Academic literature on the topic 'Participatory artistic project'
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Journal articles on the topic "Participatory artistic project"
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Lind, Anders. "Large-scale music compositions and novel technology innovations – Summarizing the process of Voices of Umeå, an artistic research project." HumaNetten, no. 37 (December 22, 2016): 107. http://dx.doi.org/10.15626/hn.20163706.
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Voices of Umeå was a three-year interdisciplinary artistic research project initiated in 2012 by the author. The main aim with the project was to explore new artistic possibilities for composition and performance practices within the field of contemporary art music. More specifically, artistic possibilities, which arises when non-professional performers regardless musical backgrounds enables to participate in the composition and performance processes. The idea was to develop and explore new pedagogical methods to involve non-professional performers by using new technology and combining knowledge from the fields of artistic and educational practices. Different aspects of participatory art were embraced in the artistic processes aiming towards three compositions, including two concerts and one exhibition. An action research model in three steps –planning, action and analysis of results inspired the methodology, where the analysis and experiences of each cycle within the project were affecting the further cycles of the project.This article reports from selected parts of the process of the project and contributes with new knowledge to the fields of animated music notation and participatory art.
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Hui, Ada, Theodore Stickley, Michelle Stubley, and Francesca Baker. "Project eARTh: participatory arts and mental health recovery, a qualitative study." Perspectives in Public Health 139, no. 6 (April 5, 2019): 296–302. http://dx.doi.org/10.1177/1757913918817575.
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Aims: To identify the potential mental health benefits of a rural-based participatory arts programme in the United Kingdom. Methods: Fourteen narrative interviews were conducted among participants of the Project eARTh programme. The data were subjected to a thematic analysis process. Results: Three overarching themes were identified: identity and self-expression; connectedness through occupation; wellbeing and personal growth. The importance of meaningful relationships was highlighted as preventing social isolation, particularly in rural locations. Engagement in artistic group activities enable participants to connect with their communities. Conclusions: Artistic activities help people to develop friendships and to engage with local communities in rural locations. Connectedness to people and places were valued by participants as part of their personal growth. The groups empower people to experience increased confidence and identities beyond illness narratives. Artistic group activities can benefit the mental health of participants in rural locations.
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Zobl, Elke, and Laila Huber. "Making Art – Taking Part! Negotiating participation and the playful opening of liminal spaces in a collaborative process." Conjunctions. Transdisciplinary Journal of Cultural Participation 3, no. 1 (June 6, 2016): 1. http://dx.doi.org/10.7146/tjcp.v3i1.23644.
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How can we open participatory spaces playfully and critically? Our article raises this question in the context of a research project at the intersection of participatory and interventionist art, critical art education and participatory research. In the project “Making Art – Taking Part!” (www.takingpart.at), which the authors, along with additional team members, conducted with students aged 14–16 in Salzburg, Austria, an artistic intervention in public space was developed based on the ideas, experiences, and desires of the students. In a collaborative process, we explored strategies for self-empowerment, deconstruction of established knowledge and power relations, and appropriation by artistic and art mediation means around the topic of “living together”. In this paper, we argue that by employing such strategies, a liminal space can be opened – in a playful, yet critical way – in which the meaning of participation is collaboratively negotiated.
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Tafur, Paola Andrea. "Creación artística: el artista y la comunidad." Revista Lumen Gentium 3, no. 2 (October 20, 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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Asakura, Kenta, Jess Lundy, Dillon Black, and Cara Tierney. "Art as a transformative practice: A participatory action research project with trans* youth." Qualitative Social Work 19, no. 5-6 (October 3, 2019): 1061–77. http://dx.doi.org/10.1177/1473325019881226.
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Given that promoting social justice is one of the central organizing principles of social work, it comes as no surprise that participatory action research has gained much attention among social work researchers. While much has been written about promising practices of participatory action research with various marginalized communities, there remains a dearth of participatory action research literature that focuses on trans* people, a population often under attack in current socio-political climates. In this paper, we report on a participatory action research project, in which a trans* artist worked closely with trans* youth participants (n = 5) to assist them through a creative project. Using a queer theoretical lens and drawing from the concept of “queer world-making,” the participants recast cultural representations about what it means to be trans* in their chosen artistic medium. This paper suggests that art can serve as a transformative research practice with trans* youth. Our findings suggest that the rhetorical binary of trans* vulnerability and resilience does not adequately represent lived experience. We make this argument by demonstrating the following processes through which youths engaged art in this participatory action research project: (1) countering normative discourses of what it means to be trans*, (2) promoting self- reflection and expression, and (3) facilitating “queer counterpublics.” In so doing, we make an argument for art as a qualitative research process that holds much promise in uncovering and challenging the normative discourse and developing a much more complex and nuanced understanding of what it means to be trans* youth.
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Bicknell, Jemma. "Body of Knowledge: a practice as research case study on the capacity for dance-theatre to promote wellbeing." Working with Older People 18, no. 1 (March 4, 2014): 18–23. http://dx.doi.org/10.1108/wwop-10-2013-0025.
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Purpose – The purpose of this paper is to explore the wellbeing benefits and challenges that arise in dance-theatre performance making with older people. It also addresses the notion of taking artistic risks when making community art. Design/methodology/approach – This study draws on current research into older people's participatory performance and the impact it has on wellbeing, in relation to a practice as research dance-theatre project: Body of Knowledge in 2012. The analysis draws on primary experiential and secondary data to describe the possible physical, mental, social and emotional benefits of taking part in performance projects, as well as identifying the challenges and criticisms related to this kind of work. Findings – The physical and mental impacts of participating in dance activity are well documented, but there are also valuable social and emotional effects which are hard to quantify, yet just as valuable. Evidence collected from other projects along with my own research, suggests that along with health benefits, the shared endeavour of taking part in a performance project can help an older person to build confidence, social networks, a sense of purpose and refresh or learn new skills. By encouraging older performance groups to show their work to audiences of mixed ages, it is also possible to challenge ageist perceptions. Originality/value – This paper draws together current research on the physical, mental, social and emotional value of participatory dance-theatre performance work, in relation to practical findings from a specific project.
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Lüneburg, Barbara. "Empowerment and Disempowerment in the Participatory Culture of TransCoding." Organised Sound 24, no. 3 (November 29, 2019): 289–96. http://dx.doi.org/10.1017/s1355771819000359.
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In this article, I consider implications of outreach practices in the field of contemporary music for the field itself and for the professional artists involved. I am interested in what happens if we facilitate access to contemporary music for audiences of any kind of demographic, break down barriers, share authority between participating non-professionals and professional artists and allow all participants of a project influence on jointly created artworks. I investigate in how far the organisational or structural change in the creative practice and the creative outcome – that comes along with bringing new players into the field – has consequences on the personal practice of the professional actors in such a project. I base my article on theories of sociologist Pierre Bourdieu, communication scholar Henry Jenkins, art historian Claire Bishop, musicologist Elena Ungeheuer and my own research into social structures of the contemporary art field, and apply them to a single case study: the artistic research project TransCoding – From ‘Highbrow Art’ to Participatory Culture, funded by the Austrian Science Fund. Using the method of thick description, I take the reader through the history of TransCoding, give account of field experiences and put the found patterns of cultural-social experiences into a theoretical context. I investigate the power shifts from professional artists to audience that occurred on the basis of creative, participatory processes within this project. In doing so, I would like to raise questions and stimulate discussion with regard to the conditions and social organisations of creative practice in the contemporary music field, the distribution of power and how this is felt when ‘bringing new audiences to new music’ into the core practice of professional artists, the actual creation of a new work.
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Keylin, Vadim. "Postcritical Listening: Political affordances in participatory sound art." Organised Sound 25, no. 3 (November 30, 2020): 353–61. http://dx.doi.org/10.1017/s135577182000031x.
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This article makes an argument for the postcritical treatment of the politics of sound art. Counterpointing an autoethnographic analysis of Kristina Kubisch’s Electrical Walks with Seth Kim-Cohen’s critical reading of the same work, I show how a critical position detached from the lived experience leaves behind a wealth of meanings necessary to understand the political potential of sound art. This gap, I argue, necessitates a ‘radical empiricist’ approach shifting the focus from the artistic intent to the lived experiences of the audience and the effects sound art may have on their lives. Drawing on autoethnographic and ethnographic accounts of Kaffe Matthews’s sonic bike rides and Benoît Maubrey Speaker Sculptures, as well as Rita Felski’s project of postcritical reading, I develop a theoretical framework for the politics of sound art based around the concept of affordance. The term ‘affordance’ in this context refers to the possibilities of political meaning or political action an artwork offers to the participants without imposing a particular interpretation on them. I finish by discussing three aspects of political affordances in sound art: meaning-making, uses of sound art and access to participation.
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Kühn, Micaela. "From Two to One – An Exploration into the Integration of Artistic and Pedagogical Practices." Nordic Journal of Dance 7, no. 2 (December 1, 2016): 34–41. http://dx.doi.org/10.2478/njd-2016-0013.
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Abstract This article concerns the first part of my final research project at the Danish National School of Performing Arts for a postgraduate diploma in Danseformidling/Dance Partnership undertaken in the first term of 2016. It is an inquiry into the relationship between artistic and pedagogical practices in the context of dance education, initially aiming at their integration by looking for a common denominator. Proposing a loop structure as a methodological and practical framework, I reflect on the research inquiry ‘How can artistic and pedagogical practices integrate in the context of dance education?’ To conclude, the notion of participation in art and pedagogy is addressed as one of the entries to the possible imbrication of the practices. It is proposed that underlining the participatory aspect of artistic and pedagogical practices would carry questions on the modes of production and spectatorship in the former and the taken-for-granted roles and methods in the latter. I am proposing that pedagogical formats with a strong emphasis on shared meaning making are helpful towards the integration for which I am aiming.
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Schiavio, Andrea, Dylan van der Schyff, Andrea Gande, and Silke Kruse-Weber. "Negotiating individuality and collectivity in community music. A qualitative case study." Psychology of Music 47, no. 5 (June 3, 2018): 706–21. http://dx.doi.org/10.1177/0305735618775806.
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In this paper, we report on a qualitative study based on the “Meet4Music” (M4M) project recently developed at the University of Music and Performing Arts Graz, Austria. M4M is a low-threshold community-based program where participatory sessions dedicated to different artistic activities are freely offered to people from different social and cultural backgrounds. Our study explores how M4M promotes self-expression, creativity, social understanding, and artistic development through a number of interviews that we collected with the “facilitators”—those who help guide the heterogeneous ensemble of participants without being committed to a fixed and pre-defined teaching content. Our data focus on three aspects of M4M: “mutual collaborations,” “non-verbal communication,” and “sense of togetherness.” Taking the “enactive” approach to cognition as a theoretical background, we argue that M4M helps to promote a sense of community that goes beyond the distinction between “individuality” and “collectivity.” M4M encourages participants to meaningfully engage in collective forms of artistic activities, and develop new perspectives on their cultural identities that can play a key role for their flourishing as musical beings. In conclusion, we briefly consider possibilities for future research and practice.
Dissertations / Theses on the topic "Participatory artistic project"
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Bouhaddou, Marie-Kenza. "Logement social et nouvelles pratiques artistiques." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100109.
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Cette thèse interroge les relations qui existent entre logement social et nouvelles pratiques artistiques. Elle vise à comprendre pour quelles raisons, à quelles conditions et jusqu’à quel point des organismes de logement social s’engagent dans le portage de projets artistiques. Je désigne par « nouvelles pratiques artistiques » des projets réalisés in situ, qui mettent des habitants des quartiers populaires au fondement de leur démarche et questionnent les modes de faire des acteurs. En s’appuyant sur trois cas, deux à Lyon et un à Dunkerque, l’analyse des relations porte sur les modalités et les effets des jeux d’acteurs, en termes de relations de pouvoir, d’affect et de demandes de légitimités, de modes de faire, de spatialités et de matérialités des projets. Ma thèse montre un inégal engagement des bailleurs sociaux. Elle met en évidence l’émergence, à travers des projets qui impliquent des artistes et les habitants, de nouvelles manières de participer, de nouveaux acteurs de la participation, mais aussi de nouvelles façons de faire la ville. Elle montre la possibilité pour des organismes de logement social d’acquérir de nouvelles compétences. Les relations entre logement social et nouvelles pratiques artistiques se heurtent à plusieurs difficultés. Du fait d’un fonctionnement pyramidal, les modes de faire ne changent pas véritablement à l’échelle des organismes qui se replient alors sur leurs savoir-faire techniques propres et ont du mal à intégrer la coopération avec d’autres acteurs. Sans un portage politique franc, les organismes peinent à s’impliquer. Enfin, en temps de déprise économique, les bailleurs sociaux peinent à s’engager dans des projets sur l’espace public. Ils réduisent de plus en plus leur échelle d’intervention au tour d’immeuble. Dans ce contexte, le renouvellement des pratiques artistiques montre aussi ses limites, dans leur difficulté à être distinguées d’activités socioculturelles, à créer des relations avec les habitants favorisant leur pouvoir d’agir, et à être légitimées comme artistiques par les institutions culturellesThis thesis questions the relationship between social housing and new artistic practices. It aims to understand why, under what conditions and to what extent social housing organizations engage in the carrying of artistic projects or support for them. I refer to "new artistic practices" as in situ projects, which bring people from working-class districts to the foundations of their approach and question the ways of doing things by different actors. Based on three cases, two in Lyon and one in Dunkerque, the analysis of the relationships deals with the modalities and the effects of the games of actors, in terms of relations of power, affect and demands for legitimacy, but also in terms of ways of doing, spatiality and materialities of the projects. My thesis shows a very uneven commitment of social housing organizations. It highlights the emergence, through projects that involve artists and inhabitants, new ways of participating, new actors of participation, but also new ways of doing the city. It shows the opportunity for social housing organizations to acquire new skills, gain visibility and approach their relationships to their tenants differently. However, the relations between social housing and new artistic practices face several difficulties. Due to a pyramidal operation, the ways of doing things do not really change at the level of the organizations which then fall back on their own technical know-how and have difficulty integrating the cooperation with other actors than the usual actors of construction and urban planning. Without a free political carry, the organizations struggle to get involved. Finally, in times of economic downturn, social housing organizations are struggling to engage in projects on the public space. They increasingly reduce their scale of intervention around the building. In this context, the renewal of artistic practices also shows its limits, in their difficulty to be distinguished from sociocultural activities, to create relations with the inhabitants their power to act, and to be legitimized as artistic by the cultural institutions
Books on the topic "Participatory artistic project"
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Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.
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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. The tasks designed by artists who are involved in the European project Dancing Museums. The Democracy of Beings (2018-21) respond to the essays by suggesting a series of body-mind practices that readers could perform between the various chapters to experience how theory may affect their bodies.
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1965-, Boerboom Peter, Witzsch Silke 1967-, Obermaier Gabrielem 1957-, Osswald-Hoffmann Cornelia, Schütz Heinz, Ullrich Wolfgang 1967-, and Vogt Carola 1962-, eds. Die persönliche Meinung als öffentliche Erscheinung: Partizipative Projekte des Department für öffentliche Erscheinungen = Personal opinion as public appearance : participatory projects by the Department for Public Appearances. Nürnberg: Verlag für Moderne Kunst, 2012.
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Tan, Sooi Beng. Community Musical Theatre and Interethnic Peace-Building in Malaysia. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.33.
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Community musical theatre projects have played important roles in engaging young people of diverse ethnicities in multicultural and religious Malaysia to cross borders, deconstruct stereotypes, appreciate differences, and build interethnic peace. This essay provides insights into the strategies and dialogic approaches employed in two such community musical theatre projects that promote peace-building in Penang. The emphasis is on the making of musical theatre through participatory research, collaboration, ensemble work, and group discussions about alternative history, social relationships and cultural change. The projects also stress partnerships with the multiethnic stakeholders, communities, traditional artists, university students, and school teachers who are involved in the projects. Equally important is the creation of a safe space for intercultural dialogue, skill training, research, and assessments to take place; this a working space that allows for free and open participation, communication, play, and creative expressions for all participants.
Book chapters on the topic "Participatory artistic project"
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Bala, Sruti. "Gestures of institutional critique." In The gestures of participatory art, 26–50. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0002.
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Chapter I deals with the question of institutional critique in relation to participatory art. What is the place of institutional critique in relation to participatory performance? The chapter reflects on the conundrums of institutional critique, exploring the formation of participatory art forms as emergent from the critique of mainstream art institutions. It compares a number of approaches to institutional critique: the institutional affiliations of a community-based theatre project from Darfur, Sudan, a flash mob performance by an Israeli activist group protesting a Cape Town Opera production in Tel Aviv Opera House, a breaching experiment by visual artist Pilvi Takala, of trying to enter Disneyland dressed as Snow White, amongst others. Sometimes the gesture of critique consists in building counter-institutions, and sometimes in fleeing them. Institutional critique, understood as the explicit use of an artistic practice to interrogate, oppose or break out of art institutional frameworks has very asymmetrical trajectories across the world and across domains. The chapter argues that the changing institutional conditions of participation expose not just the norms of a certain institution, but also its specific traditions of institutional critique.
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Oikarinen-Jabai, Helena. "27. Reflections on a Creative Arts Project to Explore the Resilience of Young Adults with a Muslim Background in Finland." In Discourses We Live By, 587–608. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0203.27.
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Helena Oikarinen-Jabai discusses her involvement in a participatory project that combines a social science framework and artistic methods, to explore and reveal how young women who are Muslim achieve resilience and a sense of belonging within a new culture after migrating from Somalia to Finland. This chapter offers a glimpse of the challenges to be met within an interdisciplinary research project.
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Franco, Susanne. "Dance Well and Diary of a Move: From Artistic Projects to Social Processes." In Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6/006.
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This chapter analyses two participatory projects conducted in the frame of the Creative Europe project Dancing Museums. Dance Well (2015) was hosted by the Civic Museum of Bassano del Grappa (Italy) and was aimed at people affected by Parkinson’s disease and their families; Diary of a Move (2020), which was conceived by the Italian-Japanese choreographer Masako Matsushita during the first lockdown in Italy, was addressed to a large audience. Operating outside the contemporary art mainstream and in a rather provincial and conservative political and social context, these two artistic projects and the processes they initiate by actively involving their audiences, have produced real social change and have created a sense of community rather than merely producing a display or a staged version of it. Both projects also prove how museums as cultural institutions can be “democratising and inclusive spaces” and how they “work for diverse communities” to “enhance understandings of the world”, as the 2019 ICOM Standing Committee for Museum Definition, Prospects and Potentials suggested.
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Bala, Sruti. "Vicarious gestures of participation." In The gestures of participatory art, 99–114. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0005.
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Chapter IV follows two conceptually inspired performance projects by the Amsterdam-based Lebanese artist Lina Issa, Where We Are Not (2009) and If I Could Take Your Place? (2010 – ongoing). These works explore the question of what it means to take someone else’s place, to participate in someone’s life by doing something on their behalf, in the mode of ‘as if’. By analysing how this vicarious participation unfolds, the chapter foregrounds the spectatorial parameters of participation. The theorization of participation calls for an interweaving of the aesthetic with the social or political. Issa’s playful performances of standing in for others point to larger questions of what it means to participate in collective processes of imagining selfhood. The chapter suggests that the solidarity in the gesture of vicarious participation lies not so much in recognizing the so-called ‘other’ or in celebrating differences, but rather in being willing to dispossess oneself of the fixity of one’s ideas of the self, a potentially transformative gesture.
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Bala, Sruti. "Delicate gestures of participation." In The gestures of participatory art, 115–35. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100771.003.0006.
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Chapter V examines an installation-based project titled Nomad City Passage (2005-2009) by the German scenographic and visual artists Rebekka Reich and Oliver Gather, in which visitors are invited to spend a night in a tent in an unconventional urban site, such as the top floor of a high-rise building or inside a shopping mall. The analysis focuses on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork’s foregrounding of sleep as a mode of participation. The delicacy of this is evidenced in the ambivalence of sleep in a scenically prepared setting, oscillating between being an intense, active, dynamic experience on the one side, and a non-performance, an absence of activity on the other. The chapter suggests that audience participation in the artwork and in the artwork’s participation in urban spaces differ in significant ways from sociological and political concepts of participation. Where social theory conceives of civic participation in terms of being a part of a social unit, the aesthetics of Nomad City Passage emphasizes participation in a counterintuitive way: it becomes possible to participate precisely because of not being a part of some shared community ideal.
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Cohen, Sue, Allan Herbert, Nathan Evans, and Tove Samzelius. "From poverty to life chances: framing co-produced research in the Productive Margins programme." In The Impact of Co-Production. Policy Press, 2017. http://dx.doi.org/10.1332/policypress/9781447330288.003.0005.
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This chapter talks about how to engage with co-produced research and participatory practices from a community perspective. It discusses how co-produced interdisciplinary research experiences and knowledge exchanges facilitate interaction with members of the community, with academics and with artists as a part of the Productive Margins project. The programme is seeking to remap the terrain of regulation, by involving the knowledge, passions, and creativity of citizens often considered on the margins of politics and policymaking. However, rather than examining the progress and outcomes of the research project itself, the chapter analyses the settings and process leading up to the establishment of the research project: the formation of the working group where they explored the theme of poverty; and the Research Forum where academics and community partners came together to share knowledge and interdisciplinary ways forward.
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Lindtner, Silvia M. "Prototype Citizen." In Prototype Nation, 39–73. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691207674.003.0002.
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This chapter shows how the desire to achieve parity with the West brought the CCP (Chinese Communist Party) and the grassroots tinkerers of China's early hackerspace and coworking space into a paradoxical and often highly ambivalent alignment in their respective projects to assert China as innovative and creative. It covers the years 2007 through 2011, when a collective of Chinese artists, designers, engineers, entrepreneurs, and internet bloggers began to experiment with the ideals of the American free culture movement, participatory design, and eventually, open source hardware and making. Their work of transplanting Western ideals of participatory, open, and democratized technology production into contemporary China created an affective connection between China's history of manufacturing and its future as a global economic power. Their early experiments with participatory design, coworking spaces, makerspaces, and open source, open innovation, and open design, were aimed at prototyping a “new” Chinese citizen, i.e., the utilization of technology to cultivate an optimistic, forward-looking, entrepreneurial Chinese citizen, at last freed from connotations of lack and low quality. These attachments to technological promise are deeply intertwined with China's ambivalent relationship to the West, marked both by histories of colonialism and by revolutionary imaginings of alternative modernities.
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Depper, Annaleise, and Simone Fullagar. "Co-Creation and bridging theory-method divides." In Co-Creation in Theory and Practice, 87–102. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447353959.003.0006.
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This chapter thinks through the possibilities and challenges posed by Co-Creation as a knowledge practice that is more than a ‘novel method’ for addressing urban inequality. We consider the onto-ethico-epistemological assumptions that underpin the ‘doing’ of co-creation as inventive practice. Drawing upon Barad (2007), Deleuze and Guattari (1987) and post-qualitative scholars (St Pierre, 2011), we ask what claims are made about participatory approaches in voicing issues of marginalisation? How are human and non-human relations recognised in creative collaborations? What role does affect play in the micropolitics of working with different desires, bodies, and techniques to effect change? New materialism offers a useful orientation to thinking through Co-Creation as a material-discursive process that has a rhizomatic, rather than linear form. Moving beyond humanist assumptions about individual creativity and essentialised identity categories, Co-Creation can be understood as a research assemblage that brings into relation objects, desires, bodies and contexts to disrupt, queer, reimagine and contest the normative (e.g. stigmatising of groups and places, and the invisibility of privileged perspectives). Using examples from our own and others’ work we explore the complex processes of Co-Creation projects, as they bring together artists, academics and communities in the face of urban inequality and marginalisation.
Conference papers on the topic "Participatory artistic project"
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Gadelha, Bruno, Thaís Castro, Rosiane De Freitas, Edna Cardoso, and Hugo Fuks. "Colaboração e Interação em Contextos Não Convencionais: aplicações e instalações artísticas e de entretenimento." In XVII Simpósio Brasileiro de Fatores Humanos em Sistemas Computacionais. Sociedade Brasileira de Computação (SBC), 2018. http://dx.doi.org/10.5753/ihc.2018.4233.
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This paper presents an investigation that has been developed at the Federal University of Amazonas through projects involving concepts of collaborative systems(CS) and humancomputer interaction (HCI) in artistic-cultural and entertainment events scenarios. In the artistic scene, there have been projects involving music and interaction through sounds. In the scenario of large entertainment events involving crowds, the projects consider issues such as engagement, interaction and collaboration. In these unconventional contexts the importance of the integration between the SC and IHC areas is observed in order to achieve relevant results to change the behavior of the audience aiming at an active, participatory and interactive attitude in the field of the arts and entertainment for the crowds.
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.
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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.