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We describe a participatory art/research project envisioning alternative infrastructures enabling food as a Universal Basic Service in the context of food poverty and the cost of living crisis. The four-year process involving people who have received food aid as well as food activists was co-produced with the National Food Service, a mutual aid group trialling new models for a more just food system. Modelling our creative research on this group’s careful engagement to build communal structures based on a “solidarity not charity” model of mutual care, we devised a process of infrastructural co-design and creative visioning for more just urban food futures. We reflect on the interplay of physical and social infrastructures and the role of food in care and mutual aid settings. [ABSTRACT FROM AUTHOR]

Professional practice in health and social care is embodied by the practitioners concerned, embedded in practice contexts and creative in nature. It is therefore complex to investigate, understand and develop. Current health and social care contexts can present practitioners with increasingly constraining circumstances and spaces that can feel closed instead of open to exploration and development of practice. The collaborative, critical and creative inquiry methodology presented here was developed among nurses practising in such challenging circumstances. It enables nurses and other health and social care practitioners to reveal, explore and develop their embodied practices, systematically and collaboratively, amid busy daily practice situations. However ‘small’ the space they are in, the process described here can help practitioners to enlarge their space for becoming. The iterative cycle and the use of participatory arts help illuminate otherwise hidden and difficult to articulate aspects of practice, enable the involvement of stakeholders in coming to new understandings and lead to an expanded view of professional practice and its potential for transformation. The purpose of this paper is threefold. First, to present the methodology, methods and lessons learned during the doctoral study in which this approach was developed. Second, to reveal the professional artistry of facilitating this space for becoming and of supporting professionals to reveal their own and others’ professional artistry. Lastly, to offer inspiration and a guide for others considering similar participative inquiry work and to encourage debate and critique of the approach taken. [ABSTRACT FROM AUTHOR]

Gastatelier de Vindplaats is an informal shared art studio in a school building in Amsterdam. Children can join—free of charge—in their own neighbourhood, there is room for everybody to be engaged on their own terms as often as they like, and most materials consist of recycled goods. Gastatelier also aims to be a participatory practice because of the way it engages in school routines, family relations and neighbourhood activities. It is, lastly but distinctively, an artistic residency where artists are allowed time and space to become engaged in a specific social context. After the first year of pioneering, space and time have become essential to understand the methodology of the studio. Artists for example are allowed to spend as much time in the studio as they like, according to the European Unions guideline for artist's residencies, but children's time in the studio remains limited to a weekly hour and a half. The question arises how the role of this unevenly distributed time affects the children's agency of the studio. [ABSTRACT FROM AUTHOR]

This research engages in a methodological analysis of a participatory art project employing PhotoVoice with refugee and local community youths across two distinct sites: Istanbul and Johannesburg. The project aimed to facilitate inclusive deliberations among the youth, thereby promoting capacity building, reconciliation, and peacebuilding initiatives. Our focus is grounded in the concept of co-production as a practice and principle of inclusive deliberation within the research design, addressing a spectrum of issues from participant-driven research agenda setting, to the design and execution of the research, the selection and creation of photographs, and their dissemination. By offering a critical examination of how inclusive deliberation manifests in co-production research, we highlight the potentials, complexities, and tensions it generates. We argue that while co-produced action research embodies transversal politics, it does not necessarily disrupt the entrenched power dynamics and politically driven hierarchies within the public sphere. [ABSTRACT FROM AUTHOR]

This essay explores how the authors' curatorial process has roots in wonder : how it is one of inquiry beginning and ending with open questions. The authors describe how their "crip" curatorial methods can be used to refuse extractive practices that might result from a disengaged wonder and to generate exhibitions that hold both the viewers and the artists with the care necessary to move passive viewing into a reciprocal engagement that can lead to an activist turn. These curatorial methods acknowledge and embrace medical professionals as potentially fellow disabled people and view them as current or potential allies. Through the participatory nature of the art in the exhibitions the gallery becomes a space of encounter one that creates support structures for people to build out from their individual personal experiences and to become part of something shared across people objects memory and experience. However this shared space is not intended to collapse into ever fully knowing or understanding another person's experience. Critically it is also a shared engagement where access to someone else's story or body or memories is not freely granted. Crip curation takes seriously the intentional omissions of both viewers and artists that upend not only what we get to know but how we get to know it and emphasizes that what we get to know and how we know it necessarily remains incomplete; viewers and artists alone retain full access to their own experiences. [ABSTRACT FROM AUTHOR]

This paper posits participatory art as a distinct but underexplored practice of interest for human geography's contemporary work on art and aesthetics. It suggests that participatory art needs a conceptual, critical, and interdisciplinary grounding in human geography to advance the expanding relationship between participatory art practice and theory, aesthetics, and geography. Through three analytical themes – politics, publics, and space – the paper argues for an interdisciplinary approach to participatory art that draws across art theory, participatory praxis, and geography. The paper concludes around geography's suitability to critically explore the ethical and aesthetic relations created by participatory art. [ABSTRACT FROM AUTHOR]

This article reflects on the curatorial practices in the Brontë Parsonage Museum's 2022 Defying Expectations costume exhibition, to assess its strengths and weaknesses and to identify opportunities for similar exhibitions to be launched and improved upon in the future. The Defying Expectations exhibition included interactive art installations, recreations and illustrative reconstructions alongside traditional display methods, and this article evaluates the effectiveness of such a blended approach. Written from the perspective of a museum professional, the article considers how the exhibition developed contemporary curatorial practices and its legacy. Drawing on heritage studies and curatorship, the article juxtaposes information gleaned from literary analysis with an assessment of material culture. It assesses the exhibition's aim of reinterpreting Brontë's reputation as choosing plain and practical clothing by foregrounding her interest in colourful and multicultural textiles, which raises questions of individual, local and national identity as well as regarding the effects of colonisation. [ABSTRACT FROM AUTHOR]

Whilst dementia is a global health concern, recent research indicates that behaviour changes can reduce its risk. This study aimed to explore the impact of an interactive visual art exhibition on adults' motivation for dementia risk reduction. Participants (N = 165) completed the Motivation to Change Behaviour for Dementia Risk Reduction 10-item scale before and after the exhibition. Paired-sample t-tests compared changes in total motivation levels, and positive and negative cues to action scores. Multilinear regression was employed to identify predictors of increased motivation post exhibit. Participants showed a significant overall increase in motivation for brain-healthy lifestyles immediately post-exhibit (t(62) = − 2.70, p = 0.009), particularly with positive cues to action. Longer time spent engaging in the exhibit was associated with increased motivational change (R2 = 0.177, F(6,156) = 5.605, p < 0.001). Findings indicate that interactive visual art exhibitions hold significant potential as a means of enhancing adults' motivation for dementia risk reduction. By offering positive cues to action, these exhibitions could serve as an innovative component of public health strategies focused on promoting brain-healthy lifestyles. Our results contribute to the relatively limited body of research on the development of arts-based interventions that are both engaging and scalable, with the capacity to reach diverse populations. Further investigation into the long-term effects and underlying mechanisms is warranted to inform the design of more efficacious public health programs to support global efforts on mitigating the burden of dementia. [ABSTRACT FROM AUTHOR]

Among lens-based artists and educators, the generative potential of annotating photographs, especially in participatory contexts, is commonly understood. Responding to a lack of cohesive labelling and description of these practices in the literature, the authors identify them as elaborated images and categorise how the method operates. Elaborated images unsettle the authoritative perspective of the photographer, since, by layering their reactions directly atop the photograph, participants actively disrupt static notions of meaning. We argue that elaborated images as a visual method can enable researchers to emphasise polyphony, honour refusal, support truth-telling, contribute to the restoration of relationships, and imagine alternative futures. We draw on the participatory art practices of a growing number of social documentary photographers and consider what their approaches could bring to visual research. [ABSTRACT FROM AUTHOR]

This paper examines how Black men use a participant photography project as a tool for meaning making during the current political and social context of anti-Black racism, Black activism, and intersectional politics. Using a critical visual methodology in the analysis of the images, this paper will examine how Black men make meaning of current social issues through the types of images they produced, how they make meaning of the types of audiences they are speaking to through the project, and how these meanings are reflected through their repositioning practices in the visual project. Specific attention is paid to how they used the project to visually reposition themselves against raced-gendered hegemonic ontologies of Black masculinities by producing images and narratives that were intended to educate and disrupt dominant discourses on Black men. For this reason, I argue that the visual project is a type of repositioning event, which was a way for Black men to resist racial hegemony through the participant photography project. [ABSTRACT FROM AUTHOR]

Being Present with Art, or BPWA, is a method of integrating mindfulness-based stress reduction (MBSR), with art. Developed during the COVID-19 pandemic, the BPWA method features tools and exercises for participants to first become present to their bodies to then focus their attention on artwork and connect with others. A research study examining the impact of the BPWA method on stress, attention and sense of belonging, or connection, showed that participants self-reported lower stress levels, increased attention, and a greater sense of belonging after each session. Additionally, participants continued to self-report less stress a month after completing the four-week-long BPWA curriculum. The BPWA method offers one way for museums to engage visitors who are processing grief, alienation, and loneliness experienced due to the COVID-19 pandemic, and the study shows that museum pedagogy, especially when paired with mindfulness, has a positive impact on well-being. [ABSTRACT FROM AUTHOR]

This essay presents the professional journey and philosophical underpinnings of a visual artist, Chiara Passa, who has been deeply engaged with multimedia arts since 1996. Educated at the Academy of Fine Arts in Rome, the artist has explored the interplay between physical and virtual spaces using Virtual and Augmented Reality as tools to probe architectural concepts and challenge the static nature of places. The work often transcends traditional artistic boundaries to create immersive, interactive experiences that blend real and virtual worlds, encouraging viewers to engage actively with the artwork. Significant projects utilize augmented reality and artificial intelligence to offer dynamic and unexpected artistic encounters, reflecting on emptiness and space transformation themes. The artist’s work underscores a long-term commitment to integrating cutting-edge technology with artistic expression, contributing to the ongoing discourse on the role of digital technology in the evolution of art.

Participatory mural art is, above all, a dialogue process that involves residents, local associations, artists, activists, and other local actors working with each other; no one person imposes on another. The community-based mural process thus works in two facets of I social space i : first, it creates a platform for interaction between various community groups and local actors, and second, the very process of discussing and coming to agree on what they want to say through the mural painting imbues a democratic praxis of equally recognising each other and equally valuing everyone's situated knowledge and experience. What the mural is to represent is not imposed on those who are to live with the final mural art; rather, the mural's motif comes out of a months-long dialogue with the community who lives where the mural is to be painted. [Extracted from the article]

The introduction presents an overview of the concept of intermediality and how it is linked with other concepts such as experimentation, transformation, and liminality. Furthermore, the authors claim that intermediality in the post-media era revolutionises the notion of cinematic time and space and leads to an errant spectator, one that experiences various emotions throughout the viewing of an intermedial product.

The impact of global population aging on older adults' health and emotional well-being is examined in this study, emphasizing innovative technological solutions to address their diverse needs. Changes in physical and mental functions due to aging, along with emotional challenges that necessitate attention, are highlighted. Gaze estimation and interactive art are utilized to develop an interactive system tailored for elderly users, where interaction is simplified through eye movements to reduce technological barriers and provide a soothing art experience. By employing multi-sensory stimulation, the system aims to evoke positive emotions and facilitate meaningful activities, promoting active aging. Named "Natural Rhythm through Eyes", it allows for users to interact with nature-themed environments via eye movements. User feedback via questionnaires and expert interviews was collected during public demonstrations in elderly settings to validate the system's effectiveness in providing usability, pleasure, and interactive experience for the elderly. Key findings include the following: (1) Enhanced usability of the gaze estimation interface for elderly users. (2) Increased enjoyment and engagement through nature-themed interactive art. (3) Positive influence on active aging through the integration of gaze estimation and interactive art. These findings underscore technology's potential to enhance well-being and quality of life for older adults navigating aging challenges. [ABSTRACT FROM AUTHOR]

In recent years the popularity of smartphones has been on the rise, the importance of user experience is being discussed more frequently, and interface design is determined as a crucial technique in the interactive design of mobile devices. As both supply and demand for smartphones have grown, the interactive interface designs are significant, and attention is paid to their effects. The traditional method is only applicable to computers, has a limited user base, and has poor efficiency and effectiveness. However, the operation and functionality of mobile phones are diminished due to the installation of unwanted applications. Hence it is particularly evident in the interactive art approach in which there has been limited innovation in core capabilities and few distinguishing features among more established programmes. Inorder to perform speedy progress, the Convolutional Neural Network (CNN) and Deep Learning (DL) are widely determined. Furthermore, Style Transfer and Target Detection are emerging as popular because of their significance to the field of visual research. So this paper proposes the prevalent quasi- and flat-materialized style and analyzes the skills necessary for applications. The proposed method achieved superior performance when validated with MPI Sintel and Train2020 MSCOCO datasets. [ABSTRACT FROM AUTHOR]

In this paper, we look at installation art through the lens provided by the notion of "affective artifact" (Piredda 2019). We argue that affective character is central to some works of installation art and that some of those works can expand our knowledge of our affective lives, while others can contribute to the construction of our identities. Sections (2), (3), and (4) set the stage for our discussion of affective installation artworks by, respectively, situating it within the debate on affective artifacts, looking at some general issues concerning the affective character of artworks, and sketching out a view of the ontology of installation art. In section (5), we discuss the affective character of six works of installation art. In section (6), we show how those artworks can reveal aspects of who we are. Section (7) concludes. [ABSTRACT FROM AUTHOR]

This article presents an analysis of the production of the animated documentary series My Story. The Children Who Fought War in Colombia. The series was developed through a participatory creation process between young victims of the armed conflict and student animators from the Visual Arts programme at Universidad Javeriana, Colombia. The objective was to construct narratives that promote peace and generate new imaginaries. Interviews with the series director, Mathew Charles, and an animator, along with a review of the creative process, revealed the distinctive elements of this production. The study concentrated on the manner in which participatory animation encourages the formulation of innovative paradigms that challenge the conventional representations of the conflict. The objective was to cultivate empathy and mutual understanding among the participants. The findings emphasise the importance of participatory animation in the reconstruction of peace narratives, offering innovative perspectives in post-conflict contexts. This research demonstrates the significance of artistic intervention, particularly through participatory animation, as a valuable tool for constructing narratives that encourage critical reflection and promote a deeper, empathetic understanding of the experiences of those who have endured war. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the peculiarities of the manifestation of termediality in modern art in their influence on perceptual processes and to propose appropriate technologies for the perception of intermedial artistic phenomena. The research methodology is based on the concepts of media theory, communication theory, modern art theory and uses general scientific principles of interconnection, systematisation, and synergy. The purpose and objectives of the article necessitated the application of the method of extrapolation of heuristic algorithms of exact sciences to the heuristics of artistic phenomena with a view to practical methods of organising the perception of the intermediality of modern art by students of higher education. The use of the analytical method made it possible to identify the content and design resources of intermediality in its current development. The scientific novelty consists in projecting the properties of intermediality of modern art onto the technology of its perception in the process of university training. In the article, for the first time in domestic art history, the peculiarities of the manifestations of intermediality of modern art in connection with the communication of its recipients are understood. Conclusions. Intermediality is one of the main trends in the development of art, which consists in a kind of dialogue. From the point of view of perceptual processes, intermediality actualises the integrity of perception, which involves different sensory modalities. Intermediality in the modern artistic space outgrows the boundaries of the interaction of arts, connecting other spheres of culture and ensuring the inseparability of synthesised elements in creative practices different from traditional ones. Perception of intermedia modern art requires preparation, which should be carried out in the educational process. Effective technologies for perceiving the intermediality of modern art are interactive and intermedial. [ABSTRACT FROM AUTHOR]

There is growing evidence for the impact of arts engagement on later life cognition. However, confounding by socioeconomic factors may have led to an overestimation of this association. We analyzed data from 4,344 older adults in the Wisconsin Longitudinal Study. We measured participatory (e.g. painting, making music, crafts) and receptive (e.g. concert, play, museum) arts engagement separately. Participants completed six neurocognitive tests measuring two distinct domains of cognitive function (episodic/working memory and executive function/language) concurrently and seven years later. We used inverse probability of treatment weighting (IPTW) to remove confounding by a range of demographic and socioeconomic factors. Engaging in participatory or receptive arts for up to one hour per week (but not more frequently) was associated with better subsequent executive function/language. Similarly, engaging in receptive arts activities for up to three hours per week (but not more frequently) was associated with better subsequent episodic/working memory. These effects were of similar sizes to doing vigorous physical activity for up to one hour per week. However, our findings also highlight key methodological issues when exploring the relationship between arts engagement and cognition that should be considered in future studies, including measurement bias, life-course stage, length of follow-up, variation in outcomes, attrition, and missing data. [ABSTRACT FROM AUTHOR]

This visual essay concerns the generative capacities of loss in the production and maintenance of community archives and archiving communities. In archival sites, the loss of space through the collection of items, as well as degradation and wear and tear, is a concern that traditional archival practice seeks to address, manage, and mitigate. However, through the discussion of two case studies—a participatory arts company in Stoke on Trent and zine archives and libraries in Manchester and Birmingham—loss can materialize as presence, through damp and clutter, evidence of community activity, and debate and discussion. Furthermore, the author argues that loss is generative of archives themselves by drawing from the ongoing work in the two sites, as well as the emergence of archival practice and debates specific to the communities themselves. [ABSTRACT FROM AUTHOR]

There are increasing demands for Participatory Arts-Based (PAB) programs involved in health research to better evidence outcomes using robust quantitative evaluation methodologies taken from science, such as standardized questionnaires, to inform commissioning and scale-up decisions. However, for PAB researchers trying to do this, barriers arise from fundamental interdisciplinary differences in values and contexts. Researchers are required to navigate the tensions between the practice-based evidence produced by the arts and the evidence-based practice sought by psychologists. Consequently, there is a need for interdisciplinary arts-science collaborations to produce alternative methods of evaluation that are better aligned to PAB approaches, and which combine systematic rigor with a sensitivity to the values, contexts and strengths of this approach. The current article centers on the development of an alternative transdisciplinary analytic tool, the Participatory arts Play Framework (PP-Framework), undertaken as part of an arts-psychology collaboration for a UK AHRC-funded PAB research project: Playing A/Part: Investigating the identities and experiences of autistic girls. We present details of three stages in the development of the PP-Framework: 1. preliminary emergence of the framework from initial video analysis of observational data from participatory music and sound workshops run for 6 adolescent autistic girls (aged 11-16); 2. identification and application of modes of engagement; and 3. further testing of the framework as an evaluation tool for use in a real-world setting, involving professional musicians engaged in delivery of a creative music project at a center for homeless people. The PP-Framework maps types of participation in terms of performative behaviors and qualities of experience, understood as modes of play. It functions as a vehicle for analyzing participant engagement, providing a tool predicated on the processes of working in creative participatory contexts while also being sensitive to the esthetic qualities of what is produced and capable of capturing beneficial changes in engagement. It offers a conceptual approach for researchers to undertake observation of participatory arts practices, taking account of embodied engagement and interaction processes. It is informed by understandings of autistic performativity and masking in conjunction with an ecological understanding of sense making as being shaped by environments, social relations and sensing subjectivity. The framework has the potential to be a bi-directional tool, with application for both practitioners and participants. [ABSTRACT FROM AUTHOR]

In this article, I shall discuss participation - the artist's role and responsibility in participation, and the potentials of participatory textile projects in the public space. In doing so, I will focus on The stitch project (2012-). This project involves public interaction through acts of tactile textile making such as stitching on a tablecloth. I have based this study within a context of understanding matter and the embodiment of participation from feminist (Ahmed, 2006; Butler, 1988) and new materialist (Barad, 2003; Coole & Frost, 2010; Garber, 2019) perspectives. I am interested in the interactive aspects of The stitch project and how these aspects relate to the concepts of diapraxis (Nunes, 2019) and al masha (Hilal & Petti, 2018). In regard to these terms, I aim to examine the potentials and challenges of participatory textile art projects, like The stitch project, by examining their social and material aspects as well as the complexities of inclusion and participation. [ABSTRACT FROM AUTHOR]

In a post-Covid context, the term presence has become the subject of renewed academic focus, amplified by mass phenomena such as Zoom fatigue and online classroom teaching. The prism of new materialism allows for a new reading of relationships between technology and human sensing, physical and virtual presence and copresence, with possible design implications: Current research in public health and social-environment discourse is interested in the effect of presence on well-being. As a theoretical framework, new materialism provides a lens that foregrounds complex relations between affect and technology, enabling us, through interventions like the KIMA: Colour participatory artwork, to interrogate the broad discourse on mediated presence and social connectivity. This paper provides an overview of the AHRC-funded research project, 'p_ART_icipate!', which is a collaborative investigation led by the University of Greenwich, CNWL NHS Foundation Trust, and Brunel University. This paper describes one of the case studies within the project, 'KIMA Colour', a collaboration with the art collective Analema Group, the National Gallery and the Royal National Institute of the Blind (RNIB). The case study explores the effect of collective cultural experiences and participatory art on a sense of social connectivity and copresence. In collaboration with RNIB and a group of visually impaired individuals, the team asked how we can design meaningful and accessible online interfaces that actively contribute to a sense of 'participatory presence'. Findings suggest a possible link between the experience, presence and social connectedness. This research aims to contribute to our understanding of participatory art and to provide recommendations for accessibility and facilitation designc for participatory online interfaces. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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 Arte y Políticas de Identidad is the property of Servicio de Publicaciones de la Universidad de Murcia 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 article focuses on the evolution of Irish traditional music over the past twenty-five years, detailing its historical significance and ongoing development. Topics include the transformation of traditional music from a social dance form to a performance art aimed at culturally appreciative audiences, the increasing variety of music practices and the pivotal role of organizations and initiatives that support the preservation and promotion of Irish traditional music.

This article responds to debates about the complicity or outdatedness of regionalism in Area Studies by analyzing creative works by local artists that reimagine South East Asia as 'area': Ho Tzu Nyen's interactive database The Critical Dictionary of Southeast Asia (CDOSEA) (2012–present); and two omnibus films – the Asian Film Archive's Fragment (2015) and the former Luang Prabang Film Festival's Mekong 2030 (2020), which feature acclaimed South East Asian filmmakers such as Lav Diaz, U-Wei Haji Saari, Anocha Suwichakornpong, Nawapol Thamrongrattanarit and Tan Chui Mui. Diverging from Caroline Ha Thuc's earlier South East Asia Research article by revisiting vernacular concepts of sovereignty and collectivity such as mandala and zomia in subaltern historical and anthropological writings, it examines how these works highlight the commonality of motifs of ecology, performance, mobility and spirituality. While the digital artwork CDOSEA algorithmically rearranges constellations of images, words and sounds commonly associated with the region, the omnibus films Mekong 2030 and Fragment combine diverse, fragmentary narratives from different locations within a single anthology. Transforming 'area' from an object of neocolonial knowledge production to a source of autonomous collective agency, the article explores how these works visualize a provisional community defined by its plurality, fluidity and inclusiveness. [ABSTRACT FROM AUTHOR]

This essay examines a little-known but important installation entitled Insure the Life of an Ant, conceived by artist Mike Malloy and displayed at the O.K. Harris Gallery in New York in April of 1972. This provocative and idiosyncratic piece confronted gallery-goers, who became viewer–participants, with the option of killing or saving a live ant displayed like a sculpture on a pedestal, either by pushing a button or not. The artist made the piece, which can function almost like a psychology experiment, to engender a "moral dilemma". I explore the particular role of affect in a participatory art installation, distinct from response to inanimate art. I investigate the roles of emotion and reason in dealing with the work; whether ratiocination can be considered an "anti-affect"; and how the tension between competing thoughts and feelings helped create a psychological drama. The essay looks at how an art space can operate as a zone of moral exceptionalism to encourage questionable actions. It also locates the piece in relation to the emergence of a more behaviorist art in the early 1970s, as discussed by critic Gregory Battcock, and the larger notion of postmodernism. Other contexts investigated include art and animal rights and issues of sentience and speciesism; social and military violence, including capital punishment and the Vietnam War; the 1961 Milgram experiment; Hannah Arendt's concept of the "banality of evil" as a Nazi war criminal defense; and other works of art involving maltreatment or violence toward both human and non-human animals, including those by Marina Abramović, Marco Evaristti, and Edward and Nancy Reddin Kienholz. [ABSTRACT FROM AUTHOR]

Using affect theory as a guiding theoretical frame, in this article a university artist/educator explores how participation in a socially engaged public art project might be rethought through jarring. Jarring refers to the use of jars as an artistic material and metaphor for participation which led to an installation titled, The Jarring Affects of Participatory Practice. Comprising 150 glass jars, the installation served as an iterative reappraisal of participatory art through the creation of a material register of natural, manufactured and handcrafted items, loosely and directly related to the Linnentown Mosaic Project (LMP). The LMP was a community-led effort to create a permanent tile and mirror mosaic honouring Linnentown, a once-thriving Black community erased through urban renewal by the University of Georgia and the city of Athens during the 1960s. Jarring as a form of research-creation reveals moments of resonance that in their precarity suggest new ways for thinking about participating as ever-changing iterations for undoing, waiting and feeling forth. [ABSTRACT FROM AUTHOR]

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Participatory arts can invite stormy and violent forms of participation when they are commissioned for sites where frustration, territorial control and pre-emptive self-defense involve practices of accepted street codes by those living within racialized, febrile territories. Through the case study of Aroma Home, a participatory art gardening project, in Paris's northern peripheries, I analyze instances of affective, symbolic, performative and territorial violence as non-normative political acts of participation. Examining the underlying contexts and logics that led to these incidents, I argue that the most insidious act of violence in the project was the creation of our invasive, extractive garden on a hitherto unclaimed and unidentified patch of 'free' public ground. In creating a new identity for this wasteland and defining its use, we effectively limited, and implicitly prescribed, modes of participation that were culturally alien to those we most wanted to involve. [ABSTRACT FROM AUTHOR]

From a social pedagogical perspective, the COVID-19 pandemic has (re-)raised the question of what constitutes social bonds. In this article, we focus on participatory art, as a practice that in recent decades has been put forward as a (new) pedagogical project in dealing with complex societal issues, especially in urban areas. Drawing on the connection between participatory art and the urban public realm, our purpose is to explore the potential of these practices to rethink the nature of social coherence in a context of post-crisis reconstruction. Based on a bi-monthly follow-up of 10 Brussels participatory art practices, we explore how these practices have or have not been able to cope with the pandemic, how the public realm unfolds within this process, what this entails for the (future) role of practitioners and what we might learn from these practices in terms of finding a new voice for arts and culture. [ABSTRACT FROM AUTHOR]

This article interrogates artistic practices during the revolution in the context of the MFA's Cultural Dynamisation and Civic Action Campaigns (1974-1975). It begins by revisiting a corpus of ethnographic data collected as part of a research published in 2009 (Almeida 2009) on this initiative, assuming the potential of the second life of ethnographic data (Leopold 2008; Almeida and Cachado 2016, 2019), especially what it can still tell us in light of the main themes in the anthropology of art. In this way, I intend to discuss how artists set out to intervene in reality within the scope of this initiative and how their artistic practice was configured as a platform for action, identifying in this period the emergence of an artistic and aesthetic vocabulary that is close to what is now categorized as dialogical, collaborative, participatory, community, socially committed related to participatory art, community art (Bourriaud 2006 [1998]; Crehan 2011; Flynn 2018; Sansi 2015 Kester in Garrido Castellano and Raposo 2019). [ABSTRACT FROM AUTHOR]

The Fences: A webcomic on collective debt and ruination in Paraguay is a production of the Australian‐Paraguayan comics studio CómicsClub comprised of anthropologist and writer Caroline E. Schuster and artists Enrique Bernardou and David Bueno. This webcomic began as an anthropological fieldwork study of climate financing ‐ that is, novel financial arrangements that address the emerging weather‐related risks to human communities of global warming, deforestation, and mass extinction. As we enter an era of 'global weirding' characterised by strange and extreme weather, insurance companies have welcomed the opportunity to cast themselves as financial 'first responders,' offering coverage for drought, floods, bushfires, and other so‐called secondary perils that cost billions of dollars annually in property damage and reconstruction costs. The webcomic tells this story through interactive sequential art. Through branching timelines and 'what if?' scenarios, the project recuperates a critical speculative imagination and offers alternatives to financial modes of 'buying the future.' [ABSTRACT FROM AUTHOR]

The proportion of students studying in higher education institutions who are experiencing mental health needs is increasing and becoming a serious concern. Using participatory arts projects may be key to enabling students to maintain well‐being despite the pressures inherent in their student role. Therefore, this study aimed to ascertain whether such a course could be feasibly developed within a university setting, and to examine how esthetic experience influences university students' well‐being. To understand the differences in students' esthetic experience and well‐being before and after engaging in participatory art, this study implemented an intervention and collected quantitative and qualitative data. A total of 39 students volunteered to participate in the study. The results revealed that esthetic experience predicted student well‐being, as the more students had an esthetic experience by concentrating on a particular artwork, the more effective it was in terms of enhancing their well‐being. In addition, there was a significant difference between the pre‐ and postintervention, where students' esthetic experience and well‐being improved after completing the art activities. These findings have implications for our understanding of university students' well‐being, as well as the importance of considering participatory art, on its own, as a target for intervention. Practitioner Points: Esthetic experience predicted college students' well‐being.There was a significant difference between the pre‐ and postintervention, with the college students' esthetic experience and well‐being improving after completing the art activities.Participatory arts contributed to both esthetic experience and well‐being. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad 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 Arte, Individuo y Sociedad 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

In many landscapes worldwide, fire regimes and human–fire interactions were reorganised by colonialism and continue to be shaped by neo-colonial processes. The introduction of fire suppression policies and state-centric property-rights systems across conservation areas and the intentional erasure of Indigenous governance systems and knowledge have served to decouple Indigenous fire-dependent communities from culturally mediated fire regimes and fire-adapted landscapes. This has driven a decline in anthropogenic fires while simultaneously increasing wildfire risk where Indigenous people have been excluded, resulting in widespread social–ecological vulnerabilities. Much contemporary fire research also bears colonial legacies in its epistemological traditions, in the global geographical distribution of research institutions, and the accessibility of research outputs. We report on a two-day workshop titled 'Fire Management Across Contested Landscapes' convened concurrently in Nairobi, Kenya, and London, UK. The workshop formed part of a series of workshops on 'Decolonising Fire Science' held by the Leverhulme Centre for Wildfires, Environment and Society, UK. The workshop in Nairobi invited diverse Kenyan stakeholders to engage in participatory activities that facilitate knowledge sharing, aiming to establish an inclusive working fire network. Activities included rich pictures, world café discussions, participatory art, and the co-development of a declaration to guide fire management in Kenya. Meanwhile, in London, Leverhulme Wildfires researchers explored participatory research methodologies including rich pictures and participatory video, and developed a declaration to guide more equitable research. There were opportunities throughout the workshop for participants in Nairobi and London to engage in dialogue with one another, sharing their experiences and understandings of complex fire challenges in Kenya and globally. [ABSTRACT FROM AUTHOR]

In the Hong Kong Chief Executive's 2020 Policy Address, the Hong Kong Special Administrative Region (HKSAR) Government implemented strategies to integrate arts and technology as a new trend in cultural development. With the co-existence of a governmental initiative in 'arts and technology' ('arts tech') development and the rapid advancement of new technologies, it is frequently seen that new technologies (e.g., virtual reality [VR] and augmented reality) have been widely adopted in interactive media art productions in Hong Kong. Drawing on ethnographic research on a commercial virtual event, and a VR theatre performance produced by a Hong Kong cross-media creative studio, this study unveils discrepancies existing between government officials, commercial marketers, and art creators, ranging from objectives to practices in applying technologies to virtual art production. The juxtaposition of a market-driven commercial virtual campaign and the Chinese nationalist agenda embodied in the government-funded arts tech project reflects how the socio-historical background and changing political situation in Hong Kong extends its postcolonial neoliberal nationalism (PNN) to the arts tech arena. The contribution of this paper is two-fold: first, by adopting 'China as method' as epistemological analysis, the mediation of PNN by arts tech explains a 'southbound imaginary' in Hong Kong's arts and cultural practices through a changing relationship between Hong Kong and mainland China. Second, in contrast to the current scholarship focusing on human governance in the formation of neoliberal nationalism, this paper underscores the 'power' of techno-cultural material in mediating the neoliberal nationalism of Hong Kong, after its reversion to China, through arts tech development. [ABSTRACT FROM AUTHOR]

Participatory art turns the artwork into a process of engagement and co-creation, and it thus involves forms of time-based coordination that influence the experience of creating participatory art. In this paper I argue that participatory art is underscored by two contrasting temporal frameworks. One is the framework of long-term durational approaches that have been internalized among artists as an ethical and political obligation toward participants; the other is the short-term temporary framework that typically comes with project funding and steers the project toward delivery of target outcomes. To show the tensions to which these contrasting temporal frameworks can give rise, I analyze the development of a participatory art project in Copenhagen's South Harbor. Specifically, the analysis emphasizes how tensions arose in respect to delimitations of project aspects such as who constitutes the creative team, what is the task before us, and what is our expected contribution to the community. By emphasizing the tensions arising from contrasting temporal frameworks, the article contributes to a more nuanced understanding of the experience of creating participatory art, and to problematizing the question of time for participatory art. [ABSTRACT FROM AUTHOR]

This interdisciplinary research investigates the potentials of animal enrichment as it pertains to the conceptualisation of more-than-human aesthetics. This occurs by analysing the creation of a series of digitally interactive sculptures called the Quantum Enrichment Entanglers (2021-2022), designed with and for flying foxes in rehabilitation care. In doing so, I argue for a multispecies future for arts practices in which the human perceiver is decentred, and the needs, wants, and practices of other species are considered within the interactive arts. While we cannot yet know the phenomenal experiences of other species, I contend that through knowledges from the fields of animal enrichment design, we are 1 better able to create cultural artefacts and artistic outcomes that cultivate joy or interest beyond our own species. This research is situated within a practice-based research approach, informed by animal enrichment design. I develop processes of approaching animal participants with interactive stimuli in order to reflect on engagements between animals and artefacts. This develops its own aesthetic register based on what I call sensory affordances.

How do omnivorous consumers perceive co-creation in cultural consumption? In this article, we combine observation data on co-created cultural productions, focus groups and field interviews to investigate omnivorous consumers' perceptions of artistic experiences characterized by different degrees of co-creation. We explored this topic in the context of co-creative theatre, an emergent theatrical genre that provides for the active involvement of omnivorous consumers in the staging of a theatrical performance. Our findings reveal new dimensions of what it means for omnivorous consumers to be culturally open by showing their perceptions of interactive and participatory art, two distinct co-creative artistic experiences. While interactive art encourages consumers to intervene in the artistic experience by following the precise direction of the professional artists on stage, participatory art entails an even more active and autonomous role of consumers in the design of the experience. Our findings indicate that there are differences between the way in which consumers perceive interactive art and participatory art and that two distinct dimensions of cultural consumption – novelty and authenticity – emerge from different co-creative dynamics. The observed co-creation experiences portray the transformation of the omnivorous consumers from spectators or visitors to co-authors of the experience and mark the dissolution of the existing boundaries between production and consumption. [ABSTRACT FROM AUTHOR]

Issue addressed: Arts on Prescription at Home (AoP@Home) involves a professional artist visiting a person with dementia and their informal carer(s) in their own home to engage them in participatory art making. While there is evidence for the use of these programs, more work is needed to facilitate effective implementation. This study explored contextual barriers and enablers to implementation of AoP@Home within a real‐world community aged care service. Methods: Two remote focus groups were conducted at a community aged care provider in Sydney, Australia. Key stakeholders (n = 14) were recruited, representing: people with dementia, informal (family) carers, AoP artists, service referrers and community service managers. Focus group transcripts were analysed using qualitative content analysis and mapped onto the Consolidated Framework for Implementation Research (CFIR). Outcomes were reviewed against the Expert Recommendations for Implementing Change (ERIC) strategy compilation to inform development of a tailored implementation strategy. Results: Four overarching themes described the range of barriers and enablers to AoP@Home implementation: (1) "I don't know enough about it" (awareness and engagement within the sector), (2) artists delivering programs, (3) awareness and engagement of people impacted by dementia, (4) practicalities of implementation. All five domains of the CFIR were represented across the four themes. The ERIC compilation provided a list of practical strategies for implementation of AoP@Home. Conclusions: The implementation of psychosocial interventions for people living with dementia within a community aged care service is complex and multifactorial. So what?: Organisations planning implementation should consider conducting their own pre‐implementation analysis to identify context‐specific strategies. [ABSTRACT FROM AUTHOR]