These books are available within CES (in Alison´s office) to use
(email aneilson@ces.uc.pt to arrange time)
Bagley, C., & Cancienne, M. (2002). Dancing the data. New York: Peter Lang Publishing Inc.
Barndt, D. (2001). Viva! Community arts and popular education in the Americas. New York: State University of New York Press, Albany.
Barndt, D. (2006). Wild fire: Art as activism . Toronto: Sumach Press.
Barone, T., & Eisner, E. (2012). Arts based research. Los Angeles: SAGE Publications.
Cole, A., Neilson, L., Knowles, J., & Luciani, T. (2004). Provoked by art. Halifax: Backalong Books.
Critical Art Ensemble (2012). Disturbances. London: Four Corners Books
Cruikshank, J. (1990). Life lived like a story. Vancouver: UBC Press.
Cruikshank, J. (2005). Do glaciers listen? Local knowledge, colonial encounters, & social imagination. Vancouver, B.C.: UBC Press.
Denzin, N. D. (2014). Interpretive autoethnography. Thousand Oaks, California: Sage.
Enrich, E. (2014). From nothing to something- Do nada para algo. Ponta Delgada: Nova Gráfica.
Fundação Gulbenkian, revista nº 166
Fundação Gulbenkian, revista nº 167
Fundação Gulbenkian, revista nº169
Fundação Gulbenkian, revista nº179
Gayotto, B. (2009). O mar não é azul. Los Angeles.
Hambling, M. (2010). The Aldeburgh scallop. Woodbridge: Full Circle Editions.
Harris, A. M. (2016). Video as method. Understanding qualitative research. New York: Oxford University Press.
Highway, T. (2002). Comparing mythologies. Ottawa: University of Ottawa Press.
Hocking, B., Haskell, J., & Linds, W. (2001). Unfolding bodymind. Rutland: Foundation for Educational Renewal.
Inocêncio, A. (28 de Janeiro de 2011). À prova de fogo e de bala.
Inocêncio, A. (2012). Eu, a fotografia e a performance. Colecção Reflex. ISBN 978-989-97700-2-7.
Inocêncio, A. (02 de Outubro de 2015 ). Chão de artista. Abrantes.
International Journal of Education Through Art. volumes: 7(1)(2)(3) 9(3) 10(1) 12(2)
Ivars, J., & Matos, G. (2007). Revista de arte versiones teorías y cultura visual contemporáneas.
Ivars, J., & Matos, G. (2009). Revista de arte versiones teorías y cultura visual contemporàneas.
Ivars, J., & Matos, G. (2010). Revista de arte versiones teorías y cultura visual contemporáneas.
King, T. (2005). A short history of Indians in Canada. Toronto: Harper-Collins.
A collection of short stories by Thomas King. Although the majority of the stories deal with issues surrounding First Nations people, the topics and styles are quite diverse. The book won the McNally Robinson Aboriginal Book of the Year Award in 2006.
King, T. (2005). The truth about stories. Minneapolis: University of Minnesota Press.
Kish, M. (2011). Moby-Dick in pictures. Portland: Tin House Books.
Inspired by one of the world’s greatest novels, Ohio artist Matt Kish set out on an epic voyage of his own one day in August 2009. More than one hundred and fifty years following the original publication of Moby-Dick, Kish began illustrating Herman Melville’s classic, creating an image a day over the next eighteen months based on text selected from every page of the 552-page Signet Classics paperback edition. Completely self-taught, Kish refused to set any boundaries for the artwork and employed a deliberately low-tech approach in response to the increasing popularity of born-digital art and literature. He used found pages torn from old, discarded books, as well as a variety of mediums, including ballpoint pen, marker, paint, crayon, ink, and watercolor. By layering images on top of existing words and images, Kish has crafted a visual masterpiece that echoes the layers of meaning in Melville’s narrative.
Knowles, G., & Cole, A. (2008). Handbook of the arts in qualitative research: Perspectives, methodologies, examples, and issues. London: Sage Publications.
Leavy, P. (2015). Method meets art. Arts-based research practice. New York & London: The Guilford Press.
Leavy, P. (2013). Fiction as research practice. Short stories, novellas, and novels. Walnut Creek, California: Left Coast Press.
Liberdade. Coimbra: Colégio das Artes da Universidade de Coimbra.
Lipsett, L. (2009). Beauty muse: Painting in communion with Nature. Salt Spring Island, BC: Creative by Nature Books.
Margolis, E., & Pauwels, L. (2011). The SAGE handbook of visual research methods. London: Sage Publications Inc.
Maria Zilbeti Perez. (1993). Perfomance di ziona. Zehar.
Maria Zilbeti Perez. (s.d.). Zehar.
Maria Zilbeti Perez. (2005). Zehar.
Maria Zilbeti Perez. (2007). Zehar.
Maria Zilbeti Perez. (2010). Zehar.
marino, dian (1997). Wild garden. Toronto: Between the Lines.
Wild 
Garden is a tribute to an extraordinary life. Artist, educator, environmentalist, and political activist, dian marino had a profound effect on the lives of her students, colleagues, and friends. Wild Garden combines writings, art and graphic images, hands-on exercises, and teaching tools to convey a dynamic approach to popular education. With over 50 pieces of art, this beautifully produced book will delight, confront, and occasionally perplex (it is a wild garden after all) readers who question received ideas about living, learning, and growing together.
Martins, C. S., Terrasêca, M., & Martins, V. (2012). À procura de renovações de estratégias e de narrativas sobre educação artística. Porto: GESTO Cooperativa Cultural.
McNiff, S. (2013). Art as research. Opportunities and challenges. Bristol, UK: Intellect.
Neilsen, L., Cole, A. L., & Knowles, J. G. (2001). The art of writing inquiry. Halifax: Backalong Books and The Centre for Arts-informed Research.
A rich collection of arts-informed writing as inquiry and inquiry into writing: essays on teaching and learning, excerpts and examples of writing inquiry, exhortations, strategies for writing and inquiring, powerful poetry and plays to perform–all at the leading edge of contemporary scholartistry.
Neilson, A. L. (2008). Disrupting privilege, identity and meaning: A reflexive dance of environmental education. Rotterdam: Sense Publishers.
Ngugi. (1987). Matigari. Gikuyu: Heinemann Kenya.
Noronha, S. D. (2015). Objetos feitos de cancro. Mulheres, cultura material e doença nas estórias da arte. Coimbra: Almedina.
On theatre. (Abril de 2005). Perfomance Research.
O´Riley, P. A. (2003). Technology, culture, and socioeconomics. A rhizoanalysis of educational discourses. New York: Peter Lang.
Pereira, E., Rocha, M. A., Pacheco, M. A., & Ferros, M. C. (2006). Escrevivências da palavra à imagem. Braga: Escola Secundária Carlos Amarante.
Polyp (2009). Speechless, sans paroles, sin palabras. World history without words. Oxford: New Internationalist.
Polyp (2002). Big bad world. Cartoon molotovs in the face of corporate rule. Oxford: New Internationalist.
See Red Women´s Workshop (2016). Feminist Posters 1974-1990. London: Four Corners Books.
Sousanis, N. (2015). Unflattening. Cambridge, London: Harvard University Press.
The primacy of words over images has deep roots in Western culture. But what if the two are inextricably linked, equal partners in meaning-making? Written and drawn entirely as comics, Unflattening is an experiment in visual thinking. Nick Sousanis defies conventional forms of scholarly discourse to offer readers both a stunning work of graphic art and a serious inquiry into the ways humans construct knowledge.
Unflattening is an insurrection against the fixed viewpoint. Weaving together diverse ways of seeing drawn from science, philosophy, art, literature, and mythology, it uses the collage-like capacity of comics to show that perception is always an active process of incorporating and reevaluating different vantage points. While its vibrant, constantly morphing images occasionally serve as illustrations of text, they more often connect in nonlinear fashion to other visual references throughout the book. They become allusions, allegories, and motifs, pitting realism against abstraction and making us aware that more meets the eye than is presented on the page.
In its graphic innovations and restless shape-shifting, Unflattening is meant to counteract the type of narrow, rigid thinking that Sousanis calls “flatness.” Just as the two-dimensional inhabitants of Edwin A. Abbott’s novella Flatland could not fathom the concept of “upwards,” Sousanis says, we are often unable to see past the boundaries of our current frame of mind. Fusing words and images to produce new forms of knowledge, Unflattening teaches us how to access modes of understanding beyond what we normally apprehend.
Wilding, J. (2006). Don´t shoot the clowns. Taking a circus to the children of Iraq. Oxford: New Internationalist.
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