Policy change is not predictable from election results or public opinion. The amount, issue content, and ideological direction of policy depend on the joint actions of policy entrepreneurs, especially presidents, legislators, and interest groups. This makes policymaking in each issue area and time period distinct and undermines unchanging models of policymaking.

"Policy change is not predictable from election results or public opinion. The amount, issue content, and ideological direction of policy depend on the joint actions of policy entrepreneurs, especially presidents, legislators, and interest groups. This makes policymaking in each issue area and time period distinct and undermines unchanging models of policymaking"--

The Art of Activism is an all-purpose guide to artistic activism, combining the creative power of the arts to move us emotionally with the strategic planning of activism necessary to bring about social change. With contemporary case studies and historical examples, chapters on cultural and cognitive theory, sections on what can be learned from unlikely sources like popular culture and marketing techniques, along with investigations into ethics and evaluation, explorations of the creative process and the importance of utopian thinking, and an attached workbook with over fifty exercises to practice, the co-founders of the Center for Artistic Activism take readers step-by-step through the process of becoming, or becoming even better, artistic activists.

Van Jones said it well: "If we're going to end this fiscal madness and start rebuilding America, we're going to have to get creative We need a tsunami of music, film, poetry and art. The Culture of Possibility shows us how creativity can take our story back from Corporation Nation, tilting the culture towards justice, equity, and innovation. I urge you to read this book " We are in the midst of seismic cultural change. In the old paradigm, priorities are shaped by a mechanistic worldview that privileges whatever can be numbered, measured, and weighed; human beings are pressured to adapt to the terms set by their own creations. How we feel, how we connect, how we spend our time, how we make our way and come to know each other-these are all part of the scenery. In the new paradigm, things are given their true value. People care passionately about how they and the things they value are depicted. They revive themselves after a long workday with music or dance, by making something beautiful for themselves or their loved ones, by expressing their deepest feelings in poetry or watching a film that never fails to comfort. In the new paradigm, it is understood that culture prefigures economics and politics; it molds markets; and it expresses and embodies the creativity and resilience that are the human species' greatest strengths. The bridge between paradigms is being built by artists and others who have learned to deploy artists' cognitive, imaginative, empathic, and narrative skills. The bridge is made of the stories that the old paradigm can't hear, the lives that it doesn't count, the imagined future it can't encompass. Using first-person stories, drawing on both history and headlines, embracing new knowledge from education, medicine, cognitive science, spirituality, politics, and other realms, The Culture of Possibility shows why, how, and where we can build a bridge to a sustainable future.

The revisioning of our infrastructural futures, local and global relationalities, and historical and political legacies. Forming a comprehensive picture of the multiple processes, regulations, institutions, technologies, networks, and operations that we have come to understand as the distributed infrastructural arena in which we act, yield, and plot is a perennial challenge. Over the past decade, a growing number of artists, theorists, curators, and researchers have moved from “institutional critique” to “infrastructural critique,” or toward “infrastructural speculation,” in which they explore the potential of creative infrastructure-related visions and scenarios. In attempts to counter the impasse of “the cancelled future,” art has immersed itself in systemic critiques and propositional thinking, addressing major challenges, such as the rampant financialization of the economy and runaway climate change. From questions around space settlements to the possibility of repurposing blockchain infrastructures and financial instruments for redistributive purposes, and from the diagrammatic potential of infrastructural thinking in artistic practices to scenario planning and economic strategizing, this collection of new essays brings together critical analysis from a broad group of contributors engaged in the revisioning of our infrastructural futures. Their interrogations span local and global relationalities, historical and political legacies, as well as future-oriented infrastructural hypotheses.

Making Another World Possible offers a broad look at an array of socially engaged cultural practices that have become increasingly visible in the past decade, across diverse fields such as visual art, performance, theater, activism, architecture, urban planning, pedagogy, and ecology. Part I of the book introduces the reader to the field of socially engaged art and cultural practice, spanning the past ten years of dynamism and development. Part II presents a visually striking summary of key events from 1945 to the present, offering an expansive view of socially engaged art throughout history, and Part III offers an overview of the current state of the field, elucidating some of the key issues facing practitioners and communities. Finally, Part IV identifies ten global issues and, in turn, documents 100 key artistic projects from around the world to illustrate the various critical, aesthetic and political modes in which artists, cultural workers, and communities are responding to these issues from their specific local contexts. This is a much needed and timely archive that broadens and deepens the conversation on socially engaged art and culture. It includes commissioned essays from noted critics, practitioners, and theorists in the field, as well as key examples that allow insights into methodologies, contextualize the conditions of sites, and broaden the range of what constitutes an engaged culture. Of interest to a wide range of readers, from practitioners and scholars of performance to curators and historians, Making Another World Possible offers both breadth and depth, spanning history and individual works, to offer a unique insight into the field of socially engaged art.

In the life cycle of being an artist, the thorny issue of moving past emulating not only other artists but also yourself is a perennial one. There is a path through this predicament.Being an artist is about continually evolving your art. It's about cultivating your fullest self-expression and getting to the elusive deepest work your heart yearns to create. Learn the science of creativity, the art of the possible- the adjacent possible This is a revolutionary method influenced by groundbreaking research in biology and physics to guide you to embrace the unfolding of your art. Every brushstroke, every decision in your art, creates a set of possible paths that were not only invisible before, but didn't exist before you made that creative move. This is the adjacent possible. This book will:- guide you to evolve your art- nudge you to create art that excites, scares and wows you- inspire you to move past emulating not only others, but yourself in your art Becoming a great artist is about the movement of coming closer to who you are and reaching the fullest expression of YOU in your art. With one foot in the known and one foot in the unknown, you'll become aware of your creative edge where the adjacent possible lives. At the pivot point between creation and collapse, you'll experience a state of poised instability. This is the art and science of the possible- a world of continuous creation.

An original and delightful approach: imagined visits to artists' studios bring art vividly to life for children. Through the pages of this book, young readers step into a famous artist's studio in medieval Germany, Renaissance Italy, or nineteenth-century France. As the making of a particular work is described, the child smells the paint, hears the chisel chipping into marble, or experiences the wonders of a working printing press. The twenty artists are featured in easy-to-follow chronological order: Giotto, Leonardo da Vinci, Albrecht Dürer, Michelangelo, Raphael, Titian, Hans Holbein the Younger, El Greco, Caravaggio, Artemisia Gentileschi, Bernini, Velázquez, Rembrandt, Goya, Jacques-Louis David, Turner, Delacroix, Manet, Monet, and van Gogh. All have remarkable life stories that will entrance any child. Beautifully produced illustrations include an introductory portrait or self-portrait of each artist, followed by reproductions of some of their greatest works. Both paintings and sculptures are represented, offering children an inspiring insight into the visual arts. The artworks—Michelangelo's colossal statue of David, van Gogh's self-portrait with bandaged ear, Velázquez's Las Meninas with little Infanta at center stage, Delacroix's dramatic Liberty Leading the People—have all been chosen specifically to appeal to a young audience. Extended picture captions offer further information, focusing on key details or telling memorable anecdotes, and the book includes a listing of where the artworks can be seen.

How-to art instruction book teaching painters how to mix color.

"Brings together historians, philosophers, critics, curators, artists, and educators to ask how art is and should be taught. Explores the theories that underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations"--Provided by publisher.