This article aims to elaborate on the relationships between Georges Castriota Scanderbeg and noble families from Drivasto. Drivasto was an Albanian medieval city located in the Northern Albania, about 12 km away from Shkodra. Its origin dates to antiquity but it has achieved its cultural, economic, and political peak during the Middle Age. Drivasto had its schools, church, and social life. The city elite consisted of noble families, such as Engjelli, Spani, Suma, Moneta, and Dushmani. The city elite played an (...) important role in the resistance against the establishment of Ottoman rule in Albanian lands, so many figures deriving from that elite closely cooperated with Georges Castriota Scanderbeg. They used their diplomatic and military background to transmit Scanderbeg’s claims abroad or to fight against the Ottomans. Therefore, this article aims also to elaborate on the social aspects of the society of Drivasto and its role in political circumstances, aiming thus to present to the audience some historical and social features and international relations during the Middle Age. The first part of this scientific research provides a brief presentation about the city of Drivasto during the Middle Age, continues with noble families and their role and cooperation with Scanderbeg; lastly summarises circumstances that derived from the return of Scanderbeg until the year 1478 when Drivasto fell under the Ottoman rule. The work “The nobility of Drivasto and Scanderbeg” derived of intensive scientific research. The comparative and synthetic methodologies have been used to draft this article. (shrink)

An inquiry into the current ways of knowing, their ramifications, and institutional and noninstitutional artistic practices that provide channels for education from below. Artistic Ecologies: New Compasses and Tools aims to both analyze and speculate about potentials of artistic ecologies, collective learning, and engaged pedagogies to engender new institutionalities. Going beyond tensions between individuals and institutions, Artistic Ecologies examines avenues for collective learning. If learning for life is emancipation—understood not just as a matter of power but of freedom—the essential question (...) that emerges is: What knowledge makes us free and how can institutions help produce it? In search of an answer, this publication’s textual and visual contributions explore sites and practices through which new institutionalities can emerge. Artistic Ecologies comprises essays analyzing current ways of knowing and their ramifications (Marina Garcés, Yayo Herrero and Pirate Care) and portraying alternative ways of forming knowledge through institutional and non-institutional artistic practices (DAAR—Decolonizing Architecture Art Research, Yael Davids, Max Jorge Hinderer Cruz, The Sensing Salon). Artistic contributions in various formats—poems, drawings, visual essays—by Luna Acosta, CAConrads, Eva Ďurovec, Teuta Gatolin, Margherita Isola, and Jammers illustrate heterodox channels for questioning the dominant forms of knowledge and educating from below. (shrink)