.

The book is interested in how women’s work was viewed by society and by women workers themselves. Critical analysis of films produced between 1945 and 1965 reveals tensions around women workers’ financial sexual intellectual and spatial independence. Oral histories reveal little-discussed professions and women’s experiences in the workplace. These interviews expose the profound difference work made to women’s lives and the joys and dilemmas of this difference.

This book offers a range of approaches to teaching higher education design students to learn to design collaboratively and creatively through transdisciplinary multidisciplinary cross-disciplinary and interdisciplinary learning experiences.



It highlights that the premise of traditional disciplinary silos does little to advance the competencies needed for contemporary design and non-linear career paths. It makes the point that higher education should respond to the impacts of a changing society including fluctuating market demands economic variations uncertainties and globalization.



Chapters highlight approaches that address this changing landscape to meet student industry and societal needs and reflect a range of design education contexts in which the authors have taught with a focus on experiences at the Queensland University of Technology Australia but also including collaborations and comparative discussions elsewhere in Australia and globally spanning Europe Asia the Middle East and the United States.



The book is positioned not as a definitive theoretical model for transdisciplinary design education but instead as a collective of chapters in which many forms of learning are explored through overarching themes of curriculum design and experiential and authentic learning and collaboration transforming professional identities and design cultures.

This book focuses on the culture and politics involved in building hip-hop archives. It addresses practical aspects including methods of accumulation curation preservation and digitization and critically analyzes institutional power community engagement urban economics public access and the ideological implications associated with hip-hop culture’s enduring tensions with dominant social values.

The collection of essays are divided into four sections; Doing the Knowledge Challenging Archival Forms Beyond the Nation and Institutional Alignments: Interviews and Reflections. The book covers a range of official unofficial DIY and community archives and collections and features chapters by scholar practitioners educators and curators.



A wide swath of hip-hop culture is featured in the book including a focus on dance graffiti clothing and battle rap. The range of authors and their topics span countries in Asia Europe the Caribbean and North America.