Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Civic engagement and the arts and humanities: a UK perspective

Higher education in the UK is in a state of flux and this is having particular impact on the humanities. On the one hand the pressure to support a STEM agenda is seen by some as forcing higher education down a narrow economic agenda, while government requirements for assessing the social and economic impact of research has raised concerns about excessive utilitarianism and a downgrading of ‘disinterested enquiry’. This paper argues that these concerns may be misplaced. The research impact agenda has the potential to promote more socially engaged research and more democratic engagement in the creation and dissemination of knowledge. In the US concerns about the democratic role of higher education more often seem to focus on the student experience. By contrast, in the UK concerns about citizenship education and democratic participation more often focus on high school students, perhaps because university students are more likely to have a formal role in institutional governance. The paper concludes that the papers in this forum have a very American feel, but the issues they address resonate on a much wider scale.

Deciphering the performance hints hidden in J. S. Bach’s quaver beams

Bach often beamed his quavers beyond the beat-unit indicated by the time-signature, as if to indicate the way he perceived, phrased or articulated a musical line. In my previous study in 2011 I demonstrated the significance for both performers and editors of critical editions of quaver beaming against a broader background of Bach’s notational practice. In this article, I go one step further and demonstrate that Bach’s quaver beams reflect how Bach responded to his pieces in composition and performance, which sheds light on how he engaged with and perceived his music from motivic to structural levels. This enquiry has never before been pursued thoroughly and it promises to uncover the ideas that guided his notational practice as well as his spontaneous responses to the challenges he faced while writing out his music on paper

The Effect of Seat Location in Lecture Theatres on Academic Performance

The purpose of this research study was to investigate and identify possible patterns relating to academic performance on the effects of university students self-selecting where to sit in a lecture theatre.
The key research questions are:
1. Does seating position affect student performance?
2. Do the most academically able and engaged students regularly sit at the front of lecture theatres?
Academic achievement
Preliminary results suggest significant assessment score differences between those that sit at the front and those that sit further the back. Of those that received a grade of 75%+ (Grade A) 6.67% regularly sat at the back. With the same group 46.67% regularly sat at the front. Of the group that scored less than 50% (Grade D) 0% of students regularly sat at the front. 12.50% regularly sat in the middle zones with 37.50% sitting at the back. It was also observed that the remaining numbers did not consistently sit in the same zone.

Temporal movement
There is little evidence of movement between seating zones of the Grade A group throughout the 24 week period. However there was considerable movement with the Grade D group. Although still under analysis there appears be a pattern of students in this group graduating towards the back seating positions over the course of the programme.

Engagement
The frequency of completed entries on PinPoint was also used as an indicator of engagement. With the Grade A group 75% of them regularly completed an entry whereas in the Grade D group this drops to less than 50%.
Further analysis on the attitudinal factors in relational to seating position and performance are ongoing, but preliminary results suggest that those students that scored highly in attitude tended to sit at the front and middle sections.
It would indeed appear that the more highly engaged and academically capable students voluntarily sit at the front for most lectures. Interestingly as the course progresses those who had lesser engagement and below average midterm results tend to began to sit progressively toward the back. If this is a repeatable pattern then a linear regression analysis of the seating positions and midterm results could help predict students in danger of failing.