Готові списки джерел за темами / Public art engagement

Добірка наукової літератури з теми "Public art engagement"

Автор: Grafiati

Опубліковано: 10 січня 2023

Оновлено: 28 січня 2023

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Статті в журналах з теми "Public art engagement":

Carney, Lora Senechal, and Mark G. Chilton. "Art, Architecture, and Processes of Public Engagement." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 105–14. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35341.

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de Ridder-Vignone, Kathryn D. "Public Engagement and the Art of Nanotechnology." Leonardo 45, no. 5 (October 2012): 433–38. http://dx.doi.org/10.1162/leon_a_00440.

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Nanotechnology art exhibitions provide more than a portal through which to enter the future world of nanotechnology. They also represent the state of nanotechnology in society today. This paper compares three exhibition forums that serve as representations of three of the most common genres of nanotechnology art (nanoart). These exhibition forums and their creators demonstrate distinct perspectives about what counts as engagement and how best to achieve it; they all attempt to persuade their publics that art can serve as a conduit for the creation of alternative nanofutures.

Calo, Carole Gold. "Interaction and Engagement: Contemporary Trends in Public Art." International Journal of the Humanities: Annual Review 5, no. 10 (2008): 169–78. http://dx.doi.org/10.18848/1447-9508/cgp/v05i10/42253.

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Chatzichristodoulou, Maria. "New Media Art, Participation, Social Engagement and Public Funding." Visual Culture in Britain 14, no. 3 (November 2013): 301–18. http://dx.doi.org/10.1080/14714787.2013.827486.

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Marcal, Helia. "PUBLIC ENGAGEMENT TOWARDS SUSTAINABLE HERITAGE PRESERVATION." Protection of Cultural Heritage, no. 8 (December 20, 2019): 185–210. http://dx.doi.org/10.35784/odk.1084.

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Nowadays, heritage conservators are required to have not only a wide variety of technical but also social and human skills. The shift from a material-based conservation to an approach that focuses on subjects instead of objects (Muñoz Viñas, 2005, p. 147) is a structural approach in contemporary theories of conservation. This tendency towards subjectivity created many possibilities by exposing the multiple perspectives that surround a conservation object. At the same time, it made very clear that conservation objects are contextual and contingent (Clavir, 2009, p. 141). This dichotomy between the tangible and intangible features of a conservation object, however, has been successively overlooked in most conservation endeavours. Prior to the conservation decision-making, institutions usually identified the main stakeholders, with publics and communities being part of that sphere together with owners, artists, and conservators, among others. The decision-making process, however, does not engage with communities in practice. This situation is very problematic for the conservation of cultural heritage objects in general, but it becomes truly hazardous for the preservation of cultural heritage with strong intangible features, such as social artistic practices, ethnographic objects, public art, participatory or performance art or even built heritage, which necessarily involves strong cooperation with communities and artists. After all, to whom are conservators preserving cultural heritage? What is the purpose of conserving cultural heritage for “future generations” if “present generations” are not called to decide in that process? This paper attempts to reflect upon these questions through histories around two buildings in Lisbon that had relevant roles during the Portuguese dictatorship (1933-1974).

Monk, David, Bruno de Oliviera Jayme, and Emilie Salvi. "The heART of Activism: Stories of Community Engagement." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 61–78. http://dx.doi.org/10.15402/esj.v5i2.68335.

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This paper invites the reader to consider the power and potential of art for public engagement, and its use in social movement learning and in demanding the world we want now. The authors frame social movements as important sites of scholarship and learning. They emphasize that by applying creative strategies to engage in critical thought about the nature of the world and one’s position in it, artforms have the potential to make essential contributions to social change. Inspired by literature related to critical art-based learning and learning in social movements, the authors explore representations of protest art and public art exhibitions. They contextualize their writing with stories of mobile art exhibits in Sao Paulo, the ‘maple spring’ in Montreal (Tiotia:ke in the language of the Kanien’kehá:ka), and anti–Bill C-51 protests in Lekwungen territory (Victoria, British Columbia). They present and reflect on their own experiences of using art as engagement and as a representation of voice in public demonstrations.

Rocks, Claire, Sarah Jenkins, Matthew Studley, and David McGoran. "‘Heart Robot’, a public engagement project." Interaction Studies 10, no. 3 (December 10, 2009): 427–52. http://dx.doi.org/10.1075/is.10.3.07roc.

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Heart Robot was a public engagement project funded by the Engineering and Physical Sciences Research Council (EPSRC). The aim of the project was to challenge cultural perceptions of robots, and to stimulate thought and debate in members of the general public around research in the field of social and emotional robotics. Fusing the traditions of Bunraku puppetry, the technology of animatronics and the field of artificial emotion and social intelligence, Heart Robot presented a series of entertaining, thought-provoking, and moving performances at fourteen events in the south-west region of the UK between May and December 2008. This paper presents a summary of the independent evaluation of the project. Keywords: Robot, Puppet, Public Engagement, Social Robots, Science-art collaboration

McCormick, Maggie. "The Public Voice." Journal of Public Space 3, no. 2 (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.

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The Public Voice discusses art and activism in public space through the lens of how art practice is re-territoralising public space. The article begins with a consideration of both commissioned and uncommissioned works that challenge male dominance of public space while retaining a traditional relationship between the artist, art and the public. Through a discussion of ‘relational’ public practices from Relational Aesthetic to Community Art to Social Engagement, the article argues that the kind of ‘relational’ art and activism undertaken by the collectives, teams and individuals featured in this issue of The Journal of Public Space is linked by spatial practice as a conduit for social change. By framing their practice through a discussion around her own spatial public practice over time, the author emphasises the impact of urbanisation and digitalisation on the changing nature of public space and the public and how the public voice can be mapped through art and activism.

McCormick, Maggie. "The Public Voice." Journal of Public Space, Vol. 3 n. 2 | 2018 | FULL ISSUE (August 31, 2018): 5–12. http://dx.doi.org/10.32891/jps.v3i2.1107.

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Snedarova, Jana. "Zlín: Public Art and the City." International Visual Culture Review 1 (December 5, 2019): 43–53. http://dx.doi.org/10.37467/gka-visualrev.v1.2242.

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In this article, the topic of public art in an urban environment of the post-industrial city is viewed in the context of one place – Zlín. Contemporary artworks integrated into the city spaces show the city as a site, in the context of its Modernist architecture and urbanism. They reflect both the past and the present-day changes in society and the way how we see and experience the world. Public art in Zlín has become part of the transformation and regeneration of public spaces fostering the enhancement of the quality of lives of local urban residents. It is evident from the research that Zlín can be perceived as a place with great potential for new art projects and for the public’s participation and engagement.

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Дисертації з теми "Public art engagement":

Eriksson, Kajsa G. "Concrete fashion : dress, art, and engagement in public space /." Göteborg : HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009. http://hdl.handle.net/2077/21545.

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Field, Rhian. "Public engagement with climate change through visual art : an experiential with Art-Science." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/e909d884-dd1d-49b6-9567-96e2e1cd983e.

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Art has a potentially influential part to play in science communication, assisting in the process of making information more accessible and more effective. It supports education, serves as a universal language and can help us imagine and hypothesize. However, beyond the practical application of art as visual illustrator, there is something more mysterious and the possibility of a potential yet un-tapped. Art has a reputation for influencing human emotions and behaviour, although the exact mechanics of this process is presently unknown. An effective collaboration between artists and scientists might depend upon a more prescriptive approach and a meeting of minds towards clear objectives. Artists might be inclined to take up such a challenge but to what degree would scientists share their conviction? This research explores whether art and science can collaborate effectively to influence behaviour in the environment towards climate change adaptation and how this might be approached. As part of an empirical mixed method approach to field research, an experimental test-kit was developed by science-trained practicing artist Rhian Field. Experiments were set up in a selection of locations in Wales during 2014 and 2015, to explore the opportunities for the role of visual art in the face of climate change impacts and the need for adaptation. This field research, underpinned by knowledge from a broad range of disciplines, examines the factors that potentially influence public engagement with visual art within a context of climate change, and considers the opportunity for art-science within climate change adaptation.

Puech, Anne. "Street art contestataire et revendicatif en Espagne : formes et pouvoir d’un engagement esthétique, social et politique." Thesis, Angers, 2014. http://www.theses.fr/2014ANGE0025/document.

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Depuis les années 2000 et particulièrement avec l’engagement contesté des troupes militaires dans la guerre en Irak et en Afghanistan, de nouvelles modalités d'expression de la société civile se sont développées en Espagne, en marge des outils institutionnels classiques. À partir de 2008, la crise économique semble consolider ces nouvelles pratiques contestataires. L'occupation d’immeubles vides, l'organisation d'ateliers dans des espaces en autogestion, la transformation en jardins potagers des friches laissées par des bâtiments démolis, tout comme les rassemblements des Indignés et le collectif Democracia Real Ya -qui ont permis de faire converger ces différentes initiatives en un mouvement plus unifié- pourraient traduire une lassitude des citoyens espagnols à l'égard des formes classiques d'engagement. L'occupation graphique de l'espace public et la présence accrue d'œuvres de street art contestataires ou revendicatives pourraient-elles constituer une autre modalité de militantisme ? Ce travail souhaite interroger la validité de l'art public engagé comme alternative à l'exercice de la citoyenneté. Pourquoi ces artistes en viennent-ils à occuper illégalement l'espace public ? Comment ces interventions sont-elles perçues par les passants ? Jusqu’à quel point ces formes ont-elles une incidence sur l’espace et la conscience publics ? Une première partie tente de définir les contours de cette pratique hybride, inspirée par différentes formes d’occupation graphique sur les murs. Dans une deuxième partie, un panorama des interventions d'art public est proposé et classé selon trois grandes catégories : le militantisme culturel, les revendications sociales et la contestation politique. Enfin, la dernière partie de ce travail présente les résultats des différentes enquêtes réalisées à Madrid entre 2009 et 2014 afin de mesurer les intentions et la portée de ces interventions d’art public
Since the 2000s and especially with the contested military dispatch in the war in Iraq, new modes of expression of civil society have been developed in Spain alongside the traditional institutional tools. As of 2008, the economic crisis seems to consolidate these new protesters practices. Ocupation of empty buildings, workshops in self-managed spaces, transformation of wasteland left by demolished buildings into vegetable gardens, or even Indignados and Democracia Real Ya collective’s demonstrations, which have helped bringing these different initiatives in a more unified movement, could reflect a weariness of Spanish citizens against traditional forms of commitment.Could the graphical occupation of public space and the increased presence of anti-establishment and protest street art work prove to form another method of activism ? This work wishes to question the validity of engaged public art as an alternative to exercising one's civil rights. Why are these artists illegally occupying public space ? How are these interventions being seen by passersby ? To what extent do these images affect both space and public consciousness ? The first part attempts to define the outline of this hybrid custom based on different forms of graphical occupation on the walls. In the second part, an overview of public art interventions is proposed and is classified into three main categories : cultural activism, social demands and political protest. The last part of this work presents the results of various surveys conducted in Madrid between 2009 and 2014 to measure the intentions and the scope of these public art interventions

Riding, Deborah. "Challenging the rules of engagement : co-creation of knowledge in the public art museum." Thesis, University of Chester, 2017. http://hdl.handle.net/10034/620832.

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This research examined perceptions of knowledge about art in the gallery and explored the potential of co-creation as a possible model with which to genuinely learn with our audience. Data for the study was generated at a gallery I have been based at throughout the period of undertaking the research. Participants were recruited from this gallery from groups implicated in knowledge co-creation: educators, curators, gallery assistants and audience members. Participants took part in a group workshop at the gallery facilitated by an artist educator, designed to provide opportunities to develop new knowledge together. Following the workshop, participants were interviewed and their experiences analysed. Other data generated through the workshop, as well as analysis of organisational documentation, and reflection on my own practice as a gallery educator, have been drawn together through a bricolage approach. Through analysis of data, I have constructed a situated taxonomy of knowledge types in the gallery and a conceptual model of co-creation. Key paradigms of knowledge have been identified, and the issues associated with the authoritative nature of institutional knowledge presented as a significant barrier to co-creation. Findings indicate that a fundamental shift in the epistemological stance of the gallery is required. A new not-knowing paradigm has been constructed to accommodate models of co-creation shown to be successful in generating a collaborative learning experience, which I have termed ‘learning-with’.The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit.

Bruhn, Katherine L. "Art and Youth Culture of the Post-Reformasi Era: Social Engagement, Alternative Expression, and the Public Sphere in Yogyakarta." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1364899327.

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Hartley, Julian Alex. "Museums and the digital public space : researching digital engagement practice at the Whitworth Art Gallery." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/museums-and-the-digital-public-space-researching-digital-engagement-practiceat-the-whitworth-art-gallery(8eebb8f4-b0b5-4e40-a419-50be3c2e6e9a).html.

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Since the 1990s, a trend in the UK museum sector for developing community partnerships has witnessed a ‘participatory drive’ that aims to embrace social diversity by engaging communities in the co-creation of exhibitions and other museum work. In this context, the Internet broadly, and social media in particular, are seen as complementary to museum processes of reciprocal exchange and public access. However, as this thesis stresses, treating the Internet and social media as complementary and convergent with the participatory drive in museums is assumptive and has been under-analysed, and its difficulties and complexities understated. In this context, this practice-based research carefully unpicks and critically analyses naturalised assumptions about online resources and social media practices in museums by tracing the cultural history through which the participatory museum has developed and contrasting it with the much later sociology of the Internet. The participatory drive is seen to be mediated through society’s agencies for local governance, healthcare and education services, as well as neighbourhood groups and families. These structures act then as a bridge organising people in space and time. In turn, museums’ digital practices often assume similar social organisation in their approach towards public engagement. However, the distributed architecture of the Internet has the effect of compressing time with space, enabling group organisation and public spaces to bypass society’s structures and instead place the individual at the centre of a network of relationships that self-organises according to the social capital displayed in online behaviour. Accordingly, the thesis argues, there is anapparent mis-match between museums on the Web and the online public, which affects negatively public engagement online. By bringing Bourdieu’s theories of social space and social capital into the realm of the Internet, drawing on cultural historical activity theory and reflecting on a research residency at the Whitworth Art Gallery, this thesis goes on to examine why museums find it challenging to engage with online publics. Its research practice aimed to ‘open’ the digital collections of the participating museum into the same time and space as the online public. This included triggering, following, documenting and critically reflecting upon processes, challenges and actions of digital engagement and the people involved in them. The thesis reflects on the research practice’s organisational and cultural challenges, which relate to the fact that it contradicted the museum’s existing departmental organisation and symbolic representation of public access and engagement. It goes on to argue that when digital practices of museums are attuned to the ecology and spatial structure of the online public, the outcomes are misrecognised as unrelated to museums’ core practices of social inclusivity. Instead, the argument continues, museums need to open up to emerging concepts of digital public space and publicness, in order for their digital practices to be relevant to online publics.

Costa, Artur Miguel Dias Gonçalves. "Ways of engaging. Re-assessing effects of the relationship between landscape architecture and art in community involvement and design practice." Doctoral thesis, ISA/UL, 2018. http://hdl.handle.net/10400.5/17517.

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Doutoramento em Arquitectura Paisagista e Ecologia Urbana - Instituto Superior de Agronomia / Faculdade de Ciências. Universidade do Porto / faculdade de Ciências e Tecnologia. Universidade de Coimbra
In 2000, the European Landscape Convention has introduced and highlighted a number of key points which intended to renew the ways of approaching the landscape, also covering the subjects of public participation or the diversity of disciplinary articulations — for example, a greater concern was expressed about the places where people live, such as urban and periurban areas; the public should have an active role and responsibility as well as awareness raising, training and education through an enhanced part in participation actions; crossdisciplinary and more diversity on the approaches related to landscape matters are needed. It was from this context that this investigation was developed, proposing a different perspective of analysis between landscape architecture and art, that is: on the one hand, it was intended to address the current challenges related to the public engagement and participation taking into account the long experience of the art practices in participatory projects; on the other hand, it was intended to contribute to a better clarification on how different disciplines such as landscape architecture and art address similar themes and concerns, and how this can contribute to more efficient design practices and diversified collaborations. Thus, different approaches were analyzed and discussed, produced from temporary projects carried out by artists or by different collaborations between art, landscape architecture and other disciplines, in order to contribute not only to more efficient and inclusive design practices, but also to improve engagement processes between the public, the design team and the project. The aim is to reinforce a more active role of the public that may translate into responsibility as well as in awareness raising, training, and education, mainly referring to the specific context of the urban landscape
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Lee, Da Hyun. "Relational Approaches to US International Cultural Engagement: Promoting National Good and Mutual Understanding through Cooperative Cultural Exchange." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385737907.

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Barnes, Katherine Rachel, and n/a. "Reconstructive Strategies for Artists Engaging With ecology: An Examination of the Relationship Between Culture, Nature and Technology in Ecological Art." Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20061011.150154.

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With the rise in industrial capitalism during the 20th Century, artists increasingly focused on the threat of a disappearing natural world. In the high technology era of the late 20th Century, artists whose practice is termed 'ecological' based their work around new understandings of the relationship between nature and culture, fundamentally underpinned by a shift toward evolutionary, systems-theoretical perspectives from those of conquest and exploitation. Now, at the dawn of the 21st Century, the information era has brought into intersection the discourses of information technologies, quantum physics, and biological science, awakening artists to the challenge of engaging with ecology as the primary subject of their practice. The doctoral project that is the subject of this exegesis focuses critical attention on our scientific and aesthetic understandings of water - a crucial symbolic element of global import in survival. It explores the representation of water in and through art practice that is informed by political ecological awareness and new (digital) technologies. My practice exploits the potential of recent digital technologies to create experiences that aim to encourage a more ecologically sustainable human engagement with nature through this focus on water. This exegesis describes and locates the creative work within an ongoing discourse in contemporary culture that actively seeks to re-establish and redefine the relationship between culture and nature.

Moeller, Mark L. "Using varied forms of communication to enhance worship engagement at First Baptist Church of San Angelo, Texas." Online full text .pdf document, available to Fuller patrons only, 2003. http://www.tren.com.

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Книги з теми "Public art engagement":

Eriksson, Kajsa G. Concrete fashion: Dress, art, and engagement in public space. Göteborg: HDK, School of Design and Crafts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, 2009.

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Burte, Himanshu. Space for engagement: The Indian artplace and a habitational approach to architecture. Calcutta: Seagull Books, 2008.

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Zakaras, Laura. Cultivating demand for the arts: Arts learning, arts engagement, and state arts policy. Santa Monica, CA: RAND Corp., 2008.

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K, Rose Shirley, and Weiser Irwin, eds. Going public: What writing programs learn from engagement. Logan, Utah: Utah State University Press, 2010.

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Rose, Shirley K. Going public: What writing programs learn from engagement. Logan, Utah: Utah State University Press, 2010.

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Young, Anna M. Prophets, gurus, and pundits: Rhetorical styles and public engagement. Carbondale: Southern Illinois University Press, 2014.

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Silber, Bohne G. A decade of Arts Engagement: Findings from the Survey of Public Participaton in the Arts, 2002-2012. Washington, D.C: National Endowment for the Arts, 2015.

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Dupré, Sven, Anna Harris, Julia Kursell, Patricia Lulof, and Maartje Stols-Witlox, eds. Reconstruction, Replication and Re-enactment in the Humanities and Social Sciences. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728003.

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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Replication and Re-enactment (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.

Deshazo, Jessica L., and Zachary Smith. Developing Civic Engagement in Urban Public Art Programs. Rowman & Littlefield Publishers, Incorporated, 2015.

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Developing Civic Engagement in Urban Public Art Programs. Rowman & Littlefield Publishers, 2015.

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Частини книг з теми "Public art engagement":

Bryan-Kinns, Nick. "Mutual Engagement in Digitally Mediated Public Art." In Interactive Experience in the Digital Age, 123–38. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-04510-8_9.

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Mortati, Maria. "Experiencing the Art Museum: Methods for Public Engagement." In Museum Experience Design, 97–114. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-58550-5_5.

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Michails, Maria. "Toward an Ecological Urbanism: Public Engagement in Contemporary Art Practice." In Future City, 1–46. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-15153-3_1.

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Her, Jiun-Jhy, and Jim Hamlyn. "Meaningful Engagement: Computer-Based Interactive Media Art in Public Space." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 17–24. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11577-6_3.

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Wiebe, Sarah Marie. "Hearing or Listening? Pipeline Politics and the Art of Engagement in British Columbia." In The Palgrave Handbook of Intersectionality in Public Policy, 579–99. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-98473-5_27.

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Siebler, Kay. "Civic Engagement as Empowerment: Theater, Public Art, and Spoken Word as Roads to Activism." In Strategies for Resisting Sexism in the Academy, 169–84. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-04852-5_10.

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Finn, Gabrielle M. "Using Body Painting and Other Art-Based Approaches for the Teaching of Anatomy and for Public Engagement." In Teaching Anatomy, 185–97. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-43283-6_20.

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Wirman, Hanna, and Rhys Jones. "Overwatch Fandom and the Range of Corporate Responses." In Modes of Esports Engagement in Overwatch, 157–77. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82767-0_9.

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AbstractOfficial responses to Overwatch fan creations from Blizzard Entertainment range from public endorsement to legal actions against the fans. This chapter illustrates, through examples from modding, fan art, fan fiction, and cosplay, how fan contributions are often results of official fan activities and sometimes become included in the actual game itself. This chapter focuses on exploring the authorship and ownership dynamics in game elements that become reworked by fans, shared in fan communities, and either censored, neglected, or endorsed by Blizzard Entertainment. Focusing on the game’s carefully crafted hero characters and related fanworks, this chapter demonstrates that Overwatch heroes are not only simultaneously developed by both fans and paid developers but transformed by fans into notable works beyond their original design.

Sutton, Sarah. "Untapped Potential for Public Engagement." In The Arts and Humanities on Environmental and Climate Change, 59–82. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003044765-5.

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Brown, Marvin T. "Introduction: Three Kinds of Engagement." In Library of Public Policy and Public Administration, 1–13. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-77363-2_1.

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AbstractTo change the course of the unsustainable trends of American Prosperity, we must change the social climate of injustice that allows it to continue. This change entails three operations: create an interpretive framework that covers the key components of our living systems, tell coherent stories that include past injustices and places to repair them, and create a civic space that enables us to create a climate of justice. The four components of the interpretive framework are the Earth, our humanity, the social, and the civic. The historical narratives are stories guided by the principle of coherence, which reveal opportunities to change the current course of history. Making such changes involves civilians entering civic spaces where they can invite citizens to care for justice and for future generations.

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Guerrero Balarezo, Maria Laura, and Kayvan Karimi. "Urban Art and place. Spatial patterns of urban art and their contribution to urban regeneration." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6069.

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Cities face several challenges regarding public space and urban regeneration. Some of them are the depersonalization and lack of interest of citizens in their own city, privatization, gentrification, technologization and gender-insecurity. Public spaces lose their character as articulator and generator of human relations, while neighborhoods lose their role as the basic unity of community and urban identity. Nowadays, many bottom-up strategies have arisen as expressions of neighborhood’s inhabitant’s will, producing cultural diversity and civic engagement, with a placemaking effect. Urban art is one of them. Social and economic products of urban art have been studied, but the spatial manifestation and impact have been largely absent from the discourse of urban morphology. Spatial conditions are representational of social practices like art, by structuring patterns of movement, encounter and separation in the city (Cartiere & Zebracki, 2016). This study aims to discover the spatial relation between urban art displays and the network of public spaces, and whether this pattern has a role in neighborhood regeneration. To identify these relations in Shoreditch, London, Space Syntax analysis and spatial clustering were used, combined with a survey of geographically located public urban art (extracted from social networks data). Also, the spatial patterns of land prices and land uses from 1995 to 2016 were examined. Research showed that various types of artwork have a strong relation with certain spatial network characteristics and visibility of locations from each other. Economic and use outcomes were also related to the development of the art pattern through the years.

Al-thani, Noora, Nitha Siby, Fatma Nabhan, and Ruba Ali. "Cultivating Curiosity by Integrating Art in Science through Photography." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0259.

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Arts-integrated science is a tantalizing educational approach that captures the attention of scientific learners through the lighter side of science. This study highlights the findings of a schoolbased applied research study conducted to develop public school students’ curiosity and their aesthetic qualities by exploring scientific knowledge by using photography. This study incorporated photography as a learning aid in STEAM workshops for 386 high school students, including 220 males and 166 females from 19 schools, and tested methods for enhancing the curiosity or interest of students to explore the workshop context more deeply. The analysis of our methods discusses the results using pre- and post-method questionnaires and the evaluations of 816 scientific images captured by the students. The key aim of this research involves cultivating curiosity in students as they analyse captured images, which results in positive outcomes, such as increased engagement in scientific workshops, thereby inspiring them to more thoroughly explore the science behind each image.

Byrne, Valerie. "National Sculpture Factory." In Learning Connections 2019: Spaces, People, Practice. University College Cork||National Forum for the Enhancement of Teaching and Learning in Higher Education, 2019. http://dx.doi.org/10.33178/lc2019.39.

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The purpose of the National Sculpture Factory, which speaks to our artistic policy and remit, is to support and nurture the production of art and the role of culture in society. We work to be the leading institution for identifying, nurturing and activating talent; for ambitious and fearless commissioning; promoting discourse on contemporary visual culture through public engagement activities; and engaging diverse audiences, driving more inclusion and accessibility. Primarily we are a factory of innovation in new technologies and artistic production in the expanded practice of sculpture.

Khalil, Ahmed, and Spyridon Stravoravdis. "HERITAGE BUILDINGS REPRESENTATION AND EXTENDED REALITIES." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12109.

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Architectural visualisation has been developing over the year to improve the representation buildings and their contexts to the public. It achieved a long journey from manual drawings to photography to digital 2D and 3D representation, until it reached the era of extended realities (XR), which allowed unprecedented immersive and interactive engagement. Extended reality applications represent a unique opportunity for the visualisation of heritage buildings on many stages; from the early design phase, through the construction and facility management phases, to the education and cultural tourism applications. This paper aims to explore the wide range of state of the art XR applications, investigate their aspects and variations, and study their potentials, challenges and limitations for the built heritage sector.

Borda, Sylvia Grace. "Digital image archives as public artwork and community engagement." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.31.

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Baetens, Jan, Roberta Pireddu, and Frederik Truyen. "UPGRADING MOOC STUDENTS' ENGAGEMENT AND PARTICIPATION IN HUMANITIES-ORIENTED ONLINE COURSES: THE EXAMPLE OF THE MOOC BASED ON THE PROJECT “DETECT”." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end089.

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Massive Online Open Courses (MOOCs) have become a grounded reality and a stable concept in the distance education panorama with worldwide universities continuously creating and offering every year broad selections of online courses. Nevertheless, despite the many developments in terms of individual and distance learning approaches, it is indetermined if MOOCs can deliver effective pedagogical methods and tools suitable for the implementation of online courses in the categories of art and humanities as well as in creating environments that give equal space to the two complementary layers of distance learning and distant teaching. Consequently, also the development of a valid, and captivating e-learning experience able to effectively reach out to students of different backgrounds, creating an impactful learning community represents a challenge. This issue acquires certain relevance particularly in relation to the much-debated question around the most effective pedagogical methodology to deliver humanities-oriented knowledge in a distant learning context. This paper provides an overview of the educational and pedagogical formulas adopted for the creation of a MOOC on European Crime Fiction, currently being developed in the framework of DETECt – Detecting Transcultural Identity in European Popular Crime Narratives (https://www.detect-project.eu/) a project funded by European’s Union Horizon 2020. The MOOC concept presented in the framework of this research concentrates on the development of mixed e-learning and e-teaching strategies, that leverages the application of pedagogical elements like social network and independent learning and combines them with users’ engagement methods. On the one hand, this research aims to challenge the debate related to the effectiveness of teaching and learning a humanities-oriented subject in a distance learning environment. On the other hand, intends to recreate a vibrant learning community capable of broadening the academic research carried out by the project enabling the collaboration between the MOOC public and the researchers and teachers.

Zhou, Jian. "Experience And Interaction - Application Of Audiovisual Synesthesia In Interactive Devices." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001939.

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Background: As material culture improves, people's need for spiritual culture becomes more and more urgent. Art exhibitions are an important way for the public to participate and absorb cultural and spiritual nutrients, and the interactive installation works in the exhibition are a favorable form of creation that can bring the audience closer to the works. However, the diversity of audiences and the varying degrees of professional inculcation have led to some audiences being turned away. This situation extent an obstacle to the dissemination and development of the arts.Aims: The interactive installation removes the distance between the audience and the artworks, enhances the interactivity and experience between the audience and the artworks, and diversifies the exhibition format and enriches the visual language.Method:Through the variety of exhibition displays, new forms of artistic expression are discussed. Specifically, the phenomenon of audiovisual association and the correlation characteristics that exist between audiovisual factors are studied, key influencing factors are extracted and applied to the creation of interactive installation artworks, opening up the way of perception for the audience to recognize the works through multiple channels.Consequence:Through the creation of the experimental works, it was found that there is a cross-correlation between the sound and the visual presentation in the interactive installation; secondly, the audience is transformed from a single spectator to a participant. Compared to static installations or sculptures, interactive installations with audio-visual associations have unparalleled advantages in terms of creative dimension and cognitive engagement with the work.Keywords: audiovisual synesthesia、 interactive artwork、 sound consciousness、experience、exhibition

Oforiwaa, Priscilla Obeng, Zhang Chao, Liang Manchun, Su Guofeng, and Wang Jiahao. "Public Engagement of Nuclear Energy in China: The Characteristics of Public Knowledge, Risk Perception, Trust Perception and Environmental Concern." In 2020 International Conference on Nuclear Engineering collocated with the ASME 2020 Power Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/icone2020-16064.

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Abstract Nuclear energy has been regarded as a controversial energy option to reduce carbon emissions, alleviate global warming and build a low-carbon society due to the public perception of nuclear energy. Public perception and acceptance are vital to the development of nuclear energy. However, the public has many misunderstandings and misconceptions about nuclear energy. To change the way that the public view nuclear energy, this paper attempts to build an engagement model that shifts from a oneway information transfer with a focus on changing people’s minds in a single interaction, to a two-way dialogue rooted in listening, respect, and building long-term relationships that would shift understanding on a scientific issue over time. Based on a survey conducted on residents in China, we offer a research hypothesis that describes the connection between public engagement, public knowledge, perceived risk, perceived trust and environmental concern. This study indicated that public knowledge is positively related to environmental concern and public engagement but not significantly related to perceived risks. Meanwhile, this study also demonstrated the positive effect of environmental concern, perceived trust on public engagement. Centered on the results, we make corresponding policy to increase public engagement.

Ridgway, Jim, James Nicholson, Sinclair Sutherland, and Spencer Hedger. "Strategies for public engagement with official statistics." In Advances in Statistics Education: Developments, Experiences, and Assessments. International Association for Statistical Education, 2015. http://dx.doi.org/10.52041/srap.15404.

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High quality data are available on a very wide range of topics. However, there are barriers to be overcome before citizens engage with these data. First is access; data are often distributed across different websites. Second is exposure; data need to be presented in the most commonly used information sources. Third is engagement – creating a climate where citizens are interested in evidence. The House of Commons Library (Library) and Durham University are collaborating in order to promote better use of data. The Library is the first port of call for politicians; their blogs and tweets are a major information resource for journalists. A website created ahead of the UK general election provides a rich resource for data at constituency level. Quizzes have been created which run on smartphones, in an effort to engage a broader section of people in evidence-based discussions. We discuss strategies designed to encourage public engagement with official statistics.

Lao, Teng Wai. "Heritage Education as an Effective Approach to Enhance Community Engagement: A Model for Classifying the Level of Engagement." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15630.

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Seeking consensuses from the public is difficult and this also applies to the heritage sector, particularly in heritage preservation. ‘What, why and how to preserve?’ are the core of debates in the field and the differences between points of views are basically due to the difference in valuation. In order to know everyone’s needs, views and expectations better and for sustainability, involving the community for preservation becomes fundamental. Education, an experience which does not only provide opportunities for enlightenments and widening horizons, but also introduce various concepts in terms of moral, ethical and social through systematic instructions. Having such great impact to community, promoting heritage education can be an effective approach awakening public consciousness on heritage preservation, and thus, enhancing people’s responsibility towards heritage, for both tangible and intangible, and developing a sustainable future for heritage through public engagement. However, it is necessary to understand the structure or the level of engagement prior setting the goal for heritage education. A model for classifying the level of engagement from performance is proposed for clarification and appraisal. This model is part of the research project of Community Engagement with Heritage in Macau which has an intention to examine its level of community engagement and give suggestions. This essay will first discuss community engagement, then classify the levels of engagement with models and lastly argue heritage education can elevate the level of community engagement which ultimately achieves the aim of heritage preservation.

Звіти організацій з теми "Public art engagement":

Lezaun, Javier, Jose M. Valenzuela, Spyros Foteinis, and Phil Renforth. Stylized case-study descriptions for use in stakeholder/ public engagement activities. OceanNETs, December 2021. http://dx.doi.org/10.3289/oceannets_d6.1.

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Adegoke, Damilola, Natasha Chilambo, Adeoti Dipeolu, Ibrahim Machina, Ade Obafemi-Olopade, and Dolapo Yusuf. Public discourses and Engagement on Governance of Covid-19 in Ekiti State, Nigeria. African Leadership Center, King's College London, December 2021. http://dx.doi.org/10.47697/lab.202101.

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Numerous studies have emerged so far on Covid-19 (SARS-CoV-2) across different disciplines. There is virtually no facet of human experience and relationships that have not been studied. In Nigeria, these studies include knowledge and attitude, risk perception, public perception of Covid-19 management, e-learning, palliatives, precautionary behaviours etc.,, Studies have also been carried out on public framing of Covid-19 discourses in Nigeria; these have explored both offline and online messaging and issues from the perspectives of citizens towards government’s policy responses such as palliative distributions, social distancing and lockdown. The investigators of these thematic concerns deployed different methodological tools in their studies. These tools include policy evaluations, content analysis, sentiment analysis, discourse analysis, survey questionnaires, focus group discussions, in depth-interviews as well as machine learning., These studies nearly always focus on the national government policy response, with little or no focus on the constituent states. In many of the studies, the researchers work with newspaper articles for analysis of public opinions while others use social media generated contents such as tweets) as sources for analysis of sentiments and opinions. Although there are others who rely on the use of survey questionnaires and other tools outlined above; the limitations of these approaches necessitated the research plan adopted by this study. Most of the social media users in Nigeria are domiciled in cities and their demography comprises the middle class (socio-economic) who are more likely to be literate with access to internet technologies. Hence, the opinions of a majority of the population who are most likely rural dwellers with limited access to internet technologies are very often excluded. This is not in any way to disparage social media content analysis findings; because the opinions expressed by opinion leaders usually represent the larger subset of opinions prevalent in the society. Analysing public perception using questionnaires is also fraught with its challenges, as well as reliance on newspaper articles. A lot of the newspapers and news media organisations in Nigeria are politically hinged; some of them have active politicians and their associates as their proprietors. Getting unbiased opinions from these sources might be difficult. The news articles are also most likely to reflect and amplify official positions through press releases and interviews which usually privilege elite actors. These gaps motivated this collaboration between Ekiti State Government and the African Leadership Centre at King’s College London to embark on research that will primarily assess public perceptions of government leadership response to Covid-19 in Ekiti State. The timeframe of the study covers the first phase of the pandemic in Ekiti State (March/April to August 2020).

Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.

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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.

Kaisler, Raphaela, and Thomas Palfinger. Patient and Public Involvement and Engagement (PPIE): Funding, facilitating and evaluating participatory research approaches in Austria. Fteval - Austrian Platform for Research and Technology Policy Evaluation, April 2022. http://dx.doi.org/10.22163/fteval.2022.551.

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The LBG OIS Center established a new Patient and Public Involvement and Engagement (PPIE) Implementation program aiming at ‘active involving’ public members in research across different phases of the research cycle – from setting the agenda to disseminating results – and its governance. The program offers funding and facilitation of these PPIE activities. The first PPIE pilot call was launched in Autumn 2020. It supports researchers in Austria with up to EUR 60.000 in order to implement their PPIE activities. In addition, the program offers support in the form of consultation, training, knowledge exchange and networking opportunities. One important characteristic of the selection process is the composition of the expert panel, bringing together transdisciplinary expertise from different areas (scientific experts, patients, and students). The expert panel recommended 11 out of 25 PPIE projects for funding (success rate 44%). 45% of the applicants participated in the support offers prior to the call and 52% in the continuing support offer after the call had been closed. Based on our online surveys, overall, participants were very satisfied with the support offers. Learnings of the first call address the eligibility of applicants. In the selection meeting, we found that different understandings of ‘active involvement’ were negotiated among experts. However, this was not a problem due to the open and collaborative atmosphere and mutual learning opportunity for experts. The panel suggested opening the call to non-research bodies, which indicates small changes in the application format – e.g. video and text-based applications in German and English. Despite of small adaptions in the second PPIE Pilot Call 2021, it seems that the funding instrument was appropriate and reflects a low-threshold offering for researchers introducing public involvement activities in their work.

Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

Schmidt-Sane, Megan, Elizabeth Benninger, Tabitha Hrynick, and Santiago Ripoll. Youth COVID-19 Vaccine Engagement in Cleveland, Ohio, United States. Institute of Development Studies, June 2022. http://dx.doi.org/10.19088/ids.2022.040.

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Despite overall progress in COVID-19 vaccination rates in Cleveland, vaccine inequity persists as young people from minority communities are often less likely to be vaccinated. COVID-19 vaccine hesitancy is not just an issue of misinformation or lack of information. Vaccine hesitancy among young people is reflective of wider issues such as mistrust in the state or the medical establishment and negative experiences during the pandemic. This report is based on case study research conducted among minority youth (ages 12-18) in Cleveland, Ohio. While public discourse may label young people as “vaccine hesitant,” we found that there were hesitation differences based on social location and place. We found the greatest vaccine hesitancy among older youth (15+ years old), particularly those from minoritized communities. Unvaccinated youth were also more likely to be from families and friend groups that were unvaccinated. While some expressed distrust of the vaccines, others reported that COVID-19 prevention was not a priority in their lives. Instead, concerns over food security, livelihood, and education take precedence. Minority youth were more likely to report negative experiences with authorities, including teachers at their schools and police in their communities. Our findings demonstrate that COVID-19 vaccine hesitancy is embedded in a context that drives relationships of mistrust between minority communities and authorities, with implications for COVID-19 vaccine uptake. Young people’s attitudes toward vaccines are further patterned by experiences within their community, school, family, and friend groups.

Schmidt-Sane, Megan, Tabitha Hrynick, Southall Community Alliance SCA, Charlie Forgacz-Cooper, and Steve Curtis. Youth COVID-19 Vaccine Engagement in Ealing, London, United Kingdom. Institute of Development Studies, June 2022. http://dx.doi.org/10.19088/ids.2022.039.

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Despite progress in COVID-19 vaccination rates overall in Ealing, vaccine inequity persists as young people from minority communities are often less likely to be vaccinated. COVID-19 ‘vaccine hesitancy’ is not just an issue of misinformation or lack of information. ‘Vaccine hesitancy’ among young people is reflective of wider issues such as mistrust in the state or the medical establishment and negative experiences during the pandemic. This report is based on case study research conducted among minority youth (from ages 12-19) in the London borough of Ealing. While public discourse may label young people as “vaccine hesitant,” we found that there were differences based on social location and place. We found the greatest vaccine refusal among older youth (15+ years old), which in the context of this study were from minoritised communities who have experienced deprivation across the life course. Unvaccinated youth were also more likely to be from families and friend groups that were unvaccinated. While some expressed distrust of the vaccines, others reported that COVID-19 prevention was not a priority in their lives, but instead concerns over food security, livelihood, and education take precedence. Minoritised youth were more likely to report negative experiences with authorities, including teachers at their schools and police in their communities. Our findings demonstrate that COVID-19 vaccine hesitancy is embedded in a context that drives relationships of mistrust between minority communities and authorities, with implications for COVID-19 vaccine uptake. Young people’s attitudes toward vaccines are further patterned by experiences within their community, school, family, and friend groups.

Taylor, Shawna, Jake Carlson, Joel Herndon, Alicia Hofelich Mohr, Wendy Kozlowski, Jennifer Moore, Jonathan Petters, and Cynthia Hudson Vitale. Public Access Data Management and Sharing Activities for Academic Administration and Researchers. Association of Research Libraries, November 2022. http://dx.doi.org/10.29242/report.rads2022.

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The Realities of Academic Data Sharing (RADS) Initiative’s public-access data management and sharing (DMS) activities are the result of categorizing services and support across the institution that are likely needed to make public access to research data available. The RADS project team categorized these activities by life-cycle phases for public access to research data, and used the activities in RADS surveys of publicly funded campus researchers and institutional administrators whose departments likely provide support in these areas. The result of categorizing and defining these activities not only delineated questions for RADS’s retrospective studies, but, consequently, may also help researchers, administrators, and librarians prepare for upcoming federal and institutional policies requiring access to publicly funded research data. This report presents version 1 of the RADS public access DMS activities. Additional versions are expected to be released as more institutions engage in implementing new federal policies in the coming months. Community engagement and feedback on the RADS DMS activities is critical to (1) validate the activities and (2) parse out the activities, as sharing and refining them will benefit stakeholders interested in meeting new federal open-access and sharing policies.

van den Boogaard, Vanessa, Wilson Prichard, Rachel Beach, and Fariya Mohiuddin. Strengthening Tax-Accountability Links: Fiscal Transparency and Taxpayer Engagement in Ghana and Sierra Leone. Institute of Development Studies, November 2020. http://dx.doi.org/10.19088/ictd.2020.002.

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There is increasingly strong evidence that taxation can contribute to expanded government responsiveness and accountability. However, such positive connections are not guaranteed. Rather, they are shaped by the political and economic context and specific policies adopted by governments and civil society actors. Without an environment that enables tax bargaining, there is a risk that taxation will amount to little more than forceful extraction. We consider how such enabling environments may be fostered through two mixed methods case studies of tax transparency and taxpayer engagement in Sierra Leone and Ghana. We highlight two key sets of findings. First, tax transparency is only meaningful if it is accessible and easily understood by taxpayers and relates to their everyday experiences and priorities. In particular, we find that taxpayers do not just want basic information about tax obligations or aggregate revenue collected, but information about how much revenue should have been collected and how revenues were spent. At the same time, taxpayers do not want information to be shared with them through a one-way form of communication, but rather want to have spaces for dialogue and interaction with tax and government officials, including through public meetings and radio call-in programmes. Second, strategies to encourage taxpayer engagement are more likely to be effective where forums for engagement are perceived by taxpayers to be safe, secure, and sincere means through which to engage with government officials. This has been most successful where governments have visibly demonstrated responsiveness to citizen concerns, even on a small scale, while partnering with civil society to foster trust, dialogue and expanded knowledge. These findings have significant implications for how governments design taxpayer education and engagement programmes and how civil society actors and development partners can support more equitable and accountable tax systems. Our findings provide concrete lessons for how governments can ensure that information shared with taxpayers is meaningful and accessible. Moreover, we show that civil society actors can play important roles as translators of tax information, enablers of public forums and dialogues around tax issues, and trainers of taxpayers, supporting greater tax literacy and sustained citizen engagement.

Hood, Sula, Brittany Campbell, and Katie Baker. Culturally Informed Community Engagement: Implications for Inclusive Science and Health Equity. RTI Press, January 2022. http://dx.doi.org/10.3768/rtipress.2023.op.0083.2301.

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Public health efforts seeking to reduce disparities and promote equity must be inclusive to reach their full potential. Interventions, programs, and initiatives designed to promote health equity among Communities of Color must be culturally informed. Communities and the cultural values and practices that shape them are closely intertwined, creating opportunities for a more intentional approach to community engagement. Yosso’s framework of Community Cultural Wealth (CCW) emphasizes six forms of capital that People and Communities of Color use to thrive and succeed: social, navigational, linguistic, familial, resistant, and aspirational. We anchor our approach—culturally informed community engagement—in the core tenets of CCW. This paper discusses CCW and its applicability and utility for facilitating culturally informed community engagement in health research. In our approach, asset-based frameworks intersect with community engagement, CCW, and principles of health equity. We discuss how applying CCW to conducting community-engaged research promotes health equity, inclusive science, and authentic relationships with community partners. Lastly, we provide applied examples of community-engaged interventions that leverage cultural assets in Communities of Color to reduce disparities and promote health equity.