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Recent shifts in China's urban village regeneration strategies have transitioned from comprehensive, large-scale redevelopment to nuanced, incremental micro-regenerations, incorporating artistic interventions as a dynamic mechanism for fostering urban governance innovation. This paper examines the transformative impact of social entrepreneurship based artistic intervention within the micro-regeneration of urban villages, particularly through a case study of Aohu Village in Shenzhen. It highlights how a local artist and villager catalyzed the village's bottom-up regeneration by mobilizing his social networks to attract artists and organize art events, significantly boosting Aohu Art Village's profile and contributing to social innovation. This approach not only drew attention from local government but also demonstrated the potent influence of artistic intervention on neighborhood regeneration and local governance. Unlike conventional, top-down planned art villages, Aohu retains its original community fabric through community-led regeneration while also addressing challenges such as rising rents and potential displacement of artists. The case study of Aohu Art Village illustrates the critical role of social entrepreneurship in urban village regeneration, emphasizing the necessity of a balanced understanding of artistic intervention, community engagement, and sustainable urban regeneration in China's evolving urban landscape. [ABSTRACT FROM AUTHOR]

Research is still needed to promote the development of structured art-based programs in prisons to strengthen socio-emotional skills. "Free Spirits" emerges as an innovative intervention that involves artistic and participatory co-creation dynamics in theater and music. A mixed-method quasi-experimental study was conducted in a Portuguese prison. Using self-report measures (emotional regulation, resilient coping) and a Go/No-Go paradigm (inhibitory control), quantitative data were collected pre- and posttest. A focus group was used to obtain participant's perceptions. The results suggested the effectiveness of the intervention in promoting more adaptive emotional management strategies and in the improvement of inhibitory control. [ABSTRACT FROM AUTHOR]

The Monumental Shadows series plans to address seven monuments critically in different European cities that perpetuate a colonial mentality in public spaces. Artist duo Various & Gould initiated this project in collaboration with SAVVY Contemporary's initiative Colonial Neighbours, a participatory archive and research project on German colonial history. The interview centers on their first participatory art project, Monumental Shadows Berlin (2021), focusing on the fifteen-meter-high national monument Otto von Bismarck (Bismarck-Nationaldenkmal). Reinhold Begas's neo-baroque bronze statue (1897–1901), originally located at Königsplatz, was relocated to Großer Tiergarten in 1938. While Otto von Bismarck is celebrated for unifying Germany, his role in European colonialism in Africa is now under critical examination. The Berlin project (Fig. 1) used the paper-mâché technique to cast a new Bismarck monument, only to rip and charge it with new meanings, symbolically challenging colonialism and its modern implications. Four approaches ("shadows") were used—intervention, performance, workshop, and panel discussion. This interview explores how artistic intervention at the monument serves as a communicative tool and delves into the challenges artists face when addressing colonial monuments, including navigating the bureaucracies of heritage protection policies, the time-consuming funding process, artists' multitasking as project managers, moral concerns, and countering racial encounters. [ABSTRACT FROM AUTHOR]

In this paper I examine a particular type of exhibition space, namely the national pavilion at the Venice Biennale, and analyze the current tendency within contemporary art of treating the exhibition pavilion as an object of artistic intervention. Three case studies – Relocating a Structure by Maria Eichhorn, The Last Land by Hans Schabus and I, Impostor by Mike Nelson – were selected from the interval 2005-2022, as they capture an approach in which, I argue, the exhibition pavilion is comprised within the structure of the work as a physical, as well as a symbolic support. These are spaces that Eichhorn, Schabus, and Nelson mold and reorganize to their complete transfiguration, at times making them disappear or moving them altogether (even if only within the imagination). Starting from Kendall Walton’s concept of make-believe, and its further elaborations by Elisa Caldarola, I propose the pavilion as a support that determines two types of imaginative play through the mechanisms of contentoriented make-believe, and prop-orientated make-believe. Inspired by the theory of installation art advanced by Elisa Cadarola, I then analyze some techniques used to configure the space and structure the public’s experience within the three works. In doing so, I show how, in Eichhorn’s Relocating a Structure, Schabus’ The Last Land and Nelson’s I, Impostor, the exhibition pavilion becomes an artistic resource. [ABSTRACT FROM AUTHOR]

This study seeks to extend the notion of the art infusion effect to an artistic intervention in a service context, and specify its mechanisms. Dual mediation by immersion and aesthetic experience may explain the experiential art infusion effect on brands. As a test of this prediction, this study investigates groups of customers who experience an artistic intervention in different conditions, characterised by two types of music (art-congruent vs. brand-congruent) and an artist's performance. Experiencing one of these artistic interventions increased brand attachment, relative to a control condition. Immersion and aesthetic experience (positive emotions) exerted a significant dual mediation effect on brand attachment when comparing the art-congruent music and the performance conditions. Interestingly, immersion and negative emotions did not reveal any mediating influence. [ABSTRACT FROM AUTHOR]

The “Yim Tin Tsai Arts Festival”, a three-year artistic program, represents a pioneering effort to revitalize rural areas using art as a catalyst. This initiative is designed to explore and address various social issues arising from urbanizing. While rural festivals, including the “Yim Tin Tsai Arts Festival”, play a pivotal role in promoting regional economic development through the creation of cultural spaces, they face the challenge of homogenizing their tourism destination image. This article applies design strategy concepts to explore the impact of rural festivals and cultural spaces on the cultural benefits of the host region, using the “Yim Tin Tsai Arts Festival” in Hong Kong as a case study. Utilizing methods such as desk research and data analysis, this study examines and discusses the significant issues within the field of research regarding the influence of rural festivals and cultural space development. Furthermore, we present the following research focus and development directions for the study of the impact of rural festivals and cultural space development. [ABSTRACT FROM AUTHOR]

The topic has an ambition to uncover the primordial motives of human creativity. Through a deep introspection into one's own inner self, it explores the ability of materia - it's visual expression, demonstrates it's "status quo". [ABSTRACT FROM AUTHOR]

Introduction. Recent studies consider creativity as a source of innovation for companies but have not yet clarified the key role that it plays concerning management and the underlying organisational processes. Recent studies also provide a foundation for a direct link between creativity, leadership, and corporate innovation. Purpose and methods. Therefore, the purpose of this article is to highlight the importance of creativity within the corporate context and stimulate an understanding of the dynamics underlying leadership as a hub for innovative ideas and proposals dissemination in organisations. The scientific research methodology is developed through the theoretical investigation of the theme of creativity with innovation and how it can pervade the organisational sphere through the leadership development. Results. The analysis of the main theoretical models allows us to identify strong dynamic connections between creativity, business innovation, and leadership and to develop and improve interventions guided by a different business vision. At the same time, I illustrate how an adequate leadership style can positively influence the work team, producing significant improvements in thoughts, feelings, and subordinates creative performance. Conclusions. Leaders who wish to sustain high performance should pay special attention to their daily behaviour towards employees, in particular by contributing to the dissemination of creativity in the company. Shared participation in artistic activities, in fact, by enhancing the individuality of employees, contributes to the strengthening of the management image that supports initiatives and participates in them. Creativity thus finds fertile ground in the goodness of ordinary company practices.

This paper analyses the works of six of the various local and multicultural, emerging and established feminist artists at the Abolish Article 153 exhibition held on 27 April 2019, in Kuwait. The show marks fifteen years of women gaining political rights in Kuwait. Article 153 of Kuwait's Penal Code sourced from Article 324 of the old French Penal Code (Napoleonic Law) provides relative exemption to a man who commits murder in an honour-related occurrence. It specifies penalties to women for misconducts that range from acts of passion and desire or even interaction. This article explores ways in which the artists' strategic undertakings consider art a catalyst for dialogue and civic engagement. They attempt to make a difference either through autobiographical expressions or by emulating the sets of persistent histories of patriarchal cultures in the Middle Eastern region and worldwide. It demonstrates how their collaborative efforts stage diverse creations that generate a cultural space for engagement, reflection and action while recognising the constellation of differences and multiplicities amongst feminisms. It demonstrates how the grassroots initiative is a collective non-hierarchical working model that questions and seeks to overcome colonial and patriarchal narratives within inner and outer spaces, and individual and worldwide feminisms. [ABSTRACT FROM AUTHOR]

In this participatory land art workshop, nature was used as a play material to represent the motif of metamorphosis while participants role-played herrings for empathy. The aim was to shift the perspective from our materials – which are agentic in co-constituting conditions evocative of empathy – to observing the outcome from a bird's-eye view. The workshop sought to demonstrate the power of collaboration, by presenting an allegory of the collaboration of herd species such as herrings. Alone they/we are nothing but, with determination and a clear goal, we can create visible change in the environment and in emotions and attitudes like environmental empathy. Earlier research and this case demonstrate how ecological paradigms can be stimulated with the use of place-based art. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Education through Art is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract Background To address the lack of social interaction and meaningful activities for persons with dementia (PWD) in nursing homes an artistic Photo-Activity was designed. The present study aims to develop a digital version of the Photo-Activity and to investigate its implementation and impact on nursing home residents with advanced dementia, and their (in)formal carers. Methods First, within a user-participatory design, a digital-app version of the Photo-Activity will be developed and pilot-tested, in co-creation with (in)formal carers and PWD. Next, the feasibility and effectiveness of the Photo-Activity versus a control activity will be explored in a randomized controlled trial with nursing home residents (N=90), and their (in)formal carers. Residents will be offered the Photo-Activity or the control activity by (in)formal carers during one month. Measurements will be conducted by independent assessors at baseline (T0), after one month (T1) and at follow up, two weeks after T1 (T2). Qualitative and quantitative methods will be used to investigate the effects of the intervention on mood, social interaction and quality of life of the PWD, sense of competence of informal carers, empathy and personal attitude of the formal carers, and quality of the relationship between the PWD, and their (in)formal carers. In addition, a process evaluation will be carried out by means of semi-structured interviews with the participating residents and (in)formal carers. Finally, an implementation package based on the process evaluation will be developed, allowing the scaling up of the intervention to other care institutions. Discussion Results of the trial will be available for dissemination by Spring 2023. The digital Photo-Activity is expected to promote meaningful connections between the resident with dementia, and their (in)formal carers through the facilitation of person-centered conversations. Trial registration Netherlands Trial Register: NL9219 ; registered (21 January 2021); NTR (trialregister.nl)

This article explores the broad and undefined research field of the social impact of the arts. The effects of art and culture are often used as justification for public funding, but the research on these interventions and their effects is unclear. Using a co-word analysis of over 10,000 articles published between 1990 and 2020, we examined the characteristics of the field as we have operationalised it through our searches. We found that since 2015 this research field has expanded and consists of different epistemologies and methodologies, summarised in largely overlapping subfields belonging to the social sciences, humanities, arts education, and arts and health/therapy. In formal or informal learning settings, studies of theatre/drama as an intervention to enhance skills, well-being, or knowledge among children are most common in our corpus. A study of the research front through the bibliographic coupling of the most cited articles in the corpus confirmed the co-word analysis and revealed new themes that together form the ground for insight into research on the social impact of the arts. This article can therefore inform discussions on the social value of culture and the arts.

Background: To address the lack of social interaction and meaningful activities for persons with dementia (PWD) in nursing homes an artistic Photo-Activity was designed. The present study aims to develop a digital version of the Photo-Activity and to investigate its implementation and impact on nursing home residents with advanced dementia, and their (in)formal carers.Methods: First, within a user-participatory design, a digital-app version of the Photo-Activity will be developed and pilot-tested, in co-creation with (in)formal carers and PWD. Next, the feasibility and effectiveness of the Photo-Activity versus a control activity will be explored in a randomized controlled trial with nursing home residents (N=90), and their (in)formal carers. Residents will be offered the Photo-Activity or the control activity by (in)formal carers during one month. Measurements will be conducted by independent assessors at baseline (T0), after one month (T1) and at follow up, two weeks after T1 (T2). Qualitative and quantitative methods will be used to investigate the effects of the intervention on mood, social interaction and quality of life of the PWD, sense of competence of informal carers, empathy and personal attitude of the formal carers, and quality of the relationship between the PWD, and their (in)formal carers. In addition, a process evaluation will be carried out by means of semi-structured interviews with the participating residents and (in)formal carers. Finally, an implementation package based on the process evaluation will be developed, allowing the scaling up of the intervention to other care institutions.Discussion: Results of the trial will be available for dissemination by Spring 2023. The digital Photo-Activity is expected to promote meaningful connections between the resident with dementia, and their (in)formal carers through the facilitation of person-centered conversations.Trial Registration: Netherlands Trial Register: NL9219 ; registered (21 January 2021); NTR (trialregister.nl). [ABSTRACT FROM AUTHOR]

Copyright of Revista @mbienteeducação is the property of Nucleo de Publicacoes Institucionais and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Rural field is the carrier and container to map the human social and cultural value, which is not only the concrete physical field, but also the "generator" of rural feelings. This paper follows a series of activities, such as "Modern Field" 2022 New Shanghai Village Aesthetic Education Exhibition and Forum, to explore the "rural readability" from the perspective of artistic intervention. And starting from the four themes of "returning to the field", "returning home", "returning to art" and "returning to the heart", it attempts to hold the new Shanghai banner to intervene in rural construction, restore nostalgia memory, coordinate aesthetic education matrix, promote industrial incubation, and reshape the core of the villagers-to-build. Through the artistic intervention into agricultural and tourism production, environmental construction, cultural inheritance and rural governance, it also responds to the reconstruction and expansion of the new Shanghai-style rural aesthetic education and revitalization. [ABSTRACT FROM AUTHOR]

Screen technologies increasingly permeate the experience of public space in Hong Kong. Large media walls have occupied the façades of many buildings, rendering a cityscape with dynamic information visible as a new urban skin. This article is a case study on Artificial Landscape, a site-specific media art project located on Asia Pacific’s largest LED outdoor screen. The case sets an example of how a public screen can serve as a mediating agent. It provides an opportunity for artists to provoke absent ideas in the public space and explore subversive potential, including critical reflection on issues surrounding surveillance, consumerism and rapid urban growth. The case also exemplifies how a public screen can mediate the public to experience an alternative context through artistic intervention, where negotiations of perceptions and subjectivities are made possible. This article provides insights into a public screen’s mode of spectatorship, quality of public space and curatorial strategies in an urban context. This is achieved by illustrating how various artworks extend the notion of publicness and remediate the mutually constitutive relationship among the built environment, media technologies, artists, public and everyday encounters.

Screen technologies increasingly permeate the experience of public space in Hong Kong. Large media walls have occupied the façades of many buildings, rendering a cityscape with dynamic information visible as a new urban skin. This article is a case study on Artificial Landscape, a site-specific media art project located on Asia Pacific’s largest LED outdoor screen. The case sets an example of how a public screen can serve as a mediating agent. It provides an opportunity for artists to provoke absent ideas in the public space and explore subversive potential, including critical reflection on issues surrounding surveillance, consumerism and rapid urban growth. The case also exemplifies how a public screen can mediate the public to experience an alternative context through artistic intervention, where negotiations of perceptions and subjectivities are made possible. This article provides insights into a public screen’s mode of spectatorship, quality of public space and curatorial strategies in an urban context. This is achieved by illustrating how various artworks extend the notion of publicness and remediate the mutually constitutive relationship among the built environment, media technologies, artists, public and everyday encounters. [ABSTRACT FROM AUTHOR]

This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a farm, in shopping malls, on public transport networks and at national monuments during different moments in Singapore’s rapid urban transformation. From these examples, one is able to understand why The Artists Village openly intervened in the public spaces of Singapore and how these interventions functioned in their limited scope. Through this study we are able to assess how the varying levels of collaboration, openness and criticality present in their public art projects enabled them to grow outside the centralised system of the nation-state in inserting their practice into the public sphere and engaging the masses.

Toilets, a neglected facility in the study of human relations at work and beyond, have become increasingly important in discussions about future experiences of gender diversity. To further investigate the spatial production of gender and its potential expressions, we transformed a unisex single-occupancy toilet at Uppsala University into an all-gender or 'hir-toilet'.1 With the aim to disrupt and expose the dominant spatial organization of the two binary genders, we inaugurated the hir-toilet with the help of a performance artist. We describe and analyse internal and external responses thereto, using Lefebvre's work on dialectics and space. Focusing on how space is variously lived, conceived and perceived, our analysis questions the very rationale of gender categorizations. The results contribute to a renewed critique of binary thinking in the organization of workplaces by extending our understanding of how space and human relations mutually constitute each other. [ABSTRACT FROM AUTHOR]

Upstream the Cold Chain is a film and an installation of objects produced in the process of producing the film. It is also an experiment in improving access to vaccines and creating hospitable artistic interventions in public health contexts across borders. Presented in the context of , Upstream the Cold Chain was first shown in Trondheim, Norway, as part of the 2017 GLOBVAC conference on global health and then later at UNAIDS on the occasion of the World Health Organization’s 70th World Health Assembly in Geneva, Switzerland.

Based on the consensus that the rural cultural landscape with regional characteristics is conducive to promoting the sustainable development of rural areas, this study explores how to use multiple means to restore the countryside with insufficient or severely damaged landscape resources and rebuild the contemporary rural landscape with regional characteristics. Combining the design of practical cases, the article proposes the use of low-tech, low-interference vernacular technology, and the integration of artistic intervention methods can more effectively restore landscape characteristics and stimulate rural development vitality. [ABSTRACT FROM AUTHOR]

Copyright of Theoretical Studies of Literature & Art / Wenyi Lilun Yanjiu is the property of Editorial Board of Theoretical Studies in Literature & Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The text analyzes relations of Rorty's redescription - neo-pragmatic, analytical philosophical perspective - and approaches on education, with specific objectives: to reflect on epistemology, particularly the abandonment of the notion of knowledge as representation; to meditate on redescription as a metapractice inherent to the contexts of basic and college education, inspiring more libertarian, ethical, creative and political pedagogical routines; to present the redescription named Negociações Cronocapilares, of 2019, produced in the Mid-West, an artistic installation that should circulate among state schools. The redescription, methodology of the essay, proposes a teaching challenge, by questioning, from the foundations of knowing, even educational practices. [ABSTRACT FROM AUTHOR]

Background: Being involved in an artistic intervention is related to employeesinterest to do work tasks in other ways and to develop new professional skills. These proactive changes, job crafting, that employees make to their work conditions increase work-related well-being, work engagement. Methods: This two-wave quasi-experimental intervention study investigated whether a visual art intervention enhanced the crafting of job resources (skill variety) and increased work engagement. The study was conducted among employees (n = 21) working in five comprehensive schools and in four day-care centers over a 1-month intervention. Employees not involved in the interventions served as the control group (n = 19). Results: Repeated measures ANOVAs showed no significant interaction effects. However, pre–post comparison tests showed that, unexpectedly, the participants' work engagement significantly decreased, and skill variety tentatively diminished. Qualitative feedback revealed some shortcomings in the implementation of the intervention. Conclusions: In the case of insufficient operation, the intervention may even have reverse effects. [ABSTRACT FROM AUTHOR]

The Setouchi International Art Festival (SIAF), also known as the Setouchi Triennale, attempts to revitalize twelve remote islands with depopulating and aging communities by hosting an international art festival to promote tourism. Citing the presence of more than a million visitors during each festival iteration, SIAF officials and the media have claimed that the festival is a successful model for government policies aimed at community revitalization and tourism, leveraging new cultural assets to draw tourism-related revenue to the islands. At the core of the festival is a network of site-specific installations by renowned artists and architects; the supposedly inextricable link between these attractions and their host communities and environments is a focus of festival marketing efforts. However, the true understanding of the outcomes of artistic interventions within local communities lies in large part on the other side of the art intervention: the destination community's perspective. After conducting participant observation and mixed-methods fieldwork between SIAF 2016 and SIAF 2019, the author found evidence of cultural conflicts, especially when it comes to the understanding of art. Locals have their own interpretation of the SIAF art--compared by some to a "theme park"--and their own understanding of what constitutes "art"--mainly the natural and cultural landscapes of their communities. This paper argues that SIAF is in danger of becoming merely an exercise in tourism-focused place branding with shallow roots that do not intersect with community foundations. A particular area of concern is the tension between native cultural identities and the authorship of individual artists. Island residents believe that artists should achieve a deeper understanding of the local communities to create artworks that are genuine reflections of those locations. [ABSTRACT FROM AUTHOR]

This article focuses on sonic elements in performative interventions by three South African artists: Donna Kukama's, Chapter F: The Free School for Art and All 'Fings Necessary (Until Fees fall) (2016), Lerato Shadi's Matsogo (2013) and Mbali Khoza's What difference does it make who is speaking? (2014). By observing the details of each artist's use of voice and its 'situatedness' (Goniwe; Mohotowa Thaluki), I have positioned the works within the discipline of sound studies. Beyond the sites chosen for the interventions, their 'situatedness' refers to the cultural aspects informing them, including language specificity and the diachronical re-actualitsations of struggle-songs, traditional tales and newspaper journalism. The locations are a hole or negative space in the pavement on Johannesburg's Beyers Naudé Square, a discarded newspaper page showing the foreign index, and Makhanda Eastern Star Museum. I refer here to sound, time and matter as 'fingerprint' (Cassin; Dolar), arguing for each one's right to be heard according to his/her personal means of expression, and that 'accentedness' (Coetzee) and situatedness should not lead to the assumption of the existence of an impenetrable 'epistemic barrier' (Maharaj). The triad combining use of language (individuated speech), bodily voice, and the time-factor involved allows for a sonic fingerprint to evolve. [ABSTRACT FROM AUTHOR]

Copyright of Interdisciplinary Journal of Social Management / Revista Interdisciplinar de Gestão Social is the property of Revista Interdisciplinar de Gestao Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Matéria Prima is the property of Revista Meteria Prima and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study adopts the perspective of artistic intervention to argue that art is a catalyst. Interdisciplinary cooperation between artists and managers prompts artists to enter the corporate world, intervening in organizational routines and operations and thereby promoting service innovation. This paper, which also adopts the perspective of intellectual capital (IC), explores the characteristics of IC management through an in-depth case study of a successful art-focused Taiwanese hotel that has adopted long-term artistic intervention. The results show the importance of analyzing IC as a stock of resources. Hotel managers must emphasize the importance of managing the physical and the intangible resources, and both embedded in employees and processes of hotels. The relationship of a hotel with its external stakeholders and customers are particularly good sources for improving IC and promoting service innovation. This paper has management implications for the artistic interventions of the studied hotel and recommends future research directions. [ABSTRACT FROM AUTHOR]

Copyright of Revista Croma is the property of Revista Croma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Numerous rallies, gatherings and occupations in public squares of large cities have occurred since 2010. They constitute a new guideline to new social movements, which embrace a transformation in public spaces through interaction, shared experience and art so that a collective energy is generated within a given context and time. They therefore propose an alternative form of acting and living together in the light of the equality of all individuals involved. The re-creation of this new active citizenship, both individually and collectively, is also highly connected with the appropriation of a performative repertoire of action within everyday life. This paper focuses on the active, yet unorganized participation of Turkish citizens across the country to the protestation and/or performance of the Standing Man. Standing still and silent offers thus a performative action, which has become collective through social networks. This unpredicted act has been a pioneer in terms of the transformation of a singular creative intervention to a collective performative action. [ABSTRACT FROM PUBLISHER]

The article discusses creative practices that in aesthetical-technical ways intervene into the computer networked communication systems.I am interested in artist practices that use networks in different ways to make us aware about the possibilities to rethink media-cultural environments. I use the example of the Japanese art-architectural group Double Negative Architecture to give an example of creatively thinking in networks.Yvonne Spielmann (Ph.D., Dr. habil.) is presently Research Professor and Chair of New Media at The University of the West of Scotland. Her work focuses on inter-relationships between media and culture, technology, art, science and communication, and in particular on Western/European and non-Western/South-East Asian interaction. Milestones of publish research output are four authored monographs and about 90 single authored articles. Her book, “Video, the Reflexive Medium” (published by MIT Press 2008, Japanese edition by Sangen-sha Press 2011) was rewarded the 2009 Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics. Her most recent book “Hybrid Cultures” was published in German by Suhrkamp Press in 2010, English edition from MIT Press in 2012. Spielmann's work has been published in German and English and has been translated into French, Polish, Croatian, Swedish, Japanese, and Korean. She holds the 2011 Swedish Prize for Swedish–German scientific co-operation.