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The aim of this study was to explore the multiple roles of public art in urban renewal and sustainable development goals, combining qualitative and quantitative methods, with an emphasis on community engagement and the application of theoretical frameworks. Through a detailed analysis of public art projects in Teruel, Spain, and Chengdu, China, this study shows how public art plays an important role in enhancing cultural values, promoting social inclusion, and driving economic growth. Qualitative methods such as interviews and content analysis were used to gain in-depth insights into the views and experiences of artists, urban planners, policymakers, and community members. At the same time, quantitative methods such as questionnaires and spatial analysis were used to assess the specific impacts of public art on urban beautification, social inclusion, and economic growth. [ABSTRACT FROM AUTHOR]

Arts and arts-based methods are increasingly used in professional development. This study involved two artists facilitating art activities for 21 staff members from three care institutions in Finland: a nursing home, a day-care centre for individuals with dementia and an organization that supports individuals facing challenging life situations (e.g. unemployment or the need to relearn everyday skills). The primary objective was to enhance work satisfaction and well-being among staff members. Initially, the staff members displayed scepticism towards art activities, but their attitudes became more positive as they engaged in the artistic process. Interviews revealed that the activities positively impacted group spirit, improved individual well-being and inspired the staff to explore new methods in their professional roles. Many participants suggested that art activities could be structured into regular work supervision sessions in their workplaces. The findings highlight the importance of further investigating the benefits of having artists and artistic activities within care organizations. [ABSTRACT FROM AUTHOR]

Drawing upon discussions with artist Dalila Mahdjoub, who shared her doubts regarding the implications of her participation in recent projects branded as decolonising museums, this article is an attempt to contextualise, and then problematise, the commissioning of artistic interventions dealing with European museums' colonial legacy. It begins with a genealogy of artistic interventions, highlighting the importance of a 'humanitarian' spirit in the arts. It further explores the similarities between the diversity policies that Sara Ahmed analysed throughout the 2000s and the 'decolonial turn' in European museums after 2010. This is followed by the consideration of the different spatial and temporal frames that artistic interventions entail, which generate an unequal situation that Olivier Marboeuf defines as 'toxic hospitality'. This reading allows us to identify a continuity between the criticisms levelled at diversity policies and the invitation to artists to intervene as a means of decolonising museums, which often participates in 'keeping whiteness in place'. [ABSTRACT FROM AUTHOR]

In the summer of 2020, on the wave of the Black Lives Matter Movement, statues and public monuments became focal points of political struggle, perceived by many as symbolic reminders of pervading western imperial legacies. Yet, the debate over public memorialisation is far from new. Starting from the 2020 BLM protests in Britain and going back to previous campaigns, this article contextualises the toppling, effacing and removal of well-known statues of colonial agents in Britain, Australia and Aotearoa New Zealand and examines artistic interventions which appropriate, challenge and shatter static historical interpretations of imperial figures and events. Our contention is that these interventions constitute diverse forms of performative and re-storied resistance reflecting transnational demands for redress and reparation.

The aim of this study was to explore the multiple roles of public art in urban renewal and sustainable development goals, combining qualitative and quantitative methods, with an emphasis on community engagement and the application of theoretical frameworks. Through a detailed analysis of public art projects in Teruel, Spain, and Chengdu, China, this study shows how public art plays an important role in enhancing cultural values, promoting social inclusion, and driving economic growth. Qualitative methods such as interviews and content analysis were used to gain in-depth insights into the views and experiences of artists, urban planners, policymakers, and community members. At the same time, quantitative methods such as questionnaires and spatial analysis were used to assess the specific impacts of public art on urban beautification, social inclusion, and economic growth.

In the summer of 2020, on the wave of the Black Lives Matter Movement, statues and public monuments became focal points of political struggle, perceived by many as symbolic reminders of pervading western imperial legacies. Yet, the debate over public memorialisation is far from new. Starting from the 2020 BLM protests in Britain and going back to previous campaigns, this article contextualises the toppling, effacing and removal of well-known statues of colonial agents in Britain, Australia and Aotearoa New Zealand and examines artistic interventions which appropriate, challenge and shatter static historical interpretations of imperial figures and events. Our contention is that these interventions constitute diverse forms of performative and re-storied resistance reflecting transnational demands for redress and reparation. [ABSTRACT FROM AUTHOR]

Background: There has been agrowing interest in using artistic interventions as a method of developinginterpersonal competence. This paper presents a meta-analysis evaluating the impact of theatre interventions on social competencies. Methods: Twenty-one primary studies totaling 4064 participants were included, presenting evidence available since 1983. Included studies were assessed in terms of quality, heterogeneity, and publication bias. Results: Our findings indicated that active theatre participation significantly improved participants' empathic abilities, social communication, tolerance, and social interactions, with the largest pooled effect size for social communication (0.698) and the smallest for tolerance (0.156). Our findings did not corroborate the impact of theatre on self-concept. Conclusions: This paper shows that theatre interventions have a positive impact on social competencies. The paper makes a methodological contribution by showing that randomized and non-randomized studies yielded comparably valid results. [ABSTRACT FROM AUTHOR]

Group singing (GS), as an art-based intervention, has demonstrated a wide range of biopsychosocial benefits in older adult participants. However, the factors that predict the adherence of older adults to these programs and that moderate the intervention outcomes were not yet studied, which is the aim of this study. A randomized controlled trial was developed to test the efficacy of a GS intervention, from which pre-post intervention data was collected and analyzed. Participants: 149 retired older adults (M = 76.66, SD = 8,79 years old) users of a social care institution. Principal component analysis of responses to a pre-intervention assessment yielded 10 factors. General well-being (GWB), negative mood and loneliness, blood pressure, and the participants' years of formal education predicted the number of sessions attended by the participants. GWB moderated the intervention's outcomes on life satisfaction, social identification, and systemic inflammation. Years of education, well-being, negative mood and loneliness, and blood pressure at baseline predicted participants' adherence to a singing group artistic intervention. For future artistic interventions with older adults, screening for participants' characteristics such as formal education, health and well-being before the intervention is important as it allows predicting adherence and tailoring more adjusted and cost-effective interventions. [ABSTRACT FROM AUTHOR]

Art accompanies demonstrations, deriving motifs from them and strengthening the sense of community by developing a collective imaginary. In times of repression, violence and censorship during the Chilean dictatorship, the interdisciplinary artistic collective Colectivo Acciones de Arte (1979–83) transformed the streets into their exhibition space. Decades later, the collective Delight Lab paid tribute to CADA. The connection between the two collectives is approached from a mnemonic perspective. The research design focuses on memory activism showing how the recurrence of certain images from the past contributes to empower contemporary movements. [ABSTRACT FROM AUTHOR]

This paper examines the effects of arts-based learning (ABL) on individual well-being and organisational change. Through a literature review, the article explores the research evidence that showcases the various benefits of ABL. These benefits include improvements in physical health, enhanced psychological outcomes, increased employee creativity and motivation, fostering collaborative behaviour, effective team-building, and improved communication with co-workers. The study provides a classification of ABL methods and emphasises the role of arts in organisational learning and creating innovative, healthy, and collaborative workplaces. [ABSTRACT FROM AUTHOR]

Art uses images, symbols, ideas, and other expressions to enable people to construct new social imaginaries that can inspire change toward a more desirable future. Artists serve as 'seers' of reality as it is, in ways that others do not see, and of what might be. Art can help frame and envision new cultural mythologies and social imaginaries. The 'soft' power of art can change perspectives, raise awareness, and foster socio-cultural change. Art's soft power potentially provides an approach to system transformation more amenable to some than 'hard' power because it taps the holistic right brain's both/and approach to system transformation. [ABSTRACT FROM AUTHOR]

Copyright of Revista Latinoamericana de Estudios sobre Cuerpos, Emociones y Sociedad is the property of Revista Latinoamericana de Estudios sobre Cuerpos, Emociones y Sociedad 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.)

Attending to the emergent debates on tourism and (in)justice, this study critically examines the role of the Walled Off Hotel, Banksy's tourism-artistic intervention in Palestine, in constructing justice. Utilising the evidence from 15 in-depth empathetic interviews, it explores the ways in which local residents make sense of the Hotel and how they frame and experience (in)justices. While demonstrating how these interpretations are entangled with the broader geographic, social and political context, the paper discusses how different forms of justice circulate in this particular context. The new knowledge generated contributes to our further understanding of achieving justice-through-tourism as an affirmative praxis, while addressing the broader humanitarian, earthly, or otherwise existential crisis. • We examine how justice and social sustainability unfold within the oppressed community. • We unpack the role of Western-initiated artistic intervention in constructing justice. • Perspectives of oppressed communities need to be prioritized in tourism development. • Social sustainability requires political action and social transformation. [ABSTRACT FROM AUTHOR]

Critical scholars of Corporate Responsibility (CR) argue that one way to make CR good for society would be to demand its full realization in subversive interventions, in line with the critical performativity objective of subversion of managerial discourses and practices. This paper studies CR-oriented performative documentary films, in which the main protagonists problematize business impacts on society through various interventions aimed to have effects on: (1) themselves; (2) the corporations they target; (3) the surrounding society; and (4) the viewers of the films. 23 documentary films that target corporate responsibilities through a range of interventions are studied, and eight different kinds of effects they have are analyzed. The documentaries are found to be enactments of critical performativity that resignify CR, through subversive interventions involving: (1) staged embodiments of subject positions; (2) the staging of felicitous conditions; (3) effective roles, genres and tropes; and (4) the use of 'enlightened failed performatives'. [ABSTRACT FROM AUTHOR]

Purpose – Collaboration between creative professionals (artists and designers) and companies has become more prominent. In so-called “crossovers,” indicated with the acronym CoCreaCO (collaboration of creative professionals with companies) when they concern specific crossover of creative professionals with companies, societal and organizational challenges such as becoming more innovative are addressed through multidisciplinary collaboration that increasingly embraces and exploits the distinctive way of thinking and working of artists and designers. Over the past years, several scholars focused their research on the effect of artistic interventions or arts-based initiatives (ABIs) and design thinking in organizations. Hardly any research has been done on the conditions (organizational and individual factors) that are conducive to ABIs in organizations, such as trust and common ground. The central question for this study is which conditions foster successful collaboration between creative professionals and organizations in crossovers. For this study, the conditions for collaboration between creative professionals and four Dutch organizations were studied by interviewing ten creative professionals, project managers and employees who worked together, following which a survey of 60 questions was filled in by 41 Dutch respondents. This study shows that despite the differences between the disciplines of creative professionals and employees for this type of crossover, both disciplines requested quite similar conditions for collaboration. Both creative professionals and employees should realize and encourage trust and common ground by focusing on an open process and outcome, a shared creative process started with a shared problem. Experience with this type of collaboration, art disciplines, the role and qualities of the artist (individual factors) as well as the organization's sector seem to influence neither expectations of collaboration nor the intention to engage in this type of cooperation in the future. Design/methodology/approach – Both ten employees (project managers) and creative professional(s) with whom the organization cooperated were interviewed (four case studies, semistructured interviews). Thereafter, 41 respondents have been filled in a survey. Findings – Successful cooperation can be explained by six concepts of determinants, which are briefing, qualities of creative professionals, organizational qualities, organization factors and common ground. More particular, creative professionals' independency and their ability to render observations and to reflect of these and organization's role by informing employees and organizing a clear work process need to be addressed before or during collaboration. Originality/value – past years, many scholars focused their research on the effects of artistic interventions or ABIs and design thinking in organizations. There is hardly any research on the conditions that are conductive to artistic interventions in organizations such as trust and common ground.

In this article we seek to understand the articulation of Folkcommunication in the artistic interventions of global reach and how they reterritorialize the artistic development in the indigenous communities. To this end, we are accompanying the third edition of the artistic intervention "The Giant Step" conceived by the Hungarian-Swiss artist Viliam Mauritz in the indigenous community Raposa I, belonging to the indigenous land Raposa Serra do Sol / RR. The realization of "The Giant Step" in the Amazon was a proposal of the idealizer when meeting the indigenous artist Makuxi Jaider Esbell. From this meeting, we analyze the different micropolitical forces lines (GUATTARI & ROLNIK, 2013), that is, how dominant subjectivation modes can (or may not) be subverted. In this problematization, we perceive the articulation of the audiovisual as an articulating and potentiating element of Folkcommunication. It establishes an articulation of the artistic interventions with the indigenous culture deterritorializing the circuits of the contemporary art in the moment in which it enhances the reach from the digital media.

Copyright of Carta Internacional is the property of Associacao Brasileira de Relacoes Internacionais 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.)

How do we create future identity between the human need and desire for visibility and invisibility, having a face and face control? How can humans be supported in the art of becoming between loving eyes and the "Sharp Eyes of the collective"? I discuss how the artistic process can cultivate and carry forward identities and societies in transition which are challenged by advancing digitalization and artificial intelligence. Influence factors are examined, and I pursue the question of how art can help fragile or even splintered existences and how this can happen hand in hand with and also in demarcation to technology. [ABSTRACT FROM AUTHOR]

This article addresses how top management leadership behaviors matter in innovative interventions in organizations. A comparison of six cases of artistic interventions in four countries reveals that lack of visible top management support and sense-making orientation during and after the process resulted in little added value for the organization in three cases. Three other cases show various ways in which top management can legitimize such experimentation, from which more positive outcomes flowed at the individual and collective levels. The implications are counterintuitive because top management faces two sets of tensions in innovative processes: presence/absence and providing orientation/being open to learning. The article suggests ways that top managers can address these tensions, including by engaging in constellations of distributed leadership, for which this article proposes a new definition. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Folkcomunicação is the property of Rede Folkcom Rede de Estudos e Pesquisas em Folkcomunicacao 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.)

Artistic interventions in cultural quarters can be a good way to understand the multiple layers of uses, coding and segregation that affect these urban spaces and that contribute to their everyday vitality. Similarly, they enable us to complement and to test in practice many of the results obtained by more "conventional" research processes used in the study of these territories, allowing for a dialogue at different levels with local communities, and shifting the focus of the conceptual and analytical tools from the researcher to the own subject of study. The authors present a set of three urban interventions that they have developed in Bairro Alto, in Lisbon, during three consecutive years, in conjunction with a program of research on creative dynamics in cultural quarters of several cities. This program allowed them to develop new heuristics for their research and to further reflection on the potential of artistic intervention for the relationship with the community and knowledge of the territory. These experiences explored participatory approaches based on different artistic disciplines, enabling the testing of a set of ideas relating to the logics of space appropriation of, to the dynamics of liminality and conflict, and to the capability of urban revitalization. [ABSTRACT FROM AUTHOR]

This article deals with the question of temporary configuration adopted by the Bulgarian artist Christo Javacheff in his artistic interventions in the contemporary landscape. Place emphasizes on analysis of his creative process guided by the idea of temporary monuments; attribution given by him to projects that has close relations between the architectural elements and the collective memory of the public participating of these interventions in different urban centers on the planet.

This paper engages with the question of the new as the first stage in what may, at a later time, turn into an innovation. Taking our cue from John Dewey, the new is here interpreted as a consequence of indeterminacy. We study practices that induce indeterminacy in order to ‘source’ the new. Based on findings from a collective research programme, we distinguish three ways of inducing indeterminacy: configuring situations, creating things and risking valuations. For each of these ways of inducing indeterminacy basic variations are described and discussed in greater detail. The three ways of inducing indeterminacy are shown to correspond to a present-centred concept of time that distinguishes the now from a past and a future horizon. The cases presented affirm the claim that the new is not an inevitable consequence of the increasing entanglement of technoscience and the economy but something that needs to be sought for, cared for and actively produced. [ABSTRACT FROM AUTHOR]

Copyright of Geopolitica(s): Revista de Estudios Sobre Espacio y Poder is the property of Universidad Complutense de Madrid 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 Management international / International Management / Gestiòn Internacional is the property of Management International 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 Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana 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 decreasing pace of urban development in economically-troubled Europe allows time for urban practitioners and actors to re-think planning action and its outcomes. In Canada where urban development seems unstoppable, contemplative breaks are as important. From the rubbles of recent environmental and economic crises around the world, in this article we discuss the emergence of a new theoretical approach in urban design and planning that is at the intersection of Socio-Spatial Research, Complexity Theories of Cities, and Urban Activism: Transdisciplinary Urbanism. We deploy three relevant, research projects we have been engaged with to analyze issues, challenges and limitations of Transdisciplinary Urbanism. The time frame of these interventions spans almost a decade. [ABSTRACT FROM AUTHOR]

Les interventions artistiques en milieu de travail menées par l’auteure depuis 1995 rejoignent les objectifs de la médiation culturelle en sensibilisant des personnes adultes à leurs propres pouvoirs créateurs et aux plaisirs qu’elles peuvent ressentir à côtoyer le milieu culturel. Dans le cadre d’un récent projet réalisé dans la ville de Laval (Québec), l’intervenante utilise des jeux de langage en entraînant les employés dans le double sens d’une contamination possible : le virus sera inoffensif et ludique tout en imprégnant les employés d’une expérience esthétique. Cette approche apporte avec elle des concepts comme la culture in vitro de l’art, les germes artistiques et un groupe à infecter. À la lumière des effets positifs observés, la relation entre un artiste et une entreprise peut s’avérer fortement positive.

How do critical artists intervene in urban space, and why? This question is explored in an interurban fieldwork study examining artistic interventions in four cities: Hanover and Hamburg in Germany, and Tel Aviv-Jaffa and Jerusalem in Israel. Grounded on a plethora of artistic interventions gathered in these cities, the article proposes a typology based on techniques, goals, sociability degrees and relations to urban space. On the one hand, urban artistic interventions vary from a compensatory improvement of social conditions to a highly political and protest-driven irritation of existing urban power structures and processes. On the other, the discourses behind the different modes of urban artistic intervention reveal similarities, bringing recurring concepts of "art in public space" to the forefront and referring to similar lines of reasoning which guide urban artists in their practice. This article extends the existing literature by offering a typology of artistic interventions in urban space, highlighting the critical agency of urban artists. • Artistic Interventions. • Urban Art. • Political Art. • Typology. • Inter-urban fieldwork. [ABSTRACT FROM AUTHOR]