Przyjęcie perspektywy uwzględniającej konieczność uznania kryteriów, jakimi są sprawiedliwość przestrzenna (spatial justice), jest postrzegana jako warunek konieczny rzeczywistej inkluzji. Postawiono hipotezę, że uzupełnienie porządku politycznego, ekonomicznego i społecznego o te wartości jest niezbędne, aby możliwe było realizowanie konstytucyjnego zapisu mówiącego o tym, że: „Rzeczpospolita Polska jest demokratycznym państwem prawnym, urzeczywistniającym zasady sprawiedliwości społecznej” (Konstytucja RP, art. 2). Posłużenie się perspektywą sprawiedliwości przestrzennej, a więc ulokowanie w ramach dyskursu dotyczącego podziału dóbr (sprawiedliwość społeczna), przenosi punkt ciężkości kolejno na konieczność stwarzania możliwości równego dostępu do przestrzeni. Analizując aktywność społeczną Irish Wheelchair Association, ukazano wieloletnie procesy (niezakończone), których celem jest przybliżenie się do postulowanego stanu realizacji idei sprawiedliwości przestrzennej w warunkach konfliktu.

Street art, with a particular emphasis on murals, plays a crucial role in shaping the cultural DNA of contemporary cities. A prime example of this is the mural “Four Seasons with Kora” in Warsaw, which is dedicated to the renowned Polish artist Kora (Olga Jackowska). This large-scale mural, which combines the artist’s portrait with a chestnut tree motif, visually changes with the season, influencing the artist’s social perception. This study analyzed murals’ functions in social, cultural, and ecological contexts, highlighting their role in informal education and as a platform for social dialogue and integration. Using research methods such as visual analysis and examining comments and reactions on social media, this work aimed to understand how a mural integrates with its surroundings and is perceived throughout different seasons. The results indicated that the mural has become an important element of public space, not only for beautifying the city but also for stimulating social and cultural reflection.

The authors aim to answer the research question: ‘What do you miss most about online education?’. The rationale for the research is that this form of education is likely to continue to be used. Referring to the quality strategy, the authors concentrate on the meaning of words used in responses to the above-mentioned open question, which was part of the research on the ‘Socio-technological aspects of academic education during the pandemic – from an international perspective’. The tool used was an electronic questionnaire, which was completed by 796 respondents from Poland, including 678 students and 118 academic teachers, as well as 41 students from Kenya. The questionnaire consisted of 31 closed and 6 open questions. The responses of Polish students and academic teachers, as well as Kenyan students, indicate the following categories: ‘contact’, ‘organisation’ and ‘technical dimension’. It forms an image of a specifically understood craft, work performed in separation, and the place of residence. The component in the form of modern technologies only modernises the educational process but does not make it satisfactory for either party of the aforementioned social relationship. The conclusion that can be drawn from the research is as follows: in the face of the COVID-19 pandemic, the primary task is to reorganise the contact between students and academic teachers in such a way that it is possible to achieve the assumed learning outcomes.

The author’s motivation for undertaking this research was his own anxieties; anxieties arising from the global ecological and environmental emergency. The aim of my research was to determine young people’s awareness of the climate emergency and their agency (possible actions) related to remedying this phenomenon. In conducting the research, a mixed quantitative and qualitative strategy was used with an online survey, thus examining the opinions of the respondents. The text analyses the answers to questions eliciting opinions on the climate and environmental emergency (a term used in one of the European Parliament’s relevant resolutions), with particular regard to the possibility of stopping the aforementioned crisis. Respondents were primary and secondary pupils, and university students. Among the conclusions, the following should be singled out: 90.3% of respondents agree that we are dealing with an ecological and environmental emergency, but only 12.5% believe that we will stop the crisis, while 29.8% do not, and 57.7% do not know. Most importantly, the analysis of young people’s statements reveals the pessimistic nature of their opinions, revealing the fading hope of remedying the emergency. In combination with the literature review, this sends an alarming message about the need to act not only to deal with the crisis but also in the field of information addressed to all social groups. In summary, there is evident fear that predictions of disaster may turn out to be self-fulfilling prophecies (as defined by Robert K. Merton). The demonstrated ability of young people to influence politicians offers us a hope that we might prevent such a disaster. For such action to succeed, it needs to take place both inside and outside of schools and universities.

The article analyzes the meanings embedded in street art in Florence that portrays women, likely created by female artists. Between 18 May and 27 May 2024, during the Communities and Artistic Participation in Hybrid Environment (CAPHE) project, we observed a significant number of feminist street art pieces in Florence’s historic center. Using qualitative content analysis based on Gillian Rose’s methodology (2016), we interpreted the collected visual materials through semiotic and socio-cultural lenses. The findings revealed the deliberately interventionist nature of the analyzed works, addressing themes such as gender inequality, human rights, violence against women, and cultural stereotypes. This street art serves as a social manifesto and a means of activating both the local community and tourists, aligning with global feminist discourse while addressing Florence’s local issues. We conclude that Florence’s street art provides a space for visual resistance, education, and the promotion of gender equality and women’s emancipation in the context of contemporary social challenges.