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In this chapter, the authors provide a historical overview of the development of comparative and international education in North America from 1920s to the beginning of the twenty-first century. The authors document the significant role some of the most influential leaders played to help lay the foundation for comparative education societies in Canada, Cuba, Haiti, Mexico, and the United States. Using historical comparative research technique, the authors examine the many interconnections of current and past leaders. The authors conclude with recommendations on how knowing the history can help strengthen comparative and international education development well into the future.

Art is a complex, multiform, fluid human activity that is subjugated to time-space-place contexts and dependent upon social representation and values. But what is it for? This introduction to the book Art in Diverse Social settings begins with a general characterization of Art as universal language. Unlike verbal language, art is primarily processed in the sensorial and emotional fields and only later rationally; unlike science, it does not aim at explaining or predicting the laws of the world's phenomena, instead it communicates by showing (in essence, it has an expressive meaning). In today's world, art became an accessible good and a valuable human creation because of this reappraisal of artistic practices; art is today expressive in domains such as politics, citizenship, economy, ethics, sustainability or public affairs.

The introduction to this edited book explains why it is focused on the role of art in today's diverse society. Art is part of the worldviews and mindsets from which it results and as a complex and ambiguous product of culture and perception, it must be understood from multiple perspectives. As such, this book includes in the first part seminal chapters with a theoretical scope, which highlight conceptual, contextual and cultural issues of contemporary art. The chapters in the second and third parts of the book are exemplary case studies, describing concrete intervention projects, which use some form of art or composed artistic expression as a medium for communication and intervention in the contexts of social and professional organizations, public spaces or the community. A summary of each chapter is provided and linked to the main goal of the book.

This chapter refers to basic qualities of art learning in relation to citizenship education. It aims to explore pedagogical principles and methods/strategies through examples of artistic practices in different settings and instances, emphasizing cultural and democratic dialogue.

Artistic practices in education are explored through documentation and visual data and reveal different ways of learning and thinking that incorporate inclusive and critical approaches to art education. Documentation encompasses (1) examples of artistic initiatives in Europe including Cyprus and (2) the researcher's initiatives reported through visual notes in informal and formal types of educational settings. Documentation exposes creative processes and strategies significant for learning in, about and through art and introduces visual research methods as a meaningful and democratic way of teaching and learning the visual arts. Findings reveal features of art learning emphasizing cultural dialogue, pluralism and creative processes based on active and participatory art education approaches.

This chapter is an introduction to what the author defines as central to the Art in relation to Citizenship and Education. As these are regarded as multifaceted concepts that continually evolve and expand, diverse theoretical notions are addressed and illustrated through artistic examples. The author represents ideas, concepts and values, underpinning citizenship in Art and Art Education by posing two questions: (1) Which kinds of Art can support citizenship and in what ways? and (2) Which concepts can foster citizenship in Art and Art Education? Art and Citizenship are discussed in relation to culture and aesthetics, pointing out that Art is meaningful in a cultural context and at the same time it has the potential to engage us in transformative practices. The author contends that Art for Citizenship Education is grounded on two pillars: ‘Who I am’ and ‘Who we are’. These are analyzed and exemplified through artistic practices that are concerned with the power of image, the formation of identities and communities and diverse cultural contexts (spaces and places).

In the transition to more inclusive societies, design, far beyond traditional design domains dealing with form shaping, can contribute to organizational and social transformation (Jones & Van Patter, 2009) through projects for new meanings, new services and new processes. In this sense, the chapter aims to discuss the practice of ‘Costruire Bellezza (Crafting Beauty), an experiment (Binder & Redström, 2006) of design for social inclusion. It focuses on both the empowerment of homeless people (Sen, 1999) and the development of skills – mainly relational – of university students (Margolin & Margolin, 2002) via Design Anthropology–led creativity. Participants include researchers, homeless people, students in design and social sciences, social workers, educators and creative talents. Through regularly organized ‘design initiatives’ (Manzini, 2015, p. 91) they as a group work on projects, languages and co-creation processes. Design and Anthropology shaped this strong relational and community-based apparatus of collaborative experiences thanks to which all participants' backgrounds are valued. The participatory experience becomes the context where experiments are carried out to develop more effective services for homeless people and new models of active and responsible citizenship.

This chapter is about a group of designers, from the Piracema Lab that works with traditional craftspeople trying to avoid any imposition or direct intervention on the artisans in order to foster the development of the creative process. The process is initiated through workshops to make craftspeople aware of their personal history, of each other's experiences and local history. A local historian is always invited to talk about the town. The education process is based on research of the materials from the region for economic reasons and on the development of visual perception. The designers stimulate the participants to observe local things like patterns and forms in the architecture, in the surroundings and nature to be used as visual motives of the products to be created. I will refer to three experiences, two in the Amazon region and one in Africa.

Duchamp caused a revolution in the art of the twentieth century with the readymade concept, and simultaneously he opened Pandora's Box, which converted art into a simulation and made it dependent on discursive practices. This degenerated into a deconstructive vulgate when, from the 1960s onwards, an ‘aesthetic of banality’ was accentuated and the media institutionalized the ‘guerrilla’ between the practices and the discourses. Art ‘wrecked’ in a regime of hyper-reality of the image, and the art paradigms and criteria shifted from aesthetics to the law of the financial markets. At the same time, the proliferation of coexisting cultural ideas and a revolving cultural miscegenation ended up splitting the kingdom of the art. In the art world today, there is a cleavage between artists: on one side, the adepts to the heteronomy (a line that was born with ready-made products), those who, following dominant rules, work for the market and the organizations; on the other side, those, more passionate, for whom art is a hermeneutics for self-knowledge. Meanwhile, Picasso's aura returns to the art scene, in a panorama that until now was adverse to him.

This article is a broad reflection on some of the most common forms of artistic creation, including music, literature and cinema: – a reflection on how (and why) they may reach us and how they may be used or created effectively.