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Journal articles on the topic 'Community arts projects Art centers Artists and community'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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

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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 art

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Baumann, Sara E., Monica M. Merante, Marie-Ange Sylvain-Holmgren, and Jessica G. Burke. "Exploring Community Art and Its Role in Promoting Health, Social Cohesion, and Community Resilience in the Aftermath of the 2015 Nepal Earthquake." Health Promotion Practice 22, no. 1_suppl (2021): 111S—121S. http://dx.doi.org/10.1177/1524839921996083.

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A magnitude 7.8 earthquake struck Nepal in 2015, followed by hundreds of aftershocks that led to physical destruction, loss, and negative mental health outcomes. Yet, in the days, months, and years following the disaster, numerous forms of community art rose from the rubble, such as urban murals, spoken word poetry, public dance performances, and sacred art. This study explored the relationship between community art and health, social cohesion, and community resilience in postearthquake Nepal. We utilized photography and audio recorders to capture 19 unique artworks/projects created in the aft

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Bago, Ivana. "A Window and a Basement: Negotiating Hospitality at La Galerie Des Locataires and Podroom–The Working Community of Artists." ARTMargins 1, no. 2–3 (2012): 116–46. http://dx.doi.org/10.1162/artm_a_00021.

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The text proposes a comparative reading of two self-organized projects of the 1970s, Podroom — the Working Community of Artists, founded in 1978 by a group of artists in Zagreb, and La Galerie des Locataires, founded in 1972 in Paris by art historian Ida Biard. The analysis addresses the issue of work/labor as one of the key preoccupations of both projects, situating it within the theoretical perspectives that define the crisis of Fordist labor in the 1960s and 1970s, as well as its resolution in the transition to the post-Fordist era with its emphasis on immaterial labor, keeping in mind the

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Lee, Doreen. "A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art." Journal of Asian Studies 74, no. 2 (2015): 303–22. http://dx.doi.org/10.1017/s002191181400223x.

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Activist art and political resistance became popular aesthetics in the work of Indonesian artists after the fall of the New Order in 1998. In subsequent years, more art alternatives have emerged in cities and small towns across Indonesia, including diverse and vernacular modes of artistry such as street art and community-based international festivals. Where artists formerly focused their energies on critiquing the state, present art initiatives have become far more diffuse, counter-establishment, and localized in their approach. Local artists started the Jogja mural movement to rebrand Yogyaka

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Wood, Sharmila. "Making Space. Singapore, Artists & Art in the Public Realm." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 137–54. http://dx.doi.org/10.32891/jps.v5i4.1408.

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In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spat

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Forbes, Angus Graeme. "Articulating Media Arts Activities in Art-Science Contexts." Leonardo 48, no. 4 (2015): 330–37. http://dx.doi.org/10.1162/leon_a_01086.

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This paper discusses the conflicting expectations for media artists taking part in art-science collaborations. Despite the increasing opportunity to participate in these interdisciplinary projects, it can be unclear how media arts activities are best articulated, or even if they need to be defined at all. Additionally, this paper examines a methodological framework widely used in the visualization community for identifying different visualization tasks within research activities. Inspired by its success, this paper proposes a new methodological framework for media arts activities in art-scienc

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Goldstraw, Katy, Andrew McMillan, Helen Mort, et al. "Co-producing artistic approaches to social cohesion." Research for All 4, no. 2 (2020): 257–75. http://dx.doi.org/10.14324/rfa.04.2.09.

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This paper examines the potential of co-produced arts-based methodologies through the lens of a social cohesion project, from the perspectives of five artists. Arts methodologies can be useful in working across different disciplines and across university and community boundaries to create equitable knowledge production processes. The ways in which art is used in community settings as a mode of collaboration are explored, using the reflections from five artists who were involved in the social cohesion project together. This paper argues that co-producing artistic approaches to social cohesion i

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Mar, Phillip, and Kay Anderson. "Urban Curating." Space and Culture 15, no. 4 (2012): 330–43. http://dx.doi.org/10.1177/1206331212460623.

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This article examines the modes of emergence of “the local” in particular collaborative art projects in suburban Sydney (Australia) as outflows of singular interfaces between artists, institutions, audiences, and administrators. We begin analytically with the circulations that variously draw on and craft notions of locality and community in two projects staged in western Sydney, both involving nonlocal artists collaborating with business entities and arts institutions. In each case, specific circulations worked to produce a differently spatialized interplay of artists’ processes, aesthetic obj

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Kirakosyan, Lyusyena, and Max Stephenson. "Arts as Dialogic Practice: Deriving Lessons for Change from Community-based Art-making for International Development." Psych 1, no. 1 (2019): 375–90. http://dx.doi.org/10.3390/psych1010027.

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Communities around the world struggle with weakening social bonds and political, racial, ethnic, economic, and cultural divides. This article argues the arts can be a means of raising public consciousness regarding such concerns by catalyzing conscious, thoughtful dialogue among individuals and groups possessing diverse values and beliefs. Change can only occur when people become aware of and actively reflect on the ontological and epistemic-scale norms and values that so often underpin their divisions, and the arts can help them do precisely that. We examine the dynamics of participatory perf

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Nosyriev, Oleksandr, and Tetiana Bukina. "SOCIO-CULTURAL TRANSFORMATION OF UKRAINE IN THE CONTEXT OF EUROPEAN VALUES." Three Seas Economic Journal 2, no. 1 (2021): 110–15. http://dx.doi.org/10.30525/2661-5150/2021-1-18.

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The article considers the issues of changing accents and cultural transformation in Ukraine, Great Britain and other European countries. In recent years, Ukraine has seen an active revival in the cultural sphere. From publishing to music, from film production to theater, from fashion to curatorial exhibitions – the Ukrainian cultural environment has become bold, diverse and large-scale. Euromaidan has given impetus to a powerful wave of cultural activism: from discussion platforms to spontaneous exhibitions, from urban regeneration projects to volunteer groups seeking to protect dilapidated na

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Griniuk, Marija. "BRIDGING THE CITY: CONNECTING ART, PERFORMANCE DESIGN, ENVIRONMENT AND EDUCATION." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 528–38. http://dx.doi.org/10.17770/sie2021vol4.6412.

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This study explores knotworks and networks within art, participatory performance design, the environment and education specialists and institutions within the case-project “Nomadic Radical Academy”, realised in 2019 and 2020. The novelty of the research lies in its investigation of how international collaborations impact the performance pedagogy project at the local level. The project bridged a wide spectrum of actors in order to design an interactive space and participatory infrastructure involving a diverse variety of stakeholders. The projects were created by the author of this paper and in

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Etim-Ubah, Pauline. "The Arts as Public Service." International Journal of User-Driven Healthcare 3, no. 3 (2013): 19–30. http://dx.doi.org/10.4018/ijudh.2013070102.

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This paper will argue that the arts can contribute to wellbeing by supporting positive mental wellbeing as demonstrated in the breadth and quality of current arts and mental health practice. This practice challenges existing notions of evidence-based policy used to inform the development of public services. The exploration of relationship between arts and mental health highlights the specific interventions that demonstrate effective engagement with people experiencing mental health issues. The paper outlines the contextual background of arts and mental health and makes reference to the ongoing

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Paston, Eleonora. "The “Dilettantism” of Savva Mamontov in Russian Art." Experiment 25, no. 1 (2019): 33–52. http://dx.doi.org/10.1163/2211730x-12341328.

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Abstract This article examines questions related to dilettantism, typically defined in negative terms as engagement in an activity without proper professional training. However, this concept can also prompt a positive association, connoting freedom from inertia, ossified techniques, and professional stereotypes and clichés. The present article contends that dilettantism is especially necessary in transitional periods of art history. At such moments, innovations may arise more readily in intimate and amateur circles, rather than in professional contexts. Such a circle developed in the 1870s-90s

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Kampouropoulou, Maria. "Blending Artistic, Research and Teaching Practices in the Context of Teacher Education. An a/r/tographical Approach of an Arts-Based Educational Project." Journal of Education and Training 2, no. 2 (2015): 59. http://dx.doi.org/10.5296/jet.v2i2.7351.

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<p class="2M-body">The purpose of this article is to explore an art education project within the theoretical and methodological context of a/r/tography. An arts-based educational project carried out by the Primary Education Department of University of Aegean, is examined through an artistic and inquiry process where the roles of artists, researchers and teachers are deeply interrelated. In order to explore how artful research and the co-creative process can help teachers access and reframe understandings of teaching and learning, the teacher trainees were interviewed and expressed ideas

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Melekhova, Xenia A. "Contribution of Artists Teaching at the Russian Federation S.A. Gerasimov Institute of Cinematography into Formation and Development of the Fine Arts in Mongolia in 20th century." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 64–74. http://dx.doi.org/10.17816/vgik10164-74.

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The relevance of studying the contribution of artists and educators of Russian art for formation and development of the creative method of masters in Central Asian countries is due to the importance of this topic for solving the theoretical and practical problems of contemporary art history. Since the second half of the 20th century, the influence of Russian art school on art of the countries of the socialist community has increased. Russian universities have become base centers of higher art education. As a result, the main number of masters of art in Mongolia are graduates to Soviet and Russ

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Frohnapfel, David. "Notes on How to Irritate a Group of Committed Artists: Politics of Emotions at the Ghetto Biennale in Port-au-Prince." Space and Culture 23, no. 1 (2019): 61–76. http://dx.doi.org/10.1177/1206331219871435.

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The Ghetto Biennale was founded in 2009 by British photographer, filmmaker, and curator Leah Gordon in collaboration with members of the Haitian artist group Atis Rezistans. The biennale is rooted in considerations around contemporary art as a place of klas privilege and social exclusion. The organizers took on the complicated task of bringing together artists from different socioeconomic strata in a short-time residency project in an informal neighborhood. Many of the visiting artists produce art that can be described as a socially engaged artistic praxis. By analyzing the Ghetto Biennale as

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Tam, Isabella. "Canton Express: Urbanization and contemporary Chinese art." Journal of Contemporary Chinese Art 7, no. 2-3 (2020): 241–60. http://dx.doi.org/10.1386/jcca_00028_1.

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Canton Express was a project situated within the larger exhibition Zone of Urgency in the Venice Biennale in 2003. It was the first comprehensive exhibition focusing on the relationship of urbanization and cultural landscape in the Pearl River Delta and presented on an international platform. Since the open-door policy in 1979, the Pearl River Delta played a pioneering role in China’s economic reform and urbanization throughout the 1980s and 1990s. This was resulted with unprecedent transformation of the cityscape and inhabitants’ lifestyle. More importantly, it defined the artistic context an

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Larraín, Adelaida, Noemí Ávila, and Fátima Cortés. "Criar en colores, nuevas experiencias: una intervención de agua y color con madres jóvenes de etnia gitana en Servicios Sociales de Fuentidueña, Villa de Vallecas." eari. educación artística. revista de investigación, no. 10 (December 19, 2019): 95. http://dx.doi.org/10.7203/eari.10.12705.

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Resumen: Criar en colores, nuevas experiencias es un proyecto de arte y salud llevado a cabo en el distrito Villa de Vallecas, Madrid. La intervención, perteneciente al Programa de salud sexual y reproductiva, se encuadra en los programas de promoción y prevención de la salud de los Centros Municipales de Salud Comunitaria del Ayuntamiento de Madrid, en conjunto con el Centro de Servicios Sociales de la Comunidad de Madrid. Se trata de un programa desarrollado semanalmente entre los meses de enero a abril de 2018, en el Centro de Servicios Sociales de Fuentidueña de Villa de Vallecas. La inter

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Sarale, Agnès, Hironori Yagi, Menelaos Gkartzios, and Keishi Ogawa. "ART FESTIVALS AND RURAL REVITALIZATION: ORGANIZING THE OKU-NOTO TRIENNALE IN JAPAN." Journal of Asian Rural Studies 4, no. 1 (2020): 23. http://dx.doi.org/10.20956/jars.v4i1.1662.

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Organizing rural art festivals is considered an effective intervention in support of rural revitalization in the face of aging and population decline in Japan. Several studies have identified the impacts of art festivals on economic and social rural development internationally. Little research, however, has focused on the management process of such festivals. The objective of this paper is to identify and examine the management processes crucial to an arts festival’s success, especially in terms of preparation, organization and community outreach. We focus on the first edition of the Oku-Noto

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Moreira, Patrícia R. "The microbiome biosphere as an artistic resource." Technoetic Arts 17, no. 1 (2019): 71–77. http://dx.doi.org/10.1386/tear_00007_1.

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Abstract The microbiome has become one of the most recognizable research subjects and presences in the headlines of news and scientific articles published in almost every biological science area in the last few years. The steady decline in the price of DNA sequencing has enabled metagenomics, community analysis and genome sequencing to enter routine research in microbiology and biotechnology laboratories all around the world. The already open access to national and international databases that include nucleotide (including full genomes) and protein sequences such as GenBank or EMBL-Bank and a

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Yuma, Fille Tamalazare, and Maria Veronica Gandha. "RUANG KETIGA DAN KONSEP KONTEKSTUAL PERANCANGAN RUANG SENI DI SENEN." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 2 (2020): 1527. http://dx.doi.org/10.24912/stupa.v2i2.8614.

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In the modern era, the loss of third place in the city center, such as the city of Jakarta, has resulted in increasingly mushrooming shopping centers and increasing market gimmicks. This causes the level of social interaction between fellow humans decreases so that exclusivity is formed in each individual. In meeting social needs in that era, a social forum is needed as a place for communities to eliminate exclusivity and restore human nature which is basically a social creature that needs to interact. From this, architecture talks about ways to meet the needs of the community in the third pla

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Bright, Geoff, and Gabrielle Ivinson. "Washing lines, whinberries and reworking ‘waste ground’: Women's affective practices and a haunting within the haunting of the UK coalfields." Journal of Working-Class Studies 4, no. 2 (2019): 25–39. http://dx.doi.org/10.13001/jwcs.v4i2.6225.

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This article reflects on a series of ‘Ghost lab’ events (Bright 2019) with local people where creative memory work – stimulated by songs, films, and readings from a pack of what we have called a ‘Community Tarot’ cards (our main focus here) – was used to register aspects of what, following Gordon (2008), we are calling a ‘social haunting’ of former coal-mining communities in the north of England and the valley communities of south Wales. The events were part of a joint 2018-19 research project called Song lines on the road – Life lines on the move! (On the Road for short) that sought to share

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Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ars.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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Hermanto, Andrean, and Suwandi Supatra. "RUANG SENI DAN KULINER JALANAN DI SENEN." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 2, no. 1 (2020): 623. http://dx.doi.org/10.24912/stupa.v2i1.6759.

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As Urbanization blooms, related problems, especially those that affect community relations, become a 'hot topic' in developing projects based on 'Third Place'. The erosion of the community and its community often with the development of urbanization identified as Social Segregation becomes an interesting problem to be discussed by sociologists. The focus of the issue raised in this project is "How to create a Third Place in Senen area." The location of the project is in the Senen, precisely on Jl. Stasiun Senen, Jakarta Pusat which is one of the popular shopping centers in Jakarta. The site wa

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Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ah.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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Huang, Angela Lin. "Leaving the City: Artist Villages in Beijing." M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.366.

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Introduction: Artist Villages in Beijing Many of the most renowned sites of Beijing are found in the inner-city districts of Dongcheng and Xicheng: for instance, the Forbidden City, Tiananmen Square, the Lama Temple, the National Theatre, the Central Opera Academy, the Bell Tower, the Drum Tower, the Imperial College, and the Confucius Temple. However, in the past decade a new attraction has been added to the visitor “must-see” list in Beijing. The 798 Art District originated as an artist village within abandoned factory buildings at Dashanzi, right between the city’s Central Business District

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Hall, Karen, and Patrick Sutczak. "Boots on the Ground: Site-Based Regionality and Creative Practice in the Tasmanian Midlands." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1537.

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IntroductionRegional identity is a constant construction, in which landscape, human activity and cultural imaginary build a narrative of place. For the Tasmanian Midlands, the interactions between history, ecology and agriculture both define place and present problems in how to recognise, communicate and balance these interactions. In this sense, regionality is defined not so much as a relation of margin to centre, but as a specific accretion of environmental and cultural histories. According weight to more-than-human perspectives, a region can be seen as a constellation of plant, animal and h

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Turnock, Julie. "Painting Out Pop." M/C Journal 2, no. 4 (1999). http://dx.doi.org/10.5204/mcj.1764.

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Film directors in American cinema have used the artist (painter, singer, thespian, writer, etc.) as a vehicle for auteurist identification in feature bio-pics for decades. The portrayal of the protagonists in these films usually falls victim to the "Van Gogh" syndrome, that is, the insistance on the creative inner turmoil, the solitary, misunderstood genius, and brave rebellion of its central character. This approach, however, breaks down completely when confronted with the void that is the historical figure known as "Andy Warhol." The popular image of Warhol, his studied superficiality, unapo

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Casas, Fernando. "Wanderer project." Ecozon@: European Journal of Literature, Culture and Environment 1, no. 1 (2010). http://dx.doi.org/10.37536/ecozona.2010.1.1.352.

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Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects,

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Elliott, Susie. "Irrational Economics and Regional Cultural Life." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1524.

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IntroductionAustralia is at a particular point in its history where there is a noticeable diaspora of artists and creative practitioners away from the major capitals of Sydney and Melbourne (in particular), driven in no small part by ballooning house prices of the last eight years. This has meant big changes for some regional spaces, and in turn, for the face of Australian cultural life. Regional cultural precincts are forming with tourist flows, funding attention and cultural economies. Likewise, there appears to be growing consciousness in the ‘art centres’ of Melbourne and Sydney of interes

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Evans, Simon Chester, Jennifer Bray, and Claire Garabedian. "Supporting creative ageing through the arts: the impacts and implementation of a creative arts programme for older people." Working with Older People ahead-of-print, ahead-of-print (2021). http://dx.doi.org/10.1108/wwop-03-2021-0014.

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Purpose The purpose of this paper is to report on an independent evaluation of a three-year “Creative Ageing” programme, focussing on the impacts for participants and factors promoting successful delivery of sessions. Design/methodology/approach Artists provided feedback through reflective journals and questionnaires, while the views of care staff and participants were also captured in a standard format at the end of each arts session. Thematic analysis of the qualitative data identified common themes. Findings Twenty-three arts projects were delivered across a range of settings and through di

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Fedorova, Ksenia. "Mechanisms of Augmentation in Proprioceptive Media Art." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.744.

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Introduction In this article, I explore the phenomenon of augmentation by questioning its representational nature and analyzing aesthetic modes of our interrelationship with the environment. How can senses be augmented and how do they serve as mechanisms of enhancing the feeling of presence? Media art practices offer particularly valuable scenarios of activating such mechanisms, as the employment of digital technology allows them to operate on a more subtle level of perception. Given that these practices are continuously evolving, this analysis cannot claim to be a comprehensive one, but rathe

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Casas, Fernando. "Earth 100." Ecozon@: European Journal of Literature, Culture and Environment 1, no. 1 (2010). http://dx.doi.org/10.37536/ecozona.2010.1.1.351.

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Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects,

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Casas, Fernando. "Trees as Archaeology." Ecozon@: European Journal of Literature, Culture and Environment 1, no. 1 (2010). http://dx.doi.org/10.37536/ecozona.2010.1.1.353.

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Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects,

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Jaaniste, Luke Oliver. "The Ambience of Ambience." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.238.

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Well, you couldn't control the situation to that extent. The world just comes in on top of you. It creeps under the door. It falls out of the sky. It's all around. (Leunig) Like the world that cartoonist Michael Leunig describes, ambience is all around. Everywhere you go. You cannot get away from it. You cannot hide from it. You cannot be without it. For ambience is that which surrounds us, that which pervades. Always-on. Always by-your-side. Always already. Here, there and everywhere. Super-surround-sound. Immersive. Networked and cloudy. Ubiquitous. Although you cannot avoid ambience, you ma

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Nesteriuk, Sergio. "DEED – Design, Entertainment and Education Research Cluster View Activity Log." Link Symposium Abstracts 2020, December 4, 2020, 60–61. http://dx.doi.org/10.24135/linksymposium.vi.18.

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DEED is a Brazilian research cluster, a formally recognised group of researchers and practitioners whose expertise is applied to the fields of Arts and Design. DEED activities includes, but are not limited to, lectures, study groups, master and Ph.D. researches, seminars, work-in-progress meetings, workshops, networking events, and creative artefacts developments. While working in a research cluster context this can be observed as contributing to new knowledge and gain by means of practice outcomes in a wider community. DEED is an acronym for “Design, Entertainment, and Education” and al

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Dowse, Jill Francesca. ""So what will you do on the plinth?”: A Personal Experience of Disclosure during Antony Gormley’s "One & Other" Project." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.193.

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Who can be represented in art? How can we make it? How can we experience it? [...] It has provided an open space of possibility for many to test their sense of self and how they might communicate this to a wider world. (Gormley)On Friday 17 July 2009, from 12.00 am to 1.00 am, I was on the Fourth Plinth in Trafalgar Square, London, as part of British sculptor Antony Gormley’s One & Other project. Over a period of 100 days, 2,400 people were randomly selected (from 34,000 applicants) to occupy this site for sixty minutes each. Gormley’s sculptures have mostly focused on explorations of the

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McKay, Duncan Robert. "Trading in Freedoms: Creating Value and Seeking Coalition in Western Australian Arts and Culture." M/C Journal 13, no. 6 (2010). http://dx.doi.org/10.5204/mcj.313.

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IntroductionAs a visual artist it seems to me that the ideal relationship between government and cultural producers is a coalitional one; an “alliance for combined action of distinct parties, persons or states without permanent incorporation into one body” (Oxford English Dictionary). The word “coalition”, however, is entirely absent from the document that forms the basis of the analysis of this paper, Creating Value: An Arts and Culture Sector Policy Framework 2010-2014, from the Government of Western Australia’s Department of Culture and the Arts. Released in March 2010, Creating Value has b

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Hill, Clementine Ruth. "Enthusiasm, the Creative Industry and the 'Creative Tropical City: Mapping Darwin’s Creative Industries' Project." M/C Journal 12, no. 2 (2009). http://dx.doi.org/10.5204/mcj.137.

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I love Darwin, I love it up here, I love the north, I love the swamp. It’s the energy; it’s unpredictable, totally unpredictable. Whether that’s because people are coming and going… It’s probably because of the changeability of the weather; I love the wet season, it’s a dynamic place. I am eventually planning to move down south for a while, I have to, I’ve got family commitments and so on and the thing that worries me most is that it’s all so predictable down there. So Darwin has an energy, it’s alive, I absolutely love it, I absolutely love it. The people that come up here come here because t

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Walker, Ruth. "Double Quote Unquote: Scholarly Attribution as (a) Speculative Play in the Remix Academy." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.689.

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Many years ago, while studying in Paris as a novice postgraduate, I was invited to accompany a friend to a seminar with Jacques Derrida. I leapt at the chance even though I was only just learning French. Although I tried hard to follow the discussion, the extent of my participation was probably signing the attendance sheet. Afterwards, caught up on the edges of a small crowd of acolytes in the foyer as we waited out a sudden rainstorm, Derrida turned to me and charmingly complimented me on my forethought in predicting rain, pointing to my umbrella. Flustered, I garbled something in broken Fren

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Irwin, Kathleen, and Jeff Morton. "Pianos: Playing, Value, and Augmentation." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.728.

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In rejoinder to a New York Times’s article claiming, “the value of used pianos, especially uprights, has plummeted … Instead of selling them … , donating them … or just passing them along … , owners are far more likely to discard them” (Walkin), artists Kathleen Irwin (scenography) and Jeff Morton (sound/composition) responded to this ignoble passing with an installation playing with the borders delineating music, theatre, digital technology, and economies of value using two upright red pianos, sound and video projection—and the sensibility of relational aesthetics. The installation was a coll

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Hadley, Bree Jamila, and Sandra Gattenhof. "Measurable Progress? Teaching Artsworkers to Assess and Articulate the Impact of Their Work." M/C Journal 14, no. 6 (2011). http://dx.doi.org/10.5204/mcj.433.

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The National Cultural Policy Discussion Paper—drafted to assist the Australian Government in developing the first national Cultural Policy since Creative Nation nearly two decades ago—envisages a future in which arts, cultural and creative activities directly support the development of an inclusive, innovative and productive Australia. "The policy," it says, "will be based on an understanding that a creative nation produces a more inclusive society and a more expressive and confident citizenry by encouraging our ability to express, describe and share our diverse experiences—with each other and

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Waelder, Pau. "The Constant Murmur of Data." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.228.

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Our daily environment is surrounded by a paradoxically silent and invisible flow: the coming and going of data through our network cables, routers and wireless devices. This data is not just 1s and 0s, but bits of the conversations, images, sounds, thoughts and other forms of information that result from our interaction with the world around us. If we can speak of a global ambience, it is certainly derived from this constant flow of data. It is an endless murmur that speaks to our machines and gives us a sense of awareness of a certain form of surrounding that is independent from our actual, p

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Wark, McKenzie. "Toywars." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2179.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ m

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McKenzie, Peter. "Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1318.

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IntroductionMusicians and critics regard Australian jazz as vibrant and creative (Shand; Chessher; Rechniewski). From its tentative beginnings in the early twentieth century (Whiteoak), jazz has become a major aspect of Australia’s music and performance. Due to the large distances separating cities and towns, its development has been influenced by geographical isolation (Nikolsky; Chessher; Clare; Johnson; Stevens; McGuiness). While major cities have been the central hubs, it is increasingly acknowledged that regional centres also provide avenues for jazz performance (Curtis).This article disc

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Hopkins, Lekkie. "Articulating Everyday Catastrophes: Reflections on the Research Literacies of Lorri Neilsen." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.602.

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Lorri Neilsen, whose feature article appears in this edition of M/C Journal, is Professor of Education at Mount Saint Vincent University in Halifax, Nova Scotia, Canada. Neilsen has been teaching and researching in literacy studies for more than four decades. She is internationally recognised as a poet and as an arts-based research methodologist specialising in lyric inquiry. In the latter half of this last decade she was appointed for a five year term to be the Poet Laureate for Nova Scotia. As an academic, she has published widely under the name of Lorri Neilsen; as a poet, she uses Lorri Ne

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Burrough, Xtine, and Sabrina Starnaman. "Epic Hand Washing." M/C Journal 24, no. 3 (2021). http://dx.doi.org/10.5204/mcj.2773.

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In March 2020, co-authors burrough and Starnaman with Technical Director Dale MacDonald had just finished collaborating on a work of computational art, A Kitchen of One’s Own, for The Photographers’ Gallery in London. In this essay we discuss the genealogy of our Zoom performance, Epic Handwashing for Synchronous Participation, which was an extension of two earlier projects—one that was derailed due to COVID-19, and the other that resulted from our pivot towards reflecting on the pandemic experience. Our performance was a response to, and offered a collaborative moment of reflection on, the un

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Broeckmann, Andreas. "Minor Media - Heterogenic Machines." M/C Journal 2, no. 6 (1999). http://dx.doi.org/10.5204/mcj.1788.

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1. A Minor Philosopher According to Guattari and Deleuze's definition, a 'minor literature' is the literature of a minority that makes use of a major language, a literature which deterritorialises that language and interconnects meanings of the most disparate levels, inseparably mixing and implicating poetic, psychological, social and political issues with each other. In analogy, the Japanese media theorist Toshiya Ueno has refered to Félix Guattari as a 'minor philosopher'. Himself a practicing psychoanalyst, Guattari was a foreigner to the Grand Nation of Philosophy, whose natives mostly tre

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Wang, Jing. "The Coffee/Café-Scape in Chinese Urban Cities." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.468.

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IntroductionIn this article, I set out to accomplish two tasks. The first is to map coffee and cafés in Mainland China in different historical periods. The second is to focus on coffee and cafés in the socio-cultural milieu of contemporary China in order to understand the symbolic value of the emerging coffee/café-scape. Cafés, rather than coffee, are at the centre of this current trend in contemporary Chinese cities. With instant coffee dominating as a drink, the Chinese have developed a cultural and social demand for cafés, but have not yet developed coffee palates. Historical Coffee Map In

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