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Relevant bibliographies by topics / Artists in community

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Academic literature on the topic 'Artists in community'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 February 2022

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Journal articles on the topic "Artists in community"

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Sajeva, Monica, and Gustavo Grandal Montero. "London Centre for Book Arts (LCBA): serving the community." Art Libraries Journal 41, no. 3 (2016): 160–70. http://dx.doi.org/10.1017/alj.2016.27.

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The London Centre for Book Arts (LCBA) www.londonbookarts.org is an artist-run studio providing education programmes for a wide community of users and access to resources for artists and designers. Its mission is to foster and promote book arts and artist-led publishing in the UK through collaboration, education, and by providing open-access to printing and bindery facilities.Established at Britannia Works, Fish Island (London E3) in October 2012, LCBA was founded and is run by artists Simon Goode and Ira Yonemura. We met them in 2015 and early 2016 to talk about their experiences over the last three years, current projects and future plans. They are an example of purposeful, pragmatic idealism.

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Tafur, Paola Andrea. "Creación artística: el artista y la comunidad." Revista Lumen Gentium 3, no. 2 (2020): 34–44. http://dx.doi.org/10.52525/lg.v3n2a3.

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La intención de este texto es reconocer diversos escenarios, épocas y obras artísticas específicas que permiten una aproximación a distintas maneras en que algunos artistas plásticos y visuales se desligaron de los procesos creativos individuales convencionales y eligieron actos artísticos colectivos. Se orienta a señalar el sentido de ruptura y desobediencia que asumen los artistas en sistemas culturales tradicionales, lo cual, lleva a identificar estrategias empleadas para generar experiencias estéticas, desarrollar conocimiento y legitimar obras mediante procesos creativos participativos, que permitan, seguir algunas premisas históricas globales y locales con el fin de analizar actos creativos que surgen entre el artista y la comunidad necesarios para el desarrollo del proyecto de investigación titulado Prácticas y saberes comunitarios para la creación artística.  Abstract The intention of this text is to recognize various scenarios, epochs, geographies and specific artistic works, which allow an approach to various ways in which some visual and plastic artists separated them selves from conventional individual creative processes and chose collective artistic acts. It aims at pointing out the sense of rupture and disobedience assumed by artists in traditional cultural systems, and, which entails identifying strategies used to generate aes thetic experiences, develop knowledge and legitimize works through creative participatory processes, which allows following some historical premises to try to answer: how can we analyze the creative acts that arise collectively between artist and community?, a concern that arises in the framework of the research project entitled: Community practices and knowledge for artistic creation.

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Bronner, Shaw. "Here’s To Our Community." Medical Problems of Performing Artists 35, no. 4 (2020): 233–34. http://dx.doi.org/10.21091/mppa.2020.4034.

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Memorialized in former Secretary of State Hillary Clinton’s children’s book entitled It Takes a Village, “it takes a village to raise a child” is an African proverb that means an entire community of people must interact with children for those children to experience and grow in a safe and healthy environment. The need of the artist to create is undeniable and their villages continue to support them. During these dark days of the COVID-10 pandemic, performing and fine artists have been denied their traditional communication with their public as theaters and museums closed down throughout the world. For those of us who live in New York City where the worst of Covid-19 hit last spring, it was no Broadway shows, no spring, summer or fall dance seasons, no summer festivals, no dance classes. Yet almost immediately, artists’ resourcefulness shone as they continued to create, teach, and perform their art in new ways.

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Rogowsky, Edward T. "The arts, artists and community development." National Civic Review 79, no. 3 (1990): 277–81. http://dx.doi.org/10.1002/ncr.4100790308.

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Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.

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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization and festival working in traditional and nontraditional venues throughout Los Angeles, in an effort to disseminate community-empowering public art widely.

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Duffy, Katie. "Art + Tech Workshops." Media-N 14, no. 1 (2018): 52–55. http://dx.doi.org/10.21900/j.median.v14i1.69.

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Many teaching artists interested in code and technology struggle their way through years of self teaching. In the interest of creating a community of artist/learners, I designed coding workshops for the 2018 Media Lounge programming, called Art & Tech workshops. The Art & Tech workshops created a community of like-minded teaching artists committed to supporting progress and fostering a more inclusive future for New Media.

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Johanson, Katya, and Hilary Glow. "Reinstating the artist’s voice: Artists’ perspectives on participatory projects." Journal of Sociology 55, no. 3 (2018): 411–25. http://dx.doi.org/10.1177/1440783318798922.

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Claire Bishop argued that the ethical lens applied to socially engaged arts practice encourages ‘authorial renunciation’ in favour of collaboration and limits the opportunity to expose such practice to critical reception. This article responds to Bishop’s implicit call to envision an artist-centred framework for participatory arts by identifying the motivations and beneficial discoveries that artists make when they seek out the creative involvement of others. Based on interviews with Australian performing artists who have established socially engaged practices, the article aims to bring about a form of ‘authorial reinstatement’ into the value system around participatory arts practice. It identifies a range of motivations for artists who establish socially engaged or participatory practice, from self-developmental to altruistic; and from arts-focused to community- and society-focused. The article argues that using these motivations to inform indicators of achievement for participatory practice provides new opportunities for critical interrogation of those practices.

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Mann, Jeff. "The Matrix Artists' Network: An Electronic Community." Leonardo 24, no. 2 (1991): 230. http://dx.doi.org/10.2307/1575308.

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Richmond-Cullen, catherine. "THE EFFECT OF AN ARTIST-IN-RESIDENCE PROGRAM ON SELF-REPORTED LONELINESS IN OLDER ADULTS." Innovation in Aging 3, Supplement_1 (2019): S53. http://dx.doi.org/10.1093/geroni/igz038.208.

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Abstract The study, funded by the Pennsylvania Council on the Arts and the Pennsylvania Department of Aging, measured the effect that an artist in residence program (conducted by state-vetted professional teaching artists) had on self-reported loneliness in older adult. All participants were aged sixty years or older and participated in programming in state-funded adult community centers located in fourteen sites throughout the Commonwealth of Pennsylvania. Artists offered 10 sessions in creating and critiquing art to older citizens in the artists’ respective art forms including performing arts, visual arts and multidisciplinary/interdisciplinary arts. Through pre and post-tests, changes in loneliness were measured using the Revised UCLA Loneliness Scale. The data revealed that there was a significant correlation between a self-reported decrease in feelings of loneliness and participation in a program conducted by professional artists. . It was proposed that findings from the study could influence the quality of programs provided by state-funded adult community centers in Pennsylvania and increase funding levels to adult community centers throughout the Commonwealth of Pennsylvania.

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Garon, Jon M. "Commercializing the Digital Canvas." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (2014): 837–72. http://dx.doi.org/10.37419/lr.v1.i4.2.

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Over the past two decades, a series of trends in constitutional and intellectual property have significantly reshaped the impact of traditional intellectual property laws for the art community. Attribution of a work to the artist and protection of the integrity of a work from alternation are historical bedrocks of artistic protections, but those protections have been diminished for digital artists. The Visual Artists Rights Act excludes digital works from the definition of works of visual art, thus excluding these works from rights of attribution and integrity. At the time, rights of attribution and integrity were seen as quasi-trademark rights, and artists were protected under the Lanham Act. Since then, however, the Supreme Court has extended copyright’s preemption over trademark, undermining an artist’s ability to have non-contractual protections for the artist’s identity and integrity in a work. In addition, a second trend within the digital environment has created additional tensions for artists whose works include celebrities, athletes, or other members of the public. The Supreme Court has made the clear determination that video games are entitled to complete First Amendment protection, placing those works in the same category as film, publishing, and works of art. Despite this free speech protection to the medium, a series of inconsistent decisions among state and federal courts have made unclear when the use of a person’s likeness in a video game—or video art instillation—would constitute a violation of the person’s rights of publicity.

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Dissertations / Theses on the topic "Artists in community"

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Brakefield, Kathleen Heather. "Promoting community an artists' residence /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1114105112.

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BRAKEFIELD, KATHLEEN HEATHER. "PROMOTING COMMUNITY: AN ARTISTS' RESIDENCE." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1114105112.

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Hartzell, Robert S. Stealey Josephine M. "Polite conversations provoking dialogue through community interaction /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5654.

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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 2, 2008) Vita. Includes bibliographical references.

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Sharon, Tamar. "Reconciliation and community development through community art: an investigation into the methodologies employed by community artists." Doctoral thesis, Universitat Rovira i Virgili, 2013. http://hdl.handle.net/10803/111096.

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la hipótesis inicial de la investigación fue que el éxito de un proyecto de arte comunitario y su capacidad para reconciliar est´fundado únicamente en la metodología artiística y su aplicación adecuada. no obstante, ésta investigación, realizada durante los últimos diez años, investigando las teorias presentadas por autores e investigdores líderes en el campo, combinado una profunda investigación de diez casos, me llevaron a descubrir que existen otros parámetros de éxito de proyectos de Arte comunitario los cuales llamo:" parámetros socio-organizacionales". Es de la combinación exitosa de dos conjuntos de parámetros en un proyecto de arte comunitario de lo que dependen los buenos resultados.

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Duckham, Kenton Leland. "An artists' community in the Back Bay : continuity and change." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/65665.

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Thesis (M. Arch)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.<br>Bibliography: p. 98-99.<br>This thesis is a study of the relationship between continuity and change. It's premise is the idea that architecture can be receptive to the need for growth and change while still being rooted to the continuity of its relative setting or community. Accordingly, this is an exploration of how a building can represent the continuity or associative identity of a community. The process will be to look for positive, place-making elements, or patterns, within the context and community. By working with an appropriate range of uses, sizes and forms from within the community, I hope to be able to generate a sense of meaningful space and form, or 'place.' I will be looking for ways to enrich a place within it's community - to give it meaning for those who use and experience it. The basic question is how can we conform to an existing context, yet still accommodate the need for change, and to advance our understanding of our place in the world. The design for an artists' community will be set at the edge of Boston's Back Bay, an architecturally rich and clearly defined community. The design of a small community within a larger community will enable me to focus on the activities, spatial qualities and social patterns that are essential for inducing a sense of place. Ideally, the artists' community should become a microcosm of the larger community - a place where a diverse range of people and activities can combine to create a rich environment with continually changing social relationships and the potential to reinforce the total form of the community, while still allowing different yet similar uses. Design is an exploration of the possible, an awakening to the wisdom of the world to which we all aspire. It is the literal reflection of the ways by which we relate to our universe. In other words, it should reveal our greatest potential, reflect our highest hopes and dreams and increase our understanding of where and how we are in a particular place and time.<br>by Kenton Leland Duckham.<br>M.Arch

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Peditto, Gena M. "Artists on display : open studios and the search for community empowerment." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/38654.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2007.<br>Includes bibliographical references (p. 93-95).<br>The much publicized and mythologized transformation of cities such as Barcelona and urban neighborhoods like SoHo in New York City, have led to broader ideas about the "Creative City," the "Creative Economy," and the "Creative Class." In an attempt to reap the promised riches of wealth, job creation, and prestige, some cities have developed strategies to promote their "livable" neighborhoods and attract "creative" workers and cultural tourism, but these ideas support a specific conception of what art and creativity is and what the role of artists should be in revitalization. The overall message that is conveyed is that consumption-oriented arts and entertainment ventures are more highly valued than noncommercial arts incubators and venues. Much like an ecological system, the success of commercial arts ventures is dependent on the success of the noncommercial arts venues. By focusing solely on commercial exchange, a city may fail to sustain all the parts necessary for a healthy arts community. Likewise, the arts community's embrace of commercial opportunities, in combination with the lack of a unified voice that calls for nurturing the arts community's unique and rich diversity, sends a signal back to the city that the disruption of their "arts ecology" is acceptable. venues, nurture creativity and innovative ideas, and promote diverse conceptions of art?<br>(cont.) This thesis investigates a portion of that ecology: Open Studio events. It considers nine neighborhood-wide Open Studio events in Boston, Massachusetts, from the perspectives of the organizers (the neighborhoods and the city) and the participants (individual artists), and asks why these events are being created. What purpose do they serve? Beginning with a review of the larger trends that influence Boston's arts communities and its Open Studios, it traces the evolution of underlying motivations in organizing Open Studios - from politics to artist community building to neighborhood economic development and revitalization. It then analyzes the participating artists' complex range of motivations, going well beyond the casual assumption that artists participate to sell their work. This analysis leads to the conclusion that the nature of Open Studios has shifted away from its focus on art and artists. This shift can be nicely explained with Pierre Bourdieu's "Forms of Capital" theory. Born out of a criticism of classical economics, this theory explains the structure and function of society through the relationships between economic, social, and cultural capitals.<br>(cont.) Finally, the question of what to do with Open Studios is raised. Should they be repositioned away from their current commercial form? Or should Open Studios remain unchanged, thereby requiring the city, developers, and arts community to reconsider how they value noncommercial venues, nurture creativity and innovative ideas, and promote diverse conceptions of art?<br>by Gena M. Peditto.<br>M.C.P.

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Galletta, Luciano N. "A community of individuality-- or the individuality of a community: an artists' housing for Mission Hill." Thesis, Virginia Polytechnic Institute and State University, 1989. http://hdl.handle.net/10919/53214.

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A community of individuality allows each person an opportunity to grow and to see himself in his environment, both physically and spiritually. The individuality of a community is realized in a collective identity, shared qualities and physical boundaries which.<br>Master of Architecture

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Bodman, Sarah. "Towards a community of artists' books : extending international knowledge and debate in the field of artists' books through practice-research." Thesis, University of the West of England, Bristol, 2018. http://eprints.uwe.ac.uk/34118/.

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The field of activity in artists’ books – artworks in the form of a book - has evolved over the last sixty years into a significant, international contemporary arts practice. Many artists, especially those new to the field, search for the means of situating their practice and extending their knowledge. Artists seek answers on how and where they can connect with other practitioners, increase their knowledge of, and place themselves within the international field. They need to know how and where they can learn to create, market, exhibit, contextualise and sell their work to the public. These needs have informed the development of the research question: How can practice-informed, participatory research develop and extend knowledge and debate in the international field of artists’ books? This question is predicated on the needs of a wide range of artists’ books practitioners, and many others with whom their practice is interwoven: librarians, researchers, students, curators, educators and the public. The following DPhil commentary offers a post-rationalisation of some of the issues and solutions for connecting artists’ books internationally, based upon my research and the network hub I have established at UWE, Bristol. In the text, I reflect upon my contribution to new knowledge through offering examples of artistic and curatorial practice, research and publications that have raised awareness in relation to specific interventions in Australia, Brazil, Europe, Iraq, South Africa and the USA. This DPhil submission discusses the research aims outlined within the narrative, under the heading Connecting Artists’ Books - The Findings, in relation to the evidence submitted in the accompanying portfolio of publications. The portfolio includes samples of authored books, edited publications, published articles and artists’ books created. These have been collated under the related headings of: practice, reporting on the field, curatorial, artefacts. I will use the following commentary to explore and analyse the contemporary position of the artist’s book, in order to reflect upon how its creators and audiences have been rhizomatically interwoven into my research investigations and how the participants have benefitted. The analysis outlines contributions made to new knowledge through some of the interventions I have made as a practitioner, publisher, curator and writer. It identifies examples of themes of practice discovered, revealed and connected through these interventions and their impact upon the field of artists’ books today.

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Stevelt, Kelly A. "Professionalization of Studio Glass Artists." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253978421.

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Lenz, Elsa. "COMMUNITY CONNECTIONS: OPENING RELATIONAL AND DIALOGICAL SPACE IN ARTS ORGANIZATIONS THROUGH COMMUNITY OUTREACH." Thesis, Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1139%5F1%5Fm.pdf&type=application/pdf.

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Books on the topic "Artists in community"

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Board, North West Arts. Register of artists in the community. North West Arts Board, 1993.

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Hillman, Grady. Artists in the community: Training artists to work in alternative settings. Americans for the Arts, 1996.

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Tarrant, Dorothy. A community of artists: Westport-Weston, 1900-1985. Westport-Weston Arts Council, 1985.

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Ochoa, MarŁa. Creative collectives: Chicana artists working in community. University of New Mexico Press, 2004.

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Pacific, Robin C. Duotopias: Artists + politicians. Visual Arts Centre of Clarington, 2004.

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Folk arts of West Bengal and the artist community. Niyogi Books, 2011.

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Porterfield, Jason. Working as a tattoo artist in your community. Rosen Publishing Group, 2016.

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Renshaw, Peter. Engaged passions: Searches for quality in community contexts. Eburon, 2010.

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Vega, James De la. De la Vega: Become your dream. Collins Design, 2008.

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Ātisuto in rejidensu: 1996-2007 = Artists in residence. Jōhō Kagaku Geijutsu Daigakuin Daigaku Media Bunka Sentā, 2008.

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Book chapters on the topic "Artists in community"

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Amans, Diane. "Diane’s Top Tips for Community Dance Artists." In An Introduction to Community Dance Practice. Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-05623-8_20.

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Salter, Tina. "When Young People, Resident Artists and Curators Work Collaboratively on a Community Arts Project." In Community Development for Social Change. Routledge, 2020. http://dx.doi.org/10.4324/9781315528618-37.

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Lee, Elsa, Nicola Walshe, Ruth Sapsed, and Joanna Holland. "Artists as Emplaced Pedagogues: How Does Thinking About Children’s Nature Relations Influence Pedagogy?" In Handbook of Comparative Studies on Community Colleges and Global Counterparts. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-51949-4_78-1.

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Eckstein, Nicholas A. "Pittori, amici e vicini: The Formal and Informal Bonds of Community amongst Florentine Artists." In Sociability and its Discontents. Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.eer-eb.3.1698.

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Alfano, Iole, Manuela Carini, and Lorella Gabriele. "Building SCIENAR, a Virtual Community of Artists and Scientists: Usability Testing for the System Improvement." In Virtual Communities, Social Networks and Collaboration. Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-3634-8_8.

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Chumley, Lily. "Aesthetic Community." In Creativity Class. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691164977.003.0006.

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This chapter first contrasts two professional sites in which practice communities and aesthetic communities emerge: a giant art fair called Art Beijing, and a private meeting between a small group of young artists and a curator. It next examines the studios and cafés (kafeiguan or jiuba) in which artists and designers socialize, before showing how communities expand spatiotemporally through objects and media. Throughout, the chapter considers fantasies of sociality provoked by anxieties about anomie: memories of the community around Yuanmingyuan that was torn down during the reconstruction of the city; attempts to build a community of artists and designers turned kung fu (gong fu) practitioners; and a fantasy of a public art library, imagined by a young photographer, which never came to be.

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"3. The Caribbean Artists Movement: A Poetic of Cultural Activism." In Poetic Community. University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442662155-006.

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Bolaki, Stella. "Artists’ Books in the Medical Community." In Illness as Many Narratives. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474402422.003.0003.

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Cornfield, Daniel B. "Creating Community in an Individualistic Age." In Beyond the Beat. Princeton University Press, 2015. http://dx.doi.org/10.23943/princeton/9780691160733.003.0001.

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This chapter describes how artist activists from Nashville are creating a “mechanically solidary” community of entrepreneurial artists alongside and partly from the ranks of an older, organically solidary corporate-era artist community. Nashville entrepreneurial musicians constitute themselves as a community by producing and performing for one another, showing up to each others' showcases, and extending mutual aid during trying moments in their lives. Here, the Nashville musician community has a tendency to “cross-promote,” and the chapter reveals how the community is largely very supportive of each other's art. In addition, the chapter also discusses the background of the present study and the approaches the author has taken in studying Nashville's artist community.

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Heller, Michael C. "Community." In Loft Jazz. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520285408.003.0005.

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This chapter examines discourses of community as well as contradictory discourses of isolation that arose within the lofts. While references to community involvement were quite common, the symbolic boundaries that defined and demarcated loft communities were often described in highly divergent ways. The chapter begins with a survey of several scholarly models for conceptualizing collectivity before proceeding to outline four boundary discourses that were referenced most frequently by loft artists—discourses of pay, play, place, and race. Although conceiving of the lofts as a community provides certain beliefs, it concludes by attempting to reframe the period in terms of network- and scene-based theoretical approaches, arguing that each model offers potential insights.

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Conference papers on the topic "Artists in community"

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Taylor, Jennifer M., Lindsey M. Kenyon, and Clémentine Hamelin. "OUTREACH THROUGH SCIENCE AND ART: GRADUATE STUDENT-LED INTERDISCIPLINARY COLLABORATIONS WITH COMMUNITY ARTISTS." In 54th Annual GSA North-Central Section Meeting - 2020. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020nc-348309.

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O'Leary, Ceara, and Tadd Heidgerken. "Avis + Elsmere: A Collaborative Community Design Precedent." In AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.4.

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"Vibrant neighborhood spaces pave the way for more resilient and inclusive communities. This paper showcases a neighborhood space resulting from a collaborative, community-led design process that honors local knowledge and responds to contextual challenges. Avis + Elsmere, a project in Detroit, offers a model for collaborative practice as the product of a robust relationship between the client-collaborator – grassroots organization Inside Southwest Detroit – a diverse stakeholder group of neighbors and artists, the Detroit Collaborative Design Center (DCDC) at the University of Detroit Mercy (UDM), and the architecture office Et al. Collaborative"

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Rubin, Victor, Celina Tchida, Maria Rosario Jackson, and Theresa Hwang. "The Pedagogy of Creative Placemaking: A Field Begins to Come of Age." In 2019 ACSA Fall Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.fall.19.6.

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Creative placemaking has been evolving from a narrow definiti on of applying art and design ideas to community projects into a more expansive, equity-focused field of practice. As the funder consortium Art Place America describes it, “Creati ve placemaking happens when artists and arts organizations join their neighbors in shaping their community’s future, working together on place-based community outcomes. It’s not necessarily focused on making places more creative; it’s about creatively addressing challenges and opportunities…. creative placemaking at its best is locally defined and informed and about the people who live, work, and play in a place.”

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Hess Norris, Debra. "All you need is love." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.

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Andreopoulou, Areti, and Visda Goudarzi. "Reflections on the Representation of Women in the International Conferences on Auditory Displays (ICAD)." In The 23rd International Conference on Auditory Display. The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.031.

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This paper investigates the representation of women researchers and artists in the conferences of the International Community for Auditory Display (ICAD). In the absence of an organized membership mechanism and/or publicly available records of conference attendees, this topic was approached through the study of publication and authorship patterns of female researchers in ICAD conferences. Temporal analysis showed that, even though there has been an increase in the number of publications co-authored by female researchers, the annual percentage of female authors remained in relatively unchanged levels (mean = 17.9%) throughout the history of ICAD conferences. This level, even though low, remains within the reported percentages of female representation in other communities with related disciplines, such as the International Computer Music Association (ICMA) and the Conferences of the International Society for Music Information Retrieval (ISMIR), and significantly higher than in more audio engineering-related communities, such as the Audio Engineering Society (AES).

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Wang, Hongxia, Huijing Wang, and Xiaomin Hu. "Artistic Expression of Urban Community Landscape Color." In 2014 2nd International Conference on Education Technology and Information System (ICETIS 2014). Atlantis Press, 2014. http://dx.doi.org/10.2991/icetis-14.2014.33.

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Niswatin, Hanisah Hanafi, and Sahmin Noholo. "Institutional Model and Financial Management of Karawo Artist Based on Local Wisdom Values of Gorontalo Society." In Proceedings of the 6th International Conference on Community Development (ICCD 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/iccd-19.2019.102.

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VICINANZA, Domenico. "Creating music from tweets with EGI: an artistic demo running on research and education networks across two continents." In EGI Community Forum 2012 / EMI Second Technical Conference. Sissa Medialab, 2012. http://dx.doi.org/10.22323/1.162.0018.

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Bruževica, Rūta. "Socializēšanās prakses viduslaiku pilsētā: amatu korporāciju piemērs." In LU Studentu zinātniskā konference "Mundus et". LU Akadēmiskais apgāds, 2021. http://dx.doi.org/10.22364/lu.szk.2.rk.04.

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One of the most important aspects of medieval human life was being in a community. On the one hand, medieval city itself was such a community, whereas on the other hand, there still remained social, economic and occupational differences between its inhabitants, which in daily life dissociated people. In addition to the community in the city, the church and the family, another type of community developed in medieval cities – professional or artisan associations, fraternities or guilds. For a very long time, the studies dedicated to these organizations focused mainly on their economic, legal and organizational aspects, and hence guilds are mainly associated with their economic activities. However, the religious and social life they yielded was no less important and provided people’s daily lives with activities that complemented their spiritual and social life. The aim of the study is to review and analyse the social practices found in the source material, whereby such aspects of socialization as the formation of beneficial social contacts, maintenance of relationships, as well as mutual assistance were practiced in medieval artisan associations. Examples and their similarities in various artisan associations in Europe, including Riga, which are reported in medieval written sources, especially the statutes of these associations, will be discussed. The obtained information collected in the study confirms that associations extended beyond economic goals, as their practices promoted social contacts between members, strengthened friendships, fostered respect and responsibility for each other.

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Basyari, Iin Wariin, Endang Herawan, and Ayu Hartini. "Designing Social Sciences Worksheets Based on Ethnoscience: A natural stone artisans community." In Proceedings of the International Symposium on Social Sciences, Education, and Humanities (ISSEH 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/isseh-18.2019.75.

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