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In what way is »care« a matter of »tinkering«? Rather than presenting care as a (preferably »warm«) relation between human beings, the various contributions to the volume give the material world (usually cast as »cold«) a prominent place in their analysis. Thus, this book does not continue to oppose care and technology, but contributes to rethinking both in such a way that they can be analysed together.Technology is not cast as a functional tool, easy to control - it is shifting, changing, surprising and adaptable. In care practices all »things« are (and have to be) tinkered with persistently. Knowledge is fluid, too. Rather than a set of general rules, the knowledges (in the plural) relevant to care practices are as adaptable and in need of adaptation as the technologies, the bodies, the people, and the daily lives involved.

In its constructive and speculative nature, design has the critical potential to reshape prevalent socio-material realities. At the same time, design is inevitably normative, if not often violent, as it stabilises the past, normalises the present, and precludes just and sustainable futures. The contributions rethink concepts of critique that influence the field of design, question inherent blind spots of the discipline, and expand understandings of what critical design practices could be.With contributions from design theory, practice and education, art theory, philosophy, and informatics, »Critical by Design?« aims to question and unpack the ambivalent tensions between design and critique.

A queer theory of visual art - based on extensive readings of art works Queer Art traces the question of how strategies of denormalization initiated by visual arts can be continued through writing. In the book's three chapters art theoretical debates are combined with queer theory, post-colonial theory, and (dis-)ability studies, proposing the three terms radical drag, transtemporal drag, and abstract drag. The works discussed include those by Zoe Leonard, Shinique Smith, Jack Smith, Wu Ingrid Tsang, Ron Vawter, Bob Flanagan, Henrik Olesen, Felix Gonzalez-Torres, Sharon Hayes, and Pauline Boudry/Renate Lorenz.

As a reaction to typically dead-end debates on future human and robot collaboration that tend to be either dismissive or overly welcoming towards »cobot« technologies, this book provides a technofeminist intervention. Pat Treusch not only shows how both the fields of technofeminism and robotics can engage in a practical exchange through knitting, but also contributes a tangible example of coboting dynamics. Robotic Knitting re-negotiates the boundaries between formalisation and embodiment, craft and high-tech as well as useful and dysfunctional machines. It re-crafts the nature of collaboration between human and robot. This finally entails an alternative mode of relating - a mode that enables an account of careful coboting.

How can exhibitions not only stage existing knowledge, but also raise questions that might eventually lead to new research? This question has become ever more relevant due to the museum sector's growing interest in the development of thematic exhibitions that combine narratives and objects from art, science, cultural history, and everyday life. Using theories from interdisciplinarity studies, Henriette Pleiger identifies different ways of producing knowledge during the exhibition-making process, as well as the mechanisms that are necessary for an exhibition to be considered interdisciplinary. The development of such exhibitions can be understood as collaborative research processes.

What future challenges are we facing already today, what room for action needs to be secured and which impulses result from this for professional future action? Against the backdrop of social transformation processes that pose these questions, the contributors to this volume highlight current developments in the field of performing arts, asking for scientific references to the mode of crisis. Their international framing places different academic positions in an overarching discourse by bringing knowledge from different theatre traditions and cultural contexts into a dialogue.

The relationship between philosophy and Jewish thought has often been a matter of lively discussion. But despite its long tradition and the variety of positions that have been taken in it, the debate is far from being closed and keeps meeting new challenges. So far, research on this topic has mostly been based on historically diachronic references, analogies, or contacts among philosophers and Jewish thinkers. The contributors to this volume, however, propose another way to advance the debate: Rather than adopting a historical approach, they consider the intersections of philosophy and Jewish thought from a theoretical perspective.

Social forms of religion are communally productive at the same time as they enable individual religious experiences. The contributors to this volume test that argument by examining different social forms that Christianity in Europe and the Americas has taken in past and present. They show that these social forms - the ways in which individuals and collectives coordinate to practice their religion - are expressions of religious change on the one hand, and, on the other, also set change in motion and have contributed to growth and decline of various Christian traditions in their respective broader >religious field

In the face of climate change, the destruction of biodiversity or genetic experimentation, Bio Art appears as a form that is most directly grappling with the problems of the »Anthropocene«. It develops many different approaches and explores a variety of mediums, often related to scientific research, creating art that uses plants, insects, mammals, bacteria, bird songs, forest sounds, or genetic modification. Bio Art's uniqueness comes from incorporating, rather than just representing the living in a diverse range of artworks. In discussing such works from various world regions and time periods, the contributors address the divide between human and non-human animals, between »culture« and »nature«.

Narrative strategies, immersion, interaction, participation, identification, multimodality, characters and the connection between physical and fictional or virtual worlds: the fields of inquiry into the complex relationship between live performance and video games are numerous and diverse. For the first time, this collection brings together international researchers and artists to explore this relationship in a variety of essays. The contributors to this volume focus on reciprocal inspirations, appropriations and transfers applied by theatre artists, game designers and researchers. They analyze several artistic forms such as VR performance, immersive theatre, speedrunning or Game-Theatre.

The cultural practices of hip-hop have been among people's favorite forms of popular culture for decades. Due to this popularity, rap, breaking, graffiti, beatboxing and other practices have entered the field of education. At the intersection of hip-hop and music education, scholars, artists, and educators cooperate in this volume to investigate topics such as representations of gangsta rap in school textbooks, the possibilities and limits of working with hip-hop in an intersectional critical music pedagogy context, and the reflection of hip-hop artists on their work in music education institutions. In addition, the contributors provide ideas for how research and theory can be transferred and applied to music educational practice.

In exile and migration, the things that forcibly displaced people take with them become mobile testimonies of defiance, mourning, creativity, and rejuvenation. Through a series of scholarly essays and biographical vignettes, this richly-illustrated volume draws on such observations to examine the meanings that their possessions assume when they are wrenched from their original contexts. The contributors to this collection thus shine an intimate spotlight on those who are driven from their homes by conflict and forced into exile by authoritarian regimes. In so doing, they underscore the necessity for civil societies to support academic freedom and the work done by critical thinkers worldwide.

After the revolutions in 2011, Tunisia became a symbol of freedom and justice and thus the hope of an entire region. Now, the picture has been reversed: political freedoms are being curtailed and the economy is in disarray, especially after the pandemic and the ongoing war in Ukraine. Resentment and attacks against >Others< fall on fertile ground in the face of expanding inequality. Simultaneously, particularly younger people desire to leave the country. The contributors to this volume investigate the capabilities and aspirations to comprehend their histories of erosion, but also to reveal alternative ways of imagining futures.

Under Japanese colonial rule in the early 20th century, Korean women began to expand their realm from the domestic to the public sphere. Sung Un Gang examines how the women's gaze was reimagined in public discourse as they began attending plays and movies, and investigates the complex negotiation process surrounding women's public presence. As the first extensive study of Korean female spectators of the colonial era, it analyses newspapers, magazines, fictions, and images and argues that public discourse aimed to mold them into a male-driven and top-down modernization project. This study reconceptualizes colonial Korean female spectators as diverse active agents with their own politics.

Listening, experiencing, drawing or interpreting spaces: narratives, experiences, visualizations and discourses can be helpful for the empirical investigation of spaces. This interdisciplinary handbook presents a broad spectrum of established methods and innovative method development to capture and understand different facets of spaces. Instructive explanations and concrete examples make the varied qualitative methods of spatial research understandable and applicable across disciplines. The theoretical and methodological aspects of qualitative spatial research form the framework of this handbook.

In phenomenological tradition, presence has been understood as fundamental for human experience: I experience the world as my lifeworld because I am present in this world. Even more, I experience myself as »I« only in the presence of the other. However, this concept of presence has become fragile through processes of medialization - not least in (post-)pandemic everyday life. Presence can no longer be experienced exclusively in physical proximity, but also digitally or virtually. With global case studies alongside theoretical discussions by both students as well as senior researchers, the volume launches a conversation between social sciences and humanities on how this change affects human experience.