Families and Poverty: Everyday life on a low income

The recent radical cutbacks of the welfare state in the UK have meant that poverty and income management continue to be of great importance for intellectual, public and policy discourse. Written by leading authors in the field, the central interest of this innovative book is the role and significance of family in a context of poverty and low-income. Based on a micro-level study carried out in 2011 and 2012 with 51 families in Northern Ireland, it offers new empirical evidence and a theorisation of the relationship between family life and poverty. Different chapters explore parenting, the management of money, family support and local engagement. By revealing the ordinary and extraordinary practices involved in constructing and managing family and relationships in circumstances of low incomes, the book will appeal to a wide readership, including policy makers.

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.

Seeking the New Normal? Troubled Spaces of Encountering Visible Differences in Warsaw

In times of globalisation and super-mobility, ideas of normality are in turmoil. In different societies in, across and beyond Europe, we face the challenge of undoing specific notions of normality and creating more inclusive societies with an open culture of learning to live with differences. The scope of
the paper is to introduce some findings on encounters with difference and negotiations of social values in relation to a growing visibility of difference after 1989 in Poland, on the background of a critique of normality/normalisation and normalcy.On the basis of interviews conducted inWarsaw, we investigate how normality/normalisation discourses of visible homosexuality and physical disability are incorporated into individual self-reflections and justifications of prejudices (homophobia and disabilism). More specifically we argue that there are moments of ‘cultural transgressions’ present in everyday practices towards ‘visible’sexual and (dis)ability difference.

Compte rendu: Johann Wolfgang Unger (2013), The Discursive Construction of the Scots Language : Education, Politics and Everyday Life, Amsterdam, John Benjamins, coll. « Discourse Approaches to Politics, Society and Culture, 51 », 178 p. [ISBN : 978-9-027-20642-8]

Résumé non disponible

Embodying Self-Determination: Re-placing Food Sovereignty through Everyday Geographies of Indigenous Resurgence

Thesis (Ph.D.)--University of Washington, 2015