Gotowe bibliografie tematyczne / Participatory artistic project

Spis treści

  1. Artykuły w czasopismach
  2. Rozprawy doktorskie
  3. Książki
  4. Części książek
  5. Streszczenia konferencji

Gotowa bibliografia na temat „Participatory artistic project”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 16 lutego 2022

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Artykuły w czasopismach na temat "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 knowled
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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 (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 enabl
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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 (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-e
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Tafur, Paola Andrea. "Creación artística: el artista y la comunidad." Revista Lumen Gentium 3, no. 2 (2020): 34–44. http://dx.doi.org/10.52525/lg.v3n2a3.

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La intención de este texto es reconocer diversos escenarios, épocas y obras artísticas específicas que permiten una aproximación a distintas maneras en que algunos artistas plásticos y visuales se desligaron de los procesos creativos individuales convencionales y eligieron actos artísticos colectivos. Se orienta a señalar el sentido de ruptura y desobediencia que asumen los artistas en sistemas culturales tradicionales, lo cual, lleva a identificar estrategias empleadas para generar experiencias estéticas, desarrollar conocimiento y legitimar obras mediante procesos creativos participativos, q
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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 (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 w
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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 (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 be
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Lüneburg, Barbara. "Empowerment and Disempowerment in the Participatory Culture of TransCoding." Organised Sound 24, no. 3 (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 wit
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Keylin, Vadim. "Postcritical Listening: Political affordances in participatory sound art." Organised Sound 25, no. 3 (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. Draw
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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 (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 danc
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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 (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
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Rozprawy doktorskie na temat "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
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Książki na temat "Participatory artistic project"

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Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. 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. Th
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1965-, Boerboom Peter, Witzsch Silke 1967-, Obermaier Gabrielem 1957-, et al., 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. 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
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Części książek na temat "Participatory artistic project"

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Bala, Sruti. "Gestures of institutional critique." In The gestures of participatory art. 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. 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. 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. 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. 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. 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. 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.
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Streszczenia konferencji na temat "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 obse
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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 d
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