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Journal articles on the topic 'Participatory artistic project'
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1
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.
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Klekot, Ewa. "Sprawczość w fabryce porcelany." Kultura Popularna 2, no. 52 (December 28, 2017): 71–80. http://dx.doi.org/10.5604/01.3001.0010.7054.
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Ethnography of a porcelain factory is one of the main components of a research project called “People from the porcelain factory”. The project is carried out in the porcelain factory in Ćmielów, Poland, owned by PolskieFabrykiPorcelany “Ćmielów” i “Chodzież” S.A. The project consists of anthropological research (design anthropology and workplace anthropology) and an artistic intervention in the field. The intervention entails manufacturing Human Trace tableware set and exhibiting it both in the factory and outside, to the audience interested in design. The fieldwork in the factory allowed the author to interact with various actors of manufacturing process – both in a more observational mode of ethnography and a more participatory one during the tableware production. Witnessing the process of material transformation of raw material into a porcelain vessel was also fascinating. The article points at the role of different modes of knowing and various skills necessary for porcelain ware production and focuses on evaluation of different ways of knowing, skills and cognition.
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Dai, Zheng, and Kasper Paasch. "A Web-Based Interactive Questionnaire for PV Application." International Journal of Sociotechnology and Knowledge Development 5, no. 2 (April 2013): 82–93. http://dx.doi.org/10.4018/jskd.2013040106.
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Questionnaire is a fundamental method for investigation and research, but participants get tired about it, because of the impression of being long and boring, which causes low quality of research. The authors developed an interactive questionnaire as an effective method to involve responder actively. The development of this tool is dynamic process, which goes with a research project called Sunrise-PV. The project is led by the University of Southern Denmark and is collaboration between local organizations to popularize PV system in both residential and the industrial buildings. For such an innovative research, the authors adopt participatory design as research method to develop the research tool in several iterations. Moreover, the authors get a balanced perspective between user needs, market viability, and technical feasibility, which guide their research focus on the artistic and usability aspects, and also raise product concepts and the concern of technical issues.
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Eriksson, Birgit, and Jan Løhmann Stephensen. "Rethinking Participation and Re-enacting Its Dilemmas? Aarhus 2017 and “The Playful Society”." Conjunctions. Transdisciplinary Journal of Cultural Participation 2, no. 2 (February 11, 2016): 48. http://dx.doi.org/10.7146/tjcp.v2i2.22918.
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In 2012 the Danish city of Aarhus was appointed European Capital of Culture for 2017. The appointment was based on an ambitious programme that – under the headline Rethink – tried to set an agenda of societal transformation, mainly by seeking to increase the impact of art and culture, and to enhance civic participation at all levels of society. In this article we examine one of the first attempts of Aarhus 2017 to realize these grand ambitions: ‘The Playful Society’, a series of micro grants aimed at enabling young people to make their own art/culture projects and participate in the overall Rethink project. Informed by theoretical distinctions between different forms of participation, and the diverse interests invested in participatory processes, we investigate how the young cultural entrepreneurs and the artistic administrators of Aarhus 2017 separately, in conjunction, and sometimes even in opposition to each other, translated these overall ambitions into practice. We argue that they illuminate some of the dilemmas of contemporary cultural participation, including the importance of question- ing who participates in what, how they do it, and in what context.
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Karttunen, Sari, and Pia Houni. "ArtsEqual 2015–2021: The challenges of a Large-Scale Research Initiative in Finland." Conjunctions. Transdisciplinary Journal of Cultural Participation 5, no. 1 (May 24, 2018): 1–11. http://dx.doi.org/10.7146/tjcp.v5i1.105292.
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The article presents the ArtsEqual initiative, which is funded by the strategic research council of the Academy of Finland. The six-year project, funded from a sub-programme aiming to increase equality in society, is constructed on the visionary question: What if the arts were understood to be an essential part of public services? The project sets out to identify mechanisms and remove barriers that hinder equality from being established both within the arts and through them in society at large. The project is multidisciplinary and draws largely upon participatory, practice-led methodologies. It is carried out in six research teams and in two phases, the first of which consisted of numerous arts interventions combined with research. The conclusive phase that links the findings and experiences from the case studies together via qualitative system analysis started in the beginning of 2018. The authors are leaders of two of the research teams, and here they present the entire research initiative as well as exemplary sub-studies from their own teams. They discuss the research project and the preliminary findings in view of the changing role of the artist in society, a shared problematic between their teams. They also reflect on the advantages and challenges that programmatic funding may bring to artistic practices and research.
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Wang, Meiqin. "Walking the city: Handshake 302 and reinventing public art in Shenzhen." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 177–200. http://dx.doi.org/10.1386/jcca_00025_1.
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This article analyses the practice of Handshake 302, an art collective based in Shenzhen, as an exemplary case of the recent development of urban public art in China in which public participation has become central. Defining itself as an experimental public art project, Handshake 302 adopts an interdisciplinary, open-ended, collaborative and socially conscious approach in designing its various participatory tactics. Advocating that ‘art should belong to everyone who contributes to the city’, it has charged itself with the task of creating opportunities to enable people of disparate backgrounds ‘to participate in art activities and unleash their creativity’. In practice, it embraces a wide range of forms/ methods to engage urban residents of Shenzhen, involving them in art making, exhibitions, research, workshops, dialogues, tours and field trips, among others, with the mission of enabling ordinary people to engage with creative activities that deal with Shenzhen’s diverse urban spaces. Discussing key programmes carried out by Handshake 302, I posit that urban public art has become an expanded field for critically minded art professionals to initiate grassroots urban interventions and social innovations and the working of this art collective sheds light on this new artistic and civic movement that can be called socially engaged participatory public art.
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Schrimshaw, Will. "The Tone of Prime Unity." Organised Sound 23, no. 2 (July 31, 2018): 208–17. http://dx.doi.org/10.1017/s1355771818000080.
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In The Soundscape, R. Murray Schafer describes a tone of ‘prime unity’, a tonal centre conditioning an international sonic unconscious. Diverging from the bucolic image of nature readily associated with Schafer’s ethics and aesthetics, this tone is found in the ubiquitous hum of electrical infrastructure and appliances. A utopian potential is ascribed to this tone in Schafer’s writing whereby it constitutes the conditions for a unified international acoustic community of listening subjects.This article outlines Schafer’s anomalous concept of the tone of prime unity and interrogates the contradictions it introduces into Schafer’s project of utopian soundscape design. Discussion of the correspondence between Schafer and Marshall McLuhan contextualises and identifies the source of Schafer’s concept of the tone of prime unity. Of particular interest is the processes of unconscious auditory influence this concept entails and its problematic relation to the politics of sonic warfare. Through discussion of contemporary artistic practices that engage with these problems, it is argued that the tone of prime unity nonetheless presents an opportunity to shift the focus of Schafer’s project from a telos of divine harmony towards collective self-determination through participatory intervention in the world around us.
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Connelly, Heather. "Translation Zone(s): A Stuttering: An Experiential Approach to Linguistic Hospitality." Open Cultural Studies 2, no. 1 (August 1, 2018): 162–74. http://dx.doi.org/10.1515/culture-2018-0015.
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Abstract This essay outlines the potential of artistic research for engaging audiences in cultural literacy and linguistic hospitality, which according to Paul Ricoeur occurs “where the pleasure of dwelling in the other’s language is balanced by the pleasure of receiving the foreign word at home” (10). It builds upon Emile Benveniste’s (1969) and Jacques Derrida’s (1997, 2000) transcultural etymological investigation of hospitality which is central to Alison Phipps’ ethical, socially oriented ethnographic praxis. Focusing on the use of a sensory and reflexive methodology in Translation Zone(s): A Stuttering, a participatory arts research project-developed during an Arts and Humanities Research Council Cultural Engagement Fellowship-this essay aims to extol the value of adopting an experimental approach to language, to embrace “not knowing” as a constructive methodological strategy and to extend the scope of research within this area to encompass other epistemological fields. The project is recontexualised in the aftermath of the United Kingdom’s EU referendum (2016) and looks towards the possibilities that the affective nature of art affords, considering how it could be used to encourage a critical debate about language and counteract the increasingly nationalist rhetoric and identity politics associated with being a native English speaker.
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Ribes, Adolf Murillo, María Elena Riaño Galan, and Noemy Berbel Gómez. "FROM SOLID SPACES TO LIQUID SPACES: NEW ECOLOGIES OF MUSICAL PRACTICES." Humanities & Social Sciences Reviews 7, no. 4 (September 26, 2019): 93–102. http://dx.doi.org/10.18510/hssr.2019.7414.
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Purpose: In recent years, the interest in creating new educational spaces has increased substantially, aiming to influence the methods of learning of our students and to adopt new educational strategies. This article highlights the importance of the atmosphere when remodeling musical practices. Methodologically, when transforming a space, we do not only have to improve the physical architectures but also the pedagogical ones, as well as keeping the practices consistent with these changes. The MUSICLAB CR-209 "Sound laboratory" have been built in Valencia (Spain). This is a hybrid space designed especially for collaborative projects -teachers, artists, students and researchers- in which sound is treated as an element or raw material that can be molded and adapted to what each project demands.
Methodology: The method used in our research was participatory action research. In order to submit the LAB to judgment, three artistic actions were designed and developed.
Results: In this paper, the results showed the main strengths and weaknesses in the design of the space MUSICLAB CR-209 related to the synergies generated through musical practices: the connections established at an interpersonal level, the methodologies and artistic actions developed, the participation and the coordination between the different participants agents. The weaknesses found are related, not so much related to the space itself, but rather to the lack of experiences such as the one described. In this sense, certain barriers and resistances have had to be overcome by all the actors involved.
Implications: In conclusion, we close with a positive vision and we think that this is a novelty experience that stand out for their creativity in the development of contemporary languages and highlight the importance the atmosphere in the educational processes. Our ultimate aim is to provide a proposal that might inspire music and artistic educators when building a new school model more in line with the demands of society s. XXI.
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Ruiz Sánchez, Héctor Camilo, Paulina Pardo Gaviria, Rosa De Ferrari, Kirk Savage, and Patricia Documet. "OjO Latino: A Photovoice Project in Recognition of the Latino Presence in Pittsburgh, PA." Contemporaneity: Historical Presence in Visual Culture 7 (October 30, 2018): 53–71. http://dx.doi.org/10.5195/contemp.2018.243.
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In recent years, the Latino population has increased rapidly in areas with traditionally low concentration of Latinos. In these emerging communities, Latinos often live scattered, confronting social isolation and social services not tailored to serve their cultural and linguistic needs. Latinos’ invisibility in Pittsburgh is evidenced by the absence of records of the Latino presence in the city’s museums and public archives. OjO Latino, a community engaged project, sought to advance the inclusion of the Latino community in Pittsburgh through Photovoice. This participatory expression methodology enables individuals to share their stories with the larger public through cultural and artistic expression. The intentional organization of the project as a group activity facilitated the transfer of power over the project to participants, creating solidarity and fomenting trust. During four meetings participants took part in a short photography training, discussed their photographs addressing the meaning of being Latino in Pittsburgh, and selected 34 photographs for exhibition organizing them in four themes: Work, Costumes, Family and Landscape and climate. OjO Latino held one exhibit in a community venue and another one at the university. In addition, the photographs are available in an electronic public repository. OjO Latino served a dual purpose of expanding the visibility of Latinos in and educating the larger community. The OjO Latino team got closer to the ways Latino immigrants see and experience the city. Their gaze challenged our own views and experiences and also spoke the saliency of nostalgia and social networks in their lives. The open discussion of what it means to be Latino in an emerging community and the opportunity to produce a visual account of it, along with the acknowledgment of the presence of this diverse population promote human rights, ethnic identity as well as mental and social health.
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Reading, Anna. "Moving hearts: How mnemonic labour (trans)forms mnemonic capital." Memory Studies 14, no. 1 (February 2021): 95–111. http://dx.doi.org/10.1177/1750698020976465.
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This study explores how memory forms may be understood through an economic lens tracing how the labour of remembering adds value to and (trans)forms memories. The study focuses on embodied memories and imaginaries of migration and belonging and the ways in which these are (trans)formed through mobile and social media witnessing into a collective living archive and into objectified memory forms that include art works and digital artefacts situated within global mnemonic commodity chains. Empirically, the article draws on an arts-based collaborative research project, ‘Moving Hearts’ carried out with the UK Migration Museum in 2016–2018 that examined embodied, artistic, and institutional memories and imaginaries of migration. Theoretically, the article builds on the growing body of research in memory studies on the economies of memory, bringing together a political economy approach to memory and work within participatory arts to provide insights into how memory forms may be understood through mnemonic labour and mnemonic capital. Specifically, it shows how the mnemonic labour of participants making, carrying and walking with clay hearts transforms memories of migration and belonging into new kinds of mnemonic capital.
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Winge, Laura, Anne Margrethe Wagner, and Bettina Lamm. "Play as a Player in Design. Rethinking a ‘Curious Practice’ for Co-designing Public Space." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 25–44. http://dx.doi.org/10.32891/jps.v5i4.1312.
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‘Move the Neighbourhood’ is a research project experimenting with co-designing playable installations for a public green space in Copenhagen through a design-based collaboration between children and design-researchers. We employed a co-design process to investigate whether deconstructing the rules for both play and design could trigger new ways of thinking about playable spaces. The aim was to test a participatory process in order to identify what might be meaningful in relation to both play and designing for play, along a spectrum ranging from rules to collaborative improvisation. Our fieldwork cultivated what Haraway calls ‘response-ability’ in a ‘curious practice’ that explores the unanticipated in the collaboration between children and designers. The metaphor of a ‘jelly cake’ from play-research was used to illustrate the messiness of play and to frame the discussion on collaborative design. We see play as a serious co-player that evokes collective worlds through productive, messy fields of action, and enables actors to engage in the co-design of playable public space. In this article, we investigate how play can create agency, spark imagination and open up practices in both artistic and academic processes. Drawing on Barad’s concept of ‘intra-action’, we investigate design/play as a dynamic engine for exploring collaborative design practices as a dialogue between art, play and co-design.
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Gardener, Joanna, William Cartwright, Lesley Duxbury, and Amy Griffin. "Mapping Perception of Place through Emotion, Memory, Senses, and the Imaginary." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-87-2019.
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<p><strong>Abstract.</strong> This paper reports on a research project that has a focus on the perception of place, collective experience, and shared perceptions. It aims to demonstrate how mapping can be used to bring depth and meaning to places through portraying emotions, memory, sensation, and the imagination. This study explores how maps can be developed to create a deeper understanding and explore perceptions of place. It draws upon the diverse experiences of a participatory study of a single, shared place, the Edinburgh Gardens in North Fitzroy, Melbourne, Australia. This participatory study expands upon a previous research study of the Edinburgh Gardens, which focused on the influence of time in the perception of place. While time plays a significant role in changing perceptions of place, emotions, sensory inputs, and memory also play vital roles in shaping these perceptions.</p><p> The intent of this study was to look for shared experiences, synergies, or differences between different participants’ visits to the park, while examining how people perceive, move through, and understand the place and their emotional connection to it. Through a three-part participatory study, <i>1. Memory</i>, <i>2. Experience</i>, and <i>3. Reflection</i>, the data collected informs a series of emotional maps of the Edinburgh Gardens.</p><p> The first part of the study, <i>Memory</i>, asked participants to recall and describe a memory of an experience they had at the Edinburgh Gardens. Questions included why the event was significant, were they with other people, how long did they stay, and could they remember any smells or sounds or think of any colours associated with the experience. Participants were also asked to draw a map of the gardens as they remembered them (Figure 1). The second part of the study, <i>Experience</i>, asked participants to go for a walk in the park and capture their experience in real-time (Figure 2). This included many of the same questions as Part 1, while also asking them to record their route as they moved through the park, via a GPS walking app and pen and paper (Figure 3). The final part of the study, <i>Reflection</i>, asked participants to reflect and compare the visits to the park.</p><p> The intention of this participatory component of the research programme is to visually explore emotional connections to place by creating prototype maps of place perceptions. The study focuses on the making of place and examines how places are perceived through deep mapping and associated spatial narratives. In creating these prototype maps, it investigates how the cartographic sciences, design thinking, and artistic expression can inform one another to spark new ideas and generate new ways of thinking about approaches to cartography and in turn, the possibilities that emerge when these disciplines work together.</p><p> Through a practical and theoretical investigation into emotional cartography, this study explores perception of place and the representation of shared perceptions through mapping. Furthermore, it illustrates the role memory and conscious experience have on feelings and emotions attached to perception of place. Through creating prototypes of emotional maps, we are able to see the crossover between scientific cartography and artistic expression and appreciate how these different disciplines can be engaged to shape new approaches to cartography and reveal the map’s ability to impart emotion and evoke a sense of place.</p>
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Kačić Rogošić, Višnja. "Keeping the Promise of Community: Communal Efforts on the Contemporary Zagreb Non-Institutional Scene." Theatre and Community 9, no. 2021-1 (June 30, 2021): 52–62. http://dx.doi.org/10.51937/amfiteater-2021-1/52-66.
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In their 1979 manifesto, the independent experimental theatre collective Kugla glumište (Zagreb, 1975–1985) claims: “Kugla discovers images, symbols and stories that wish to be the promise of community.” The article explores the repercussions of those neo-avant- garde community efforts on the contemporary Zagreb non-institutional scene by analysing four inclusive performances which differ in motivations, aesthetic aims, production levels and participatory modes. In The Love Case of Fahrija P (2017), the ex-members of Kugla and additional co-authors stage a polylogue with the artistic heritage of the deceased Kugla glumište member Željko Zorica Šiš (1957–2013) and the inclusive procedures they devised during the 1970s. The community project 55+ (2012) by the production platform Montažstroj gathers the participants who are over 55 in workshops, public debates, celebrations, protests and a documentary to provide visibility and voice to that neglected generation. In the trilogy On Community (2010–2011), the production platform Shadow Casters tests different mechanisms of creating temporary aesthetic communities, from learning an a cappella group song to sharing secrets, on its recipients. Finally, the atmospheric inclusion of the subtly associative performance Conversing (2019) by Fourhanded offers an almost elitist opportunity of co-existing in the intimate world of private tensions. However, what they all have in common is a physically non-invasive form, emotional and/or intellectual engagement and an emphasised personal commitment that can oblige audiences to reciprocate while they join the community of experience.
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Douglas, Anne, and Melehat Nil Gulari. "Understanding experimentation as improvisation in arts research." Qualitative Research Journal 15, no. 4 (November 9, 2015): 392–403. http://dx.doi.org/10.1108/qrj-06-2015-0035.
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Purpose – The purpose of this paper is to address the following questions: in what sense does experimentation as improvisation lead to methodological innovation? What are the implications of artistic experimentation as improvisation for education and learning? Design/methodology/approach – The paper tracks the known concept within research of “experimentation” with a view to revealing how practice-led research in art works distinctively with experimentation. It proposes experimentation as improvisation drawing on a research project Sounding Drawing 2012 as an example. The paper situates art experimentation as improvisation in art (Cage, 1995) anthropology (Hallam and Ingold, 2007; Bateson, 1989) and the theoretical work of Arnheim (1986) on forms of cognition. Findings – Arts research as improvisation is participatory, relational and performative retaining the research subject in its life context. The artist as researcher starts with open-ended critical questions for which there are no known methods or immediate answer. By setting up boundary conditions from the outset and understanding the situatedness and contingencies of those conditions, the artist as improviser seeks ways of not only avoiding chaos and the arbitrary but also being trapped by what is already known. Originality/value – This approach is important within and beyond the arts because it consciously draws together different forms of cognition – intuition and relational knowledge and also sequential knowledge. It is also significant because it offers a different epistemology in which new knowledge emerges in the relationship between participants in the research taking form in co-creation. These qualities all position improvisation as a research paradigm and a counterpoint to positivism.
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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 (September 20, 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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Olmo Alonso, Saioa. "TRANSART. Transactions, Transferences and Transitions in Participatory Art." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 322. http://dx.doi.org/10.17583/brac.2018.2814.
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This article centres on the exchange of necessities, projections, ways of behaving and of establishing relations, of people involved in participatory art projects and collective artistic practices. For that, we explore how these exchanges happen, thinking about the transactions (from the point of view of the Transactional Analysis), the transferences and counter transferences (from Freudian Psychoanalysis), the concept of “habitus” (of Pierre Bourdieu’s sociology) and the transitional phenomena (from Donald W. Winnicott’s theory). We cross these concepts with the artistic fact andspecifically with ways of doing art usually appointed under labels such as Participatory Art, Collaborative Art, Relational Art, Dialogical Art, Community Art, Social Engaged Art, Artivism, New Genre Public Art and Useful Art. We pay attention to artistic practices that specifically put the focusof interest on exploring different possibilities of sociability that let people and collectives make transitions (ideological, practical, emotional, material, relational ones…) from one situation or position to another. We call “Transart” to this kind of artistic practice that works under the idea that art isa human creation that experiment with ways of exchange, that facilitate transits and that can contribute to processes of transformation.
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Westman, Peter, and Julian McDougall. "Ethnographic Media Literacy in the Third Space." International Journal of Critical Media Literacy 1, no. 2 (November 18, 2019): 193–213. http://dx.doi.org/10.1163/25900110-00102003.
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As Poveda, Thomson and Ferro (2018) observe, there is a momentum in ethnographic explorations of the arts in education in which “an increasing number of researchers have turned their attention to expressive practices and artistic spaces as contexts and tools for learning, identity construction and social mobilization (p. 269).” However, the distinction between ethnography of education and education by ethnography – i.e. an ethnographic pedagogy – is at least partly maintained within this momentum. This research attempted an ethnographic approach to pedagogy, utilising digital media literacy for creative production, to facilitate new ways for students to critically engage with their own lived experiences in relation to their participation in formal ‘schooled’ learning. The pedagogic value of this type of ethnographic approach was assessed over two years of participatory fieldwork with three secondary schools and one further education college in the West Midlands of the United Kingdom, working with teachers in multiple curricular areas using ‘low-tech’ media literacy work with students. Our findings suggest that while there are clear benefits presented by this (digital) ethnographic pedagogy, for it to work in media literacy education there is a need for the creation of critical, dynamic “third spaces” (Bhabha 1994) for students to work in. The creation of these spaces is highly contingent on the respective classification and framing (Bernstein 1975) of the subject curriculum. This research developed out of a series of ethnographic interventions into digital media education, including a European Union funded project on ethnographic social documentary as a transferable pedagogic tool (McDougall 2013) and a large scale field review of third space media literacies (Potter and McDougall 2017, see also McDougall et al. 2018). To apply this conceptual framing to a specific pedagogic context over a longer time period, the research aimed to address the following research questions: 1. What pedagogical value is afforded by the use of ethnographic digital media making as a tool for creative production and critically reflexive media literacy? 2. How can ethnographic pedagogy, in the form of creative digital media production, enhance participation in classroom learning? 3. What is the potential for ‘low-tech’ creative production to transgress boundaries between curriculum areas and modes of literacy, learning and teaching? 4. How can ethnographic digital media-making give ‘voice’ to learners and how is ‘voice’ socio-culturally framed within pedagogic and research discourses?
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Frisina, Annalisa, and Stefania Muresu. "Ten Years of Participatory Cinema as a Form of Political Solidarity with Refugees in Italy. From ZaLab and Archivio Memorie Migranti to 4CaniperStrada." Arts 7, no. 4 (December 6, 2018): 101. http://dx.doi.org/10.3390/arts7040101.
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This paper introduces the context of European mobilizations for and against refugees and how participatory cinema has become a way of expressing political solidarity with refugees in Italy. We present and discuss ten years of the artistic work of ZaLab and Archivio Memorie Migranti and focus on two film projects of 4CaniperStrada. Central to the production of participatory cinema in Italy is challenging the mainstream narrative of migration through the proactive involvement of asylum seekers, with their political subjectivity, by using a self-narrative method.
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Quijada Cerecer, David Alberto, Caitlin Cahill, Yvette Sonia González Coronado, and Jarred Martinez. "“We the People”: Epistemological Moves Through Cultural Praxis." Cultural Studies ↔ Critical Methodologies 19, no. 3 (December 25, 2018): 214–21. http://dx.doi.org/10.1177/1532708618819629.
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How do young people embody activism and artistic praxis as they commit to community-based participatory action research for social change? We consider how the arts might provide a social and shared context for challenging racialized characterizations. Our analysis draws upon arts-based participatory action research projects conducted by the Mestizo Arts & Activism Collective ( https://maacollective.org ), a social justice think tank led by the urgent concerns of young people of color. Specifically, we engage the arts as integral to the research process—an epistemological move that opens up new ways of understanding and knowing our world and representing ourselves.
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Mylenkova, Rimma. "NON-FORMAL CIVIC EDUCATION OF YOUTH THROUGH PARTICIPATIVE ART PRACTICES." Physical and Mathematical Education 29, no. 3 (June 23, 2021): 13–17. http://dx.doi.org/10.31110/2413-1571-2021-029-3-002.
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Formulation of the problem. Due to the relevance of civic education for young people, in particular high school students, an integrated course of Civic Education was included in the main curriculum. However, there is a problem of lack of a holistic approach, a system of motivation to study the subject, and formal education’s limited resources. There is currently a need to intensify civic education through the involvement of the students in practice. The performance of the course and the level of civic education will increase significantly if it is implemented in addition to formal education, in a non-formal one. The article answers the question of how to make the process of training an active citizen more integral and more efficient. Materials and methods. The experience of Ukrainian public organizations in the implementation of civic education projects through participatory artistic practices is used. The analysis of pedagogical, sociological, and scientific-methodological literature on the education of civic position of youth in the system of formal and non-formal education is applied. Results. The model of participatory artistic practices is described as a modern tool of civic education and civic action in terms of their multi-agent structure, which includes the cooperation of students, educators, artists, school administration, local government representatives, the general community. The methods and approaches to civic education programs are presented. The organizational algorithm of the participatory art practice with elements of civic education is specified. Conclusions. The existing integrated curriculum for Civic Education, implemented in the tenth grade, needs practical support through the field of non-formal education. This possibility is provided by the algorithms of civic education projects through participatory artistic practices that are implemented in extracurricular time. The introduced cases show the high efficiency of such practices in ensuring the civic competencies of young people. Participation in such practices provides students with the formation of cross-cutting competencies, which are revealed through social activity, social responsibility, tolerance, the ability to advocate their thoughts and positions, the ability to interact both horizontally and vertically.
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Yeung, Chun Wai (Wilson). "In-Between Windowscapes. A Curator’s Perspective on Collaboration as Artistic Activation in Public Spaces." Journal of Public Space, Vol. 5 n. 4 (December 1, 2020): 259–72. http://dx.doi.org/10.32891/jps.v5i4.1418.
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This paper emphasizes that curatorial practice and site-specific art are essential aspects of the transition from artistic collaboration to collaborative curatorial practice and discovers the new potential of ‘curator as collaborator’ practice to cultivate community-based, collaborative and engaging cultural projects in public spaces. By examining the curatorial residency of my participation in Public Space 50 at RMIT University, Melbourne, Australia in 2017, this portfolio investigates how I, as a curator, explore art curation locations and methods to enable students to actively work collaboratively to plan, facilitate and produce public art projects. It asks how to turn public spaces into laboratories; how can student artists work together in public space; how to empower a creative student community through artistic collaboration and how artistic activation can be developed among creative participators of different cultures and backgrounds?
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Gordienko, Elena I. "Non-professionals on the professional stage: Aesthetics of the ordinary in the contemporary theatre and dance." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 82–99. http://dx.doi.org/10.18522/2415-8852-2020-1-82-99.
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The article explores the tendency of inviting non-professional artists to contemporary theatre and dance performances. From the examples of the Rimini Protokoll, Jérôme Bel, Nicole Seiler, Tatyana Gordeeva, Vsevolod Lisovsky and Dmitry Volkostrelov performances it is shown how the participation of “ordinary” people serves aesthetic and ethical purposes of the stage directors and choreographers. Ordinary bodies, gestures and voices in contemporary theatre are valued as manifesting the extra-institutional identity of the participants, namely, a professional or social one, with which the spectators could easily identify themselves. The non-virtuosity of movements and speech, making mistakes and even fatigue, become specially constructed “signs of naturalness”. Participatory projects in which the main action is expected to be performed by the audience can be seen also as a performance with non-professional artists. The borders between artistic and non-artistic in such projects are blurred. Likewise, the community creation, the attention paid to other people and the inclusion of “everyday” life becomes its main aesthetic feature.
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Balkin, Sarah, and Sandra D’Urso. "“My relationship to the public is changing”: Marina Abramović: In Residence." TDR/The Drama Review 61, no. 3 (September 2017): 94–111. http://dx.doi.org/10.1162/dram_a_00675.
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Marina Abramović: In Residence (2015) was a participatory public art project that relied on “facilitators” trained in the Abramović Method. As in other later works of Abramović’s performance practice, the artist’s presence is implied in the bodies of facilitators and participants. Situating In Residence in a longer history of institutional performance takes into account Abramović’s self-positioning as the charismatic undead.
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Martín Prada, Juan. "Network culture and the aesthetics of dissension." Escritura e Imagen 16 (December 16, 2020): 271–84. http://dx.doi.org/10.5209/esim.73038.
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This article addresses the complex relationship between digital activism and Internet art, from the initial proposals in the 1990s up to the present day. The analysis focuses on those projects that have most impacted the convergence of net art and “net-activism” during this period, with a particular emphasis on the relationship between artistic practice and hacktivism. Likewise, phenomena such as virtual sit-ins, DDOS-based strategies and several others that have emerged in the new context of social networks and participatory online platforms (memes, flash mobs, etc.) are analysed, in order to reflect on the new practices of social media art and their potential for specific critical action.
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Nikonanou, Niki, Evi Papavergou, and Katerina Paraskeva. "The Contribution of Participatory Projects in Promoting the Inclusive Museum: Are Visitors’ Artistic Creations Welcomed in an International Exhibition of Contemporary Art?" International Journal of the Inclusive Museum 13, no. 1 (2020): 1–11. http://dx.doi.org/10.18848/1835-2014/cgp/v13i01/1-11.
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Groot, Barbara, Lieke de Kock, Yosheng Liu, Christine Dedding, Janine Schrijver, Truus Teunissen, Margo van Hartingsveldt, et al. "The Value of Active Arts Engagement on Health and Well-Being of Older Adults: A Nation-Wide Participatory Study." International Journal of Environmental Research and Public Health 18, no. 15 (August 3, 2021): 8222. http://dx.doi.org/10.3390/ijerph18158222.
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An emerging body of research indicates that active arts engagement can enhance older adults’ health and experienced well-being, but scientific evidence is still fragmented. There is a research gap in understanding arts engagement grounded in a multidimensional conceptualization of the value of health and well-being from older participants’ perspectives. This Dutch nation-wide study aimed to explore the broader value of arts engagement on older people’s perceived health and well-being in 18 participatory arts-based projects (dance, music, singing, theater, visual arts, video, and spoken word) for community-dwelling older adults and those living in long term care facilities. In this study, we followed a participatory design with narrative- and arts-based inquiry. We gathered micro-narratives from older people and their (in)formal caregivers (n = 470). The findings demonstrate that arts engagement, according to participants, resulted in (1) positive feelings, (2) personal and artistic growth, and (3) increased meaningful social interactions. This study concludes that art-based practices promote older people’s experienced well-being and increase the quality of life of older people. This study emphasizes the intrinsic value of arts engagement and has implications for research and evaluation of arts engagement.
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Pinto, Paula Reaes. "PATHS OF SALT AND ARTISTIC INTERACTIONS WITH CACELA VELHA: TWO PUBLIC ART PROJECTS SUSTAINED BY AN INTEGRATED VIEW OF PLACE THROUGH PARTICIPATORY DESIGN." IJASOS- International E-journal of Advances in Social Sciences 1, no. 2 (August 31, 2015): 60. http://dx.doi.org/10.18769/ijasos.56580.
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Schwarzbart, Judith, and Kristine Samson. "Deltagelsens kunst?" K&K - Kultur og Klasse 42, no. 118 (December 30, 2014): 51–68. http://dx.doi.org/10.7146/kok.v42i118.19835.
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Within recent years, art and urbanism have gradually moved closer to each other and come together around socially engaged, dialogical projects. Participation and the creation of urban publics are topics that often concern artists as well as urban planners and activists. Based on a record of this recent conjunction between art and urbanism, the article examines practices, fractures, and conflicts in the aftermath of the social turn. With a point of departure in the coalescing public programme of the Istanbul Biennial and Occupy Gezi at Taksim Square in 2013, the article questions the art of participation. What type of public is created in the participative art? And is an artistic social turn towards the city even possible beyond the art institution? The article concludes that precisely in the conflict between the two different rationales of art and urbanism a participatory, urban public can emerge; a public, however, which lie beyond the intention and rationales of the individual actor.
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Holub, Barbara. "What is normal." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 15–27. http://dx.doi.org/10.1386/aps_00030_7.
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The text discusses the role of art engaging in current urban issues, and how critical spatial practice and artistic-urbanistic strategies can contribute as durational involvement (see Paul O’Neill) to direct urbanism – for promoting a more just society by a socially engaged urban planning and development. The two projects 'NORMAL' and 'Harbour for Cultures' presented in this text address questions of what is considered 'normal' in our current society – which is characterized by the unplannable and increasing fears fueled by right wing demagogy. Rather than resigning in helplessness or fear – on the contrary, transparadiso considers this a unique chance to question dominant values of society driven by neo-liberal economics for re-introducing shared values of living together as social beings, for creating new, inclusive communities beyond cultural borders and thus counteracting the increasing isolation based on fear. Both projects exemplify participatory strategies like the 'production of desires' for producing programs beyond the functional, enhancing also poetic moments as non-recognized value in urban planning, and discuss how dialogues (see 'dialogical art', Grant Kester) can be created between conflicting interests. At the same time the projects make use of the 'autonomy of art' as inherent quality of approaching burning issues of society from an angle of the non-functional, the non-efficient – thus counteracting the dominant claims of decision making in our contemporary globalized society.
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Tan, Adrian. "The Artists Village: Openly Intervening in the Public Spaces of the City of Singapore." Open Philosophy 2, no. 1 (December 13, 2019): 640–52. http://dx.doi.org/10.1515/opphil-2019-0047.
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AbstractThis paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a farm, in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses.
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Talianni, Katerina. "The soundscape of Anthropocene." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 63–76. http://dx.doi.org/10.2218/airea.5037.
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Recently, much attention has been paid to the many different forms of collaborative or participatory practice both within, and out with the academy; from practice-based research to theoretical contributions and artistic experimentations. In terms of acoustemology as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as dialogic editing, produce theories of sound as knowledge production. Within this trend of doing anthropology in sound, sound art works aim to reconnect communities to the environment and indicate the emergence and presence of an ecological and aesthetic co-evolution. Such projects, in fostering interdisciplinary approaches, allow the development of hybrid types of knowledge through dialogic exchanges, and engage multiple agents by developing audile techniques. They also raise interesting questions within collaborative and interdisciplinary creative practice, in relation to the critical examination of the instrumentality of collaboration. By focusing on field recordings and soundscape compositions this paper discusses ecological sound art works that use collaborative creativity, new technologies, and phenomenological listening, to produce dialogic and collaborative forms of epistemic and material equity. These sound art works are the result of complex expressions of creative processes that involve multiple agents, while successfully voice their authorial presence. The interdisciplinary, collaborative and open-ended nature of these projects brings forward the social and political dimension of sound and listening, which could figure in more collaborative forms of knowledge production and inspire climate action.
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Lavrinec, Jekaterina. "COMMUNITY ART INITIATIVES AS A FORM OF PARTICIPATORY RESEARCH: THE CASE OF STREET MOSAIC WORKSHOP / BENDRUOMENINIO MENO INICIATYVOS KAIP DALYVAUJAMOJO TYRIMO FORMA: GATVĖS MOZAIKOS DIRBTUVIŲ ATVEJIS." CREATIVITY STUDIES 7, no. 1 (July 2, 2014): 55–68. http://dx.doi.org/10.3846/20297475.2014.933365.
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The paper examines the potential of community art projects as a participatory research method and as a tool for neighbourhood regeneration. A thematisation of everyday micro-processes, which takes place in contemporary urban studies, involves the question about the research tactics, sensitive for urban details and micro-processes, bodily and emotional experiences, the experience of togetherness and the emerging networks of trust and mutual help. By recognising a sensitivity, flexibility and productivity of various art forms used as the research tactics and for the articulation of findings, the urban researchers enrich their toolbox with an “arts-based approach” as an integrated part of participatory action research. This paper explores a case of a community art initiative, developed in the wooden neighbourhood of Snipiskes (Šnipiškės, in Lithuanian) by the residents and a Vilnius-based interdisciplinary group “Laimikis.lt”, which has been working as researchers and art-activists in the neighbourhood since 2012. The community art initiative “Street Mosaic Workshop” works both as an informal communication platform and as an artistic micro-tool for revitalisation of the neighbourhood. Straipsnyje analizuojamas bendruomeninio meno projektų potencialas, organizuojant dalyvaujamąjį meninį tyrimą ir regeneruojant viešąsias kaimynijų erdves. Šiuolaikinėse miesto studijose įvykęs kasdienių procesų tematizavimas įtraukia klausimą apie tyrimo taktikas, jautrias urbanistiniams mikroprocesams ir aplinkos detalėms, taip pat kūniškai bei emocinei patirčiai, bendrabūvio (angl. togetherness) patirčiai ir besiformuojantiems socialiniams ryšiams (pvz., pasitikėjimo tinklams). Atpažindami įvairių meno formų jautrumą minėtųjų miesto gyvenimo aspektų atžvilgiu ir efektyvumą, organizuojant tyrimo lauką bei lankstumą, formuluojant tyrimų rezultatus, miesto tyrinėtojai praplečia savo metodų diapazoną. Šiame straipsnyje susitelkiama ties „meniniu tyrimu“ (angl. arts-based research), kaip integralia „dalyvaujamojo tyrimo“ (angl. participatory research) dalimi. Bendruomeniniai meno projektai šiame straipsnyje pasitelkiami kaip šio tyrimo forma, taip pat atskleidžiamas jų poveikis kaimynijos regeneracijai. Kaip atvejis analizuojama „Gatvės mozaikos dirbtuvių“ iniciatyva, kurią nuo 2012 m. Šnipiškių medinėje kaimynijoje vysto skirtingo amžiaus vietos gyventojai kartu su kūrybine miesto tyrimų ir meninių intervencijų grupe „Laimikis.lt“. Atskleidžiama, kad bendruomeninė meno iniciatyva tarnauja ir kaip neformalios komunikacijos platforma, ir kaip meninis kaimynijos studijų bei gaivinimo įrankis.
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Niziołek, Katarzyna. "ASSEMBLAGE OF MEMORY: ON THE STRUCTURE, PROCESS AND CREATIVITY IN COLLECTIVE MEMORY." Creativity Studies 14, no. 1 (June 23, 2021): 271–94. http://dx.doi.org/10.3846/cs.2021.12290.
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The article is aimed at presenting and discussing the theoretical concept of assemblage of memory inspired by and grounded in the creative work done in connection with social research within the framework of participatory theatre. Based on three projects of this kind that I have collaborated on over the last couple of years, all taking memory as their theme, The Method of National Constellations (2014–2016), Prayer: A Common Theatre (2016–2017), and Bieżenki (2018), the concept draws both on artistic, and sociological thinking. An assemblage of memory could be roughly described as a product of creativity, which is constructed using “found” materials, such as stories, images, emotions, behaviours, objects, people even, to compose a new meaningful entity. This is congruent with what became to be known as the assemblage theory, started by Gilles Deleuze and Félix Guattari, who suggested that social phenomena, such as collective memory, one could add, should be viewed as dynamic and heterogeneous arrangements of a variety of elements, material and immaterial, natural and artificial, human and non-human, that are dependent on the connections between them rather than their intrinsic qualities. Thus, an assemblage of memory cannot be accessed through text-oriented methodologies that still seem to predominate the humanities (with its focus on the witness and testimony), but requires innovative, creative procedures, which, as exemplified by the above mentioned theatrical projects, are capable of revealing its structure and dynamics.
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Denikin, A. A. "Modern Digital Art Practices and “More-than-Human” Perception." Art & Culture Studies, no. 1 (2021): 200–221. http://dx.doi.org/10.51678/2226-0072-2021-1-200-221.
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The article analyzes the concept of “more-than-human” perception, the features of which are constructed in the networks of relations, as a result of the interaction and relationships of heterogeneous forces (human activities, animals, bacteria, objects, technologies, etc.). This is not a subjective human perception, personal judgment of individual taste or social “distribution of sensitive”, but the collaborative process of configuring affective “field of the possible things” (define perception) as a result of the participation of multiple actants in the creation of life events, situations, processes, and conflicts. Based on the philosophical ideas of A. Bergson, W. Whitehead, J. Simondon, J. Deleuze, and F. Guattari, the author examines the affective nature of the interaction between the works of contemporary artists and the audience-participants. It is argued that creativity and artistic practice can be reinterpreted as processes of co-creation with the movements of matter formation. It is a way to think of art not as a form, but as a process open to a continuous interval of renewal and invention, which is revealed through the material relations of matter-energy, duration, transitions, and intuition. Through affective attunement techniques, participants organize the movements of matter-en- ergy flows, and each individual perception by the subject-actant becomes a joint “more-than- human” perception. Interactive and participatory works do not reflect reality in aesthetic forms, but instead create new processes, new places of creativity (manifestations of chance), in which the aesthetic is performatively realized before it is understood and reflected by the participants themselves. The text clarifies what constitutes “more-than-human” perception, how it relates to the usual understanding of the sphere of human sensory experience, and how it is implemented when working with modern interactive and participatory art projects.
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Krenn, Martin. "Inclusive history politics in the arts: Intervention at the Peace Cross St. Lorenz." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 119–29. http://dx.doi.org/10.1386/aps_00037_1.
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The text discusses inclusion and social engagement in art, which are central to my practice. My projects operate at the interface between dialogical education and participatory as well as collective art making. By referring to Kester’s critique of New Labour policies of the late 1990s as leading to a de-radicalized Marxism I argue for an agonistic method that I connect with the idea of ‘radical inclusion’ as a strategic approach to democratization. The problem of Austrian history politics and how the country created the myth of Austria as the first victim of Nazi Germany is the main focus of my intervention at the Peace Cross St. Lorenz in Lower Austria, which serves as an example of my artistic practice of ‘radical inclusion’. The peace cross exists since the 1960s and is celebrating the Jockisch task force. Contemporary historical research has revealed that this combat group was actively involved in war crimes during the Second World War. To counter the myth of an innocent Wehrmacht I mounted in front of the cross a photomontage made in 1933 by the antifascist artist John Heartfield. Additionally, the memorial is augmented by five signboards which present collages produced by local school pupils during a workshop that took place over a period of six months.
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Lehrer, Erica, and Magdalena Waligórska. "Cur(at)ing History." East European Politics and Societies: and Cultures 27, no. 3 (February 26, 2013): 510–44. http://dx.doi.org/10.1177/0888325412467055.
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In the past few decades, Poland has seen a growing number of attempts to reclaim its Jewish past through traditional forms such as historiographic revision, heritage preservation, and monument building. But a unique new mode of artistic, performative, often participatory “memory work” has been emerging alongside these conventional forms, growing in its prevalence and increasingly catching the public eye. This new genre of memorial intervention is characterized by its fast-moving, youthful, innovative forms and nontraditional venues and its socially appealing, dialogic, and digitally networked character as opposed to a prior generation of top-down, slow moving, ethnically segregated, mono-vocal styles. It also responds to the harsh historical realities brought to light by scholars of the Jewish-Polish past with a mandate for healing. This article maps the landscape of this new genre of commemoration projects, identifying their core features and investigating their anatomy via three case studies: Rafał Betlejewski’s I Miss You Jew!; Public Movement’s Spring in Warsaw; and Yael Bartana’s Jewish Renaissance Movement in Poland. Analyzing their temporalities, scopes, modalities and ambiences, as well as the new visions for mutual identification and affiliation that they offer Poles and Jews, we approach these performances not as representations, but rather as embodied experiences that stage and invite participation in “repertoires” of cultural memory. Different from simple reenactments, this new approach may be thought of as a subjunctive politics of history—a “what if” proposition that plays with reimagining and recombining a range of Jewish and Polish memories, present-day realities, and future aspirations.
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Feinberg, Pohanna Pyne. "Re-storying place: The pedagogical force of walking in the work of Indigenous artist-activists Émilie Monnet and Cam." International Journal of Education Through Art 17, no. 1 (March 1, 2021): 163–85. http://dx.doi.org/10.1386/eta_00056_1.
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Walking plays a generative and pedagogical role in the work of contemporary artists Émilie Monnet (Anishnaabe/French) and Cam (Innu/Québecois), both of whom work and live in the region known as a Tiohtià:ke to the Haudenosaunee, as Mooniyang to the Anishinaabeg, and as Montréal to many others. This article proposes that recent artistic interventions and participatory projects offered by Monnet and Cam infuse the international discourse about walking as a pedagogical force with their distinct perspectives as Indigenous women. They employ walking to reinforce their presence, to learn from place, to contest colonial narratives and exclusions conveyed by visual culture, to honour their ancestors, to indigenize collective memory by amplifying Indigenous voices and contributing to the re-storying of place, a concept inspired by Potawatomi environmental biologist Robin Kimmerer. Monnet is an interdisciplinary artist who combines theatre, performance, image and sound art as a performer, creator and director. She is also the founding director of Onishka, an mutlimedia Indigenous arts organization. Cam is a street artist and the lead coordinator of Unceded Voices, a street art convergence for artists who are Indigenous women, women of colour, queer, two-spirit and gender non-conforming. She is also currently the national coordinator of the Aboriginal Curatorial Collective. With a shared awareness that the dynamics that comprise place are intrinsically relational and dialogical, the work of Cam and Monnet intervenes in the felt and seen world to reinforce their sense of belonging to this region. Walking is integral to their respective research, creation and collaboration that enables their work to contest dominant colonial narratives while honouring the contributions of those who have been disavowed.
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Sousa, Ianed da Luz, Rosária Helena Ruiz Nakashima, and Jutta Gutberle. "A EXTENSÃO UNIVERSITÁRIA: espaço de comunicação e de transformação social." Cadernos de Pesquisa 27, no. 4 (December 29, 2020): 372. http://dx.doi.org/10.18764/2178-2229.v27n4p372-395.
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Este artigo problematiza a relação da extensão universitária dialógica e emancipatória com as metodologias participativas, no contexto atual do ensino superior público, a partir da análise de três ações extensionistas, realizadas na Universidade Federal do Tocantins (UFT), Câmpus de Araguaína. Esta pesquisa ancora-se, metodologicamente, na análise qualitativa, com triangulação de pesquisa documental, entrevistas com docentes e relatório do Sistema de Informação e Gestão de Projetos (SIGProj). Tais ações evidenciaram caminhos para a materialização da comunicação entre universidade pública e sociedade que, comprometida com a inclusão social pela educação, poderá promover a (co)produção, o compartilhamento, a comunicação, as trocas e a integração de culturas na sociedade. As experiências extensionistas analisadas demonstraram que a universidade poderá ampliar a construção de conhecimentos socialmente relevantes e de transformação social pela ação, a partir da aprendizagem colaborativa entre agentes da Comissão Pastoral da Terra (CPT), acadêmicos, camponeses do Quilombo Grotão, docentes da universidade, grafiteiros, servidores técnico-administrativos estudantes da Educação Básica, professores das escolas rurais e de pequenas cidades, moradores de povoados e de comunidades rurais. Conclui-se que, apesar dos desafios atuais da universidade pública, algumas estratégias desenvolvidas demonstraram possibilidades de diálogos socioculturais, fortalecidos pela participação daqueles que estão fora da academia, reconhecidos como importantes coprodutores no processo de construção de saberes.Palavras-chave: Extensão universitária. Metodologias participativas. Educação emancipatória.UNIVERSITY OUTREACH WORK: space for communication and social transformationAbstractThis article problematizes the relationship between dialogical and emancipatory university outreach work applying participatory methodologies, in the current context of public higher education, based on the analysis of three outreach actions, carried out at the Federal University of Tocantins, Araguaína campus. This research is methodologically anchored in qualitative analysis with triangulation of documentary analysis, interviews with professors and the analysis of the Information and Project Management System reports. Such actions evidenced pathways for concrete communication between public universities and society, committed to social inclusion through education that promotes (co-)production, sharing, communication, exchanges and cultural integration in society. The outreach experiences analyzed showed that the university will be able to expand the construction of socially relevant knowledge and social transformation through actions based on collaborative learning among agents involving members from the Pastoral Land Commission (CPT), academics, peasants from the Quilombo Grotão community, graffiti artists, technical-administrative servants, students enrolled in basic education, teachers from rural schools and small towns, as well as residents from villages and rural communities. We conclude that, despite the current challenges of the public university, some strategies developed in te case studies demonstrated possibilities for socio-cultural dialogue, strengthened by the participation of those who are outside the academy and are recognized as important co-producers in the process of building knowledge.Keywords: University outreach work. Participatory methodologies. Emancipatory education.EXTENSIÓN UNIVERSITARIA: espacio de comunicación y transformación socialResumen Este artículo problematiza la relación entre la extensión universitaria dialógica y emancipadora con metodologías participativas, en el contexto actual de la educación superior pública, basada en el análisis de tres acciones de extensión, realizadas en la Universidad Federal de Tocantins, Câmpus de Araguaína. Esta investigación está anclada, metodológicamente, en análisis cualitativo, con triangulación de investigación documental, entrevistas con profesores e informes del Sistema de Información y Gestión de Proyectos. Dichas acciones evidenciaron caminos para la materialización de la comunicación entre las universidades públicas y la sociedad que, comprometidos con la inclusión social a través de la educación, pueden promover (co) producción, intercambio, comunicación, intercambios e integración de las culturas en la sociedad. Las experiencias de extensión analizadas mostraron que la universidad podrá expandir la construcción de conocimiento socialmente relevante y la transformación social a través de la acción, basada en el aprendizaje colaborativo entre agentes de la Comisión de Tierras Pastorales, académicos, campesinos de Quilombo Grotão, profesores universitarios, artistas de graffiti, servidores técnicos-administrativos, estudiantes de educación básica, maestros de escuelas rurales y pequeñas ciudades, residentes de aldeas y comunidades rurales. Se concluye que, a pesar de los desafíos actuales de la universidad pública, algunas estrategias desarrolladas demostraron posibilidades de diálogos socioculturales, fortalecidos por la participación de aquellos que están fuera de la academia, reconocidos como coproductores importantes en el proceso de construcción de conocimiento.Palabras clave: Extensión Universitariav. Metodologías participativas. Educación emancipadora.
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Illeris, Helene. "Subjectivation, togetherness, environment. Potentials of participatory art for Art Education for Sustainable Development (AESD)." Nordic Journal of Art and Research 6, no. 1 (June 18, 2017). http://dx.doi.org/10.7577/information.v6i1.2166.
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Through a process-oriented analysis of the participatory art project The Hill this article explores the relevance of participatory art projects for the development of AESD – Art Education for Sustainable Development. Inspired by Felix Guattari’s Three Ecologies (2008) the analysis moves through three sub-studies delving into three different aspects of the project. Each sub-study adopts two overlapping analytical ‘lenses’: The lens of a contemporary art form (performance art, community art, and site-specific art) and the lens of a related theoretical concept (subjectivation, togetherness, environment). The aim is to propose art educational ideas and strategies that stimulate students to challenge the current political, economic and environmental situation. Central questions addressed by the article are: How can educators use contemporary artistic strategies to challenge essentialist and opportunistic self-understandings? What is the potential for participatory art forms to explore alternative and more sustainable conceptions of human subjectivity? How can art education work in favour of a sense of interconnectedness between the individual, the social and the environmental dimensions of being? In conclusion, the article proposes art education as a symbolic place for carrying out art-inspired experiments with how to live our lives in more sustainable ways.
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Schrag, Anthony. "TrainWreck, or The Failures of Infrastructure: reflections on a Creative People and Place project." Artnodes, no. 21 (July 15, 2018). http://dx.doi.org/10.7238/a.v0i21.3129.
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This reflective text considers the ‘failures of infrastructure’ from the perspective of a researcher involved in a participatory art project funded by Creative People and Places. It uses a single project to act as a microcosm of the practice in general, and encourage the field as a whole to take stock of how artists’ research is expected to occur. It has very consciously not discussed the methods or methodologies of the ‘what’ or ‘why’ of the artistic research undertaken, but rather focuses on the human element of doing artistic research, exploring this from a personal perspective. It has done so to give credence to the notions put forward by Howard S. Becker as long ago as 1984 regarding the interconnectedness of artistic processes to other elements of human existence, and the extent to which infrastructure affects artistic (or artistic research) production. Artists/artist-researchers cannot therefore operate as isolated islands, but rather must consider all the elements around them that impact their work: this includes an understanding of the ‘personal’. It is relevant to – and explores the intersection of – the fields of cultural policy (i.e., government/organisations), cultural management (arts organisations/institutions) and cultural production (i.e., artists/communities), as it concerns the infrastructure that links those fields together.