Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

Indicators on community art practices: some reflections

From the Divercity project, the article reflects on methodology, good practices and indicators useful for community art practices. At first term, social exclusión is defined as well as community art, and which features it presents. Subsequently, the article reviews the indicators that are being used to measure the success or achievement of community arts practice, raising criticism from equality and including indicators that measure the well-being of women.

"On our way": identities and representations of African women seeking asylum in Ireland

This thesis provides the first explicit Postcolonial study of asylum in the Irish context that integrates Black Feminist analyses of intersectional identity with Postcolonial Feminist theories of representation. African women seeking asylum in the Republic of Ireland were key political instruments used by the state to re-draw racial lines. The study examines how, for a group of African women “On their Way” through asylum, identity and representation work hand in hand to force identities, subaltern spaces and bodies to occupy them. Rich biographical data is gathered through mixed art and drama methods over two intensive participatory research projects conducted in a small Irish city. Data analysis critically examines the poetics (practices that signify) and politics (the powers that govern these practices) and affective economies of global and local NGO visual representations, exposing how they consume, fragment, and appropriate African women’s identities and bodies. Though hypervisible, the women themselves “cannot speak”. The women in the study reported feeling “tired” and “used”. Asking “What work are they doing as they do asylum?” the study finds that black female identities and bodies are forced to perform political, cultural, emotional and material labour on their way through this context of Irish asylum. The author argues that Postcolonial Asylum is a performative encounter that re-scripts colonial race/class/gender discourse through a humanitarian alibi to naturalize European/white supremacy, reinscribe patriarchal power and justify racialised incarceration of bodies seeking asylum in the North. This study takes an interdisciplinary approach that centralizes Black and Postcolonial Feminist theory and innovates Participatory Art-Based Action methodology. Black and Postcolonial feminisms can recognize, theorize and replenish black female political and intellectual agency. Participatory Action research, if grounded in Black feminist epistemology and ethics, can allow participants to “speak back” to what is already said about them in spaces of convivial self-representation.

Art públic, regeneració urbana i participació. El projecte Cartografies de La Mina

[eng] The evolution of public art throughout the twentieth century has resulted since the 60"s in a kind of practical intervention in the urban domain with a strong social and participatory intention. This paper presents several of these projects in relation to the kind of participattory levels, and detecting different trends. The paper Specially focuses on the project"Cartografies de La Mina", developed in Sant Adrià de Besòs (Barcelona) between 2002 and 2005 by the POLIS Research Centre at the University of Barcelona.

Inclusion and empowerment in public art and urban design

To involve citizens in developing the processes of city making is an objective that occupies part of the agenda of political parties in the context of the necessary renewal in representative democracy. This paper aims to provide some answers to the following questions: Is it possible to overcome the participatory processes based exclusively on the consultation? Is it possible to"train" residents to take an active role in decision-making? How can we manage, proactively, the relationship between public actors, technicians and politicians, in a participatory process? We analyse the process development for creating the Wall of Remembrance in the Barcelona neighbourhood of Baró de Viver, a work of public art, created and produced by its neighbours, in the context of a long participatory process focused on changing the image of the neighbourhood and the improvement of public space. This result and this process have been possible in a given context of cooperation among neighbours, local government and the research team (CR-Polis, Art, City, Society at the University of Barcelona). The development of a creative process of citizen participation between 2004 and 2011 made possible the direct management of decision making by the residents on the field of the design of public space in the neighbourhood. However, the material results of the process does not overshadow the great achievement of the project: the inclusion of a neighbourhood in taking informed decisions because of their empowerment in public space design and management of their remembrances.

Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

L'art public : les nouveaux modes d'expression artistique et le processus d'intégration en milieu urbain

L’art public se présente sous divers modes d’expression artistique dans l’espace public. Qu’il soit permanent, temporaire ou éphémère, qu’il soit singulier, interactif ou participatif, qu’il soit traditionnel ou numérique, l’œuvre intégrée ou insérée dans ce contexte tente d’interpeller le public. Cette recherche examine l’évolution des modes d’expression artistique dans l’espace public, dans l’espoir de trouver une définition de l’art public. L’étude de cas de la Ville de Montréal est la base de cette recherche pour examiner les nombreuses manifestations de l’art dans l’espace public et ses périmètres. Dans une perspective conceptuelle et transdisciplinaire, sous lesquels nous considérons les approches artistiques, paysagères et politiques dans l’analyse du sujet, nous nous intéressons aux frontières des modes d’expression artistique et les moyens de les représenter. En somme, nous souhaitons saisir ce que l’on considère comme l’art public dans l’aménagement urbain montréalais et générer des connaissances plus générales. Notre revue de littérature et les observations faites sur le terrain révèlent de nouveaux enjeux qui influencent les pratiques artistiques et la perception que peut susciter une œuvre d’art public aujourd’hui. Nous examinons les facteurs qui les influencent à ce jour. En étudiant la question, nous constatons que la tâche de définir ce qui constitue l'art public est difficile, d'autant plus que les pratiques évoluent constamment. Souvent définie comme une fonction plus cosmétique qu’artistique et dans une logique d'équipement, l'art dans l'espace public joue un rôle passif et fait l'objet de débats et de critiques. Pour le public, l'art public est difficile à discerner bien que sa présence semble être appréciée. Nos résultats mettent en lumière la complexité des processus politiques, les attentes spécifiques, les règles et modalités oppressantes pour l'artiste, la difficulté à saisir les œuvres d'art et le manque de médiatisation pour sensibiliser le public. Avec la politique d'intégration, l’art dans les espaces publics résulte souvent d'une médiation conflictuelle dans un rapport de compromis et d’attentes contrastées afin que soit réalisée une œuvre. Les résultats permettent de penser que les processus de sélection sont souvent pervers et fermés aux initiatives artistiques. En outre, il serait nécessaire dans ce contexte que les artistes définissent mieux leur statut professionnel et leur pratique. Malgré des efforts du Bureau d'art public de Montréal, l'art public semble peu perçu sur son territoire. Par ailleurs, les nombreuses discussions avec le grand public portent à l'attention l'absence de médiatisation pour les arts publics sur le territoire de Montréal.

School counselors : importance of the personal and participatory dimension in attitudinal competences

Resumen basado en el de la publicaci??n

Participatory rural appraisal of dairy farms in the north west province of Cameroon

A Participatory Rural Appraisal (PRA) was conducted in dairy farms of the North West Province of Cameroon. The aim of the PRA was to have a better understanding of the prevailing dairy systems, identify problems, and set priorities for research and development that can contribute to improved systems of production. A multidisciplinary team of researchers and extension agents was constituted. It was made up of scientists of the following fields: cattle management, forage science, agro economy, veterinary, dairy technology, nutrition and extension. The research team visited farmers' groups and divided itself into subgroups for farm and village walks during which direct observations were also noted. The extension agent of the locality, key informants, gave additional information overlooked by farmers. Interviews were also carried out with other stakeholders of the dairy sector. The research team met the day following the visit to agree on a common report. Results show that five small scale dairy production systems are found in the region: transhumance, improved extensive, semi intensive, zero grazing and peri-urban. Agriculture is well integrated to dairying. Main constraints include in order of importance: poor marketing opportunities and long distances to market, limited grazing land and poor supplementation strategies, poor reproductive management and poor calving interval, inadequate knowledge in processing, hygiene and milk preservation, and limited health control. In market oriented farms, reproduction and feeding were the most important constraints. Main factors influencing dairy production are: milk collection, fresh milk price, consumer demand, genotype and management. These results suggest that much can be done to improve production by extending improved packages to dairy farmers.

Participatory scenarios as a tool to link science and policy on food security under climate change in East Africa

How effective are multi-stakeholder scenarios building processes to bring diverse actors together and create a policy-making tool to support sustainable development and promote food security in the developing world under climate change? The effectiveness of a participatory scenario development process highlights the importance of ‘boundary work’ that links actors and organizations involved in generating knowledge on the one hand, and practitioners and policymakers who take actions based on that knowledge on the other. This study reports on the application of criteria for effective boundary work to a multi-stakeholder scenarios process in East Africa that brought together a range of regional agriculture and food systems actors. This analysis has enabled us to evaluate the extent to which these scenarios were seen by the different actors as credible, legitimate and salient, and thus more likely to be useful. The analysis has shown gaps and opportunities for improvement on these criteria, such as the quantification of scenarios, attention to translating and communicating the results through various channels and new approaches to enable a more inclusive and diverse group of participants. We conclude that applying boundary work criteria to multi-stakeholder scenarios processes can do much to increase the likelihood of developing sustainable development and food security policies that are more appropriate.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.

Engineered Nanoparticles And Organic Matter: A Review Of The State-of-the-art.

Growth in the development and production of engineered nanoparticles (ENPs) in recent years has increased the potential for interactions of these nanomaterials with aquatic and terrestrial environments. Carefully designed studies are therefore required in order to understand the fate, transport, stability, and toxicity of nanoparticles. Natural organic matter (NOM), such as the humic substances found in water, sediment, and soil, is one of the substances capable of interacting with ENPs. This review presents the findings of studies of the interaction of ENPs and NOM, and the possible effects on nanoparticle stability and the toxicity of these materials in the environment. In addition, ENPs and NOM are utilized for many different purposes, including the removal of metals and organic compounds from effluents, and the development of new electronic sensors and other devices for the detection of active substances. Discussion is therefore provided of some of the ways in which NOM can be used in the production of nanoparticles. Although there has been an increase in the number of studies in this area, further progress is needed to improve understanding of the dynamic interactions between ENPs and NOM.

PAH biomarkers for human health risk assessment: a review of the state-of-the-art

Polycyclic aromatic hydrocarbons (PAH) are widely distributed in the environment, and some are carcinogenic to human beings. The study of biomarkers has helped clarify the nature and magnitude of the human health risks posed by such substances. This article provides a review of the state-of-the-art on PAH biomarkers for human health risk assessment and also discusses their applicability within the context of environmental management in Brazil. The article discusses the methodologies for determination of some biomarkers such as 1-hydroxypyrene and PAH-DNA adducts. Cytogenetic markers, frequency of chromosomal aberrations, and micronucleus induction were considered for the evaluation of cancer risk. The current stage of studies on validation of such biomarkers was also approached.