La réception des expositions d'art engagé à la fin du XXe siècle au Québec : entre reconnaissance et institutionnalisation

L’objectif de ce mémoire est de comprendre comment s’articule la réception d’expositions socialement engagées dans un contexte muséal contemporain et québécois. Afin de mener à bien cette recherche, deux études de cas seront analysées : Art et féminisme (1982) et Pour la suite du Monde (1992). Comme l’exercice du mémoire commande un développement restreint, nous avons sélectionné des manifestations qui se sont déroulées dans une seule institution, le Musée d’art contemporain de Montréal. Avant d’aborder directement le phénomène de réception et afin de bien cerner le contexte artistique et théorique des années 80 et 90, le premier chapitre sera consacré aux différentes théories et pratiques de l’exposition, telles que développées au cours de cette période. Ainsi, nous parcourrons des théories relatives à l’exposition d’art et à son commissariat de Jérôme Glicenstein, Mieke Bal, Yves Michaud, Nathalie Heinich et Michel Pollak ainsi que Daniel Buren. Ensuite, les deuxième et troisième chapitres seront exclusivement voués à Art et féminisme et Pour la suite du Monde. Outre l’examen de leur réception, nous décrirons leur contexte de mise sur pied, et ce, tant du point de vue conceptuel que sociohistorique. Le but de cet exercice sera de bien comprendre comment s’énonce le propos d’une exposition lorsqu’il est lié de près à sa réalité politique, culturelle et institutionnelle.

Nelson Estupiñán Bass: escritor de dos orillas (Homenaje)

Este ensayo examina el significado y la función de la literatura escrita y leída desde la experiencia de la negritud en Ecuador, especialmente en lo que se refiere al ejemplo de Nelson Estupiñán Bass (1912-2002), a quien se considera uno de los principales escritores afroecuatorianos. Parte del problema que se analiza tiene que ver con cómo identificar el contexto social en el cual se lee la producción literaria de Estupiñán. De ahí, el análisis se mueve entre la llamada ciudad letrada y las áreas rurales del norte de Esmeraldas donde varias comunidades luchan por tomar control de sus propias representaciones. Por lo tanto, la pregunta que emerge tiene que ver con el rol conflictivo de un escritor afroesmeraldeño que pretende articular e interpretar las necesidades, los intereses y las historias que definen a los habitantes de la provincia de Esmeraldas mientras asume una posición jerárquica de un intelectual socialmente comprometido que, inconsciente y paradójicamente, deja sin voz a aquellas comunidades que, durante siglos, han hablado por medio de sus mayores y ancestros.

Television and the popular: viewing from the British perspective

The academic discipline of television studies has been constituted by the claim that television is worth studying because it is popular. Yet this claim has also entailed a need to defend the subject against the triviality that is associated with the television medium because of its very popularity. This article analyses the many attempts in the later twentieth and twenty-first centuries to constitute critical discourses about television as a popular medium. It focuses on how the theoretical currents of Television Studies emerged and changed in the UK, where a disciplinary identity for the subject was founded by borrowing from related disciplines, yet argued for the specificity of the medium as an object of criticism. Eschewing technological determinism, moral pathologization and sterile debates about television's supposed effects, UK writers such as Raymond Williams addressed television as an aspect of culture. Television theory in Britain has been part of, and also separate from, the disciplinary fields of media theory, literary theory and film theory. It has focused its attention on institutions, audio-visual texts, genres, authors and viewers according to the ways that research problems and theoretical inadequacies have emerged over time. But a consistent feature has been the problem of moving from a descriptive discourse to an analytical and evaluative one, and from studies of specific texts, moments and locations of television to larger theories. By discussing some historically significant critical work about television, the article considers how academic work has constructed relationships between the different kinds of objects of study. The article argues that a fundamental tension between descriptive and politically activist discourses has confused academic writing about ›the popular‹. Television study in Britain arose not to supply graduate professionals to the television industry, nor to perfect the instrumental techniques of allied sectors such as advertising and marketing, but to analyse and critique the medium's aesthetic forms and to evaluate its role in culture. Since television cannot be made by ›the people‹, the empowerment that discourses of television theory and analysis aimed for was focused on disseminating the tools for critique. Recent developments in factual entertainment television (in Britain and elsewhere) have greatly increased the visibility of ›the people‹ in programmes, notably in docusoaps, game shows and other participative formats. This has led to renewed debates about whether such ›popular‹ programmes appropriately represent ›the people‹ and how factual entertainment that is often despised relates to genres hitherto considered to be of high quality, such as scripted drama and socially-engaged documentary television. A further aspect of this problem of evaluation is how television globalisation has been addressed, and the example that the issue has crystallised around most is the reality TV contest Big Brother. Television theory has been largely based on studying the texts, institutions and audiences of television in the Anglophone world, and thus in specific geographical contexts. The transnational contexts of popular television have been addressed as spaces of contestation, for example between Americanisation and national or regional identities. Commentators have been ambivalent about whether the discipline's role is to celebrate or critique television, and whether to do so within a national, regional or global context. In the discourses of the television industry, ›popular television‹ is a quantitative and comparative measure, and because of the overlap between the programming with the largest audiences and the scheduling of established programme types at the times of day when the largest audiences are available, it has a strong relationship with genre. The measurement of audiences and the design of schedules are carried out in predominantly national contexts, but the article refers to programmes like Big Brother that have been broadcast transnationally, and programmes that have been extensively exported, to consider in what ways they too might be called popular. Strands of work in television studies have at different times attempted to diagnose what is at stake in the most popular programme types, such as reality TV, situation comedy and drama series. This has centred on questions of how aesthetic quality might be discriminated in television programmes, and how quality relates to popularity. The interaction of the designations ›popular‹ and ›quality‹ is exemplified in the ways that critical discourse has addressed US drama series that have been widely exported around the world, and the article shows how the two critical terms are both distinct and interrelated. In this context and in the article as a whole, the aim is not to arrive at a definitive meaning for ›the popular‹ inasmuch as it designates programmes or indeed the medium of television itself. Instead the aim is to show how, in historically and geographically contingent ways, these terms and ideas have been dynamically adopted and contested in order to address a multiple and changing object of analysis.

Public Art Commission Rung by Rung, Tina O'Connell

Research based on a significant public art commissions awarded through competition (peer reviewed) – Pearse Street Clinic Public Art Commission (€20K). Research was examining issues of the relationship between sculpture, exchange and communication, health and well-being. The research used an approach to question the aspirations and dreams of those who were visiting the health centre as part of a routine of daily life. Based on the aspirational concerns of individual visitors, and secondary research of positive effects of light, the final output draws on ideas based around the language of physical signage to occupy a space concerned with visitor health and wellbeing – a Health Clinic. The output has had an impact both at the site and more broadly in the context of examining sculpture and fine art as a social catalyst - based on work of socially-engaged historical practices. The installation at Pearse Street work in Dublin in Nov 09 has received critical and local acclaim. Further commissions within the public arena have been forthcoming despite difficult local economic landscape.

Paul Renner: the art of typography

The first study, in any language, of this German typographer and type designer. Renner’s work exemplifies central themes in German culture in the first half of the twentieth century. Starting as an artist and book designer in the Munich cultural renaissance, he was an early and prominent member of the Deutscher Werkbund. In the 1920s Renner worked in Frankfurt, one of the centres of socially-engaged modernism; around this time he began work on his enduring typeface, Futura. Moving to Munich, he ran the printing school that included Jan Tschichold among its teachers. In the crisis of 1933 he was detained and then dismissed from his post. Living through the Nazi years in inner emigration, Renner emer­ged as a voice of experience and reason in postwar debates.

Ethical perspective on sustainable business practices

This paper considers contemporary business practice and its sustainable performance from the view of stakeholder value. Stakeholder value is a broad concept and implies that a company has responsibilities and commitments to many different internal and external stakeholders in the marketplace and society, not only to its investors and the owners of the company, but also to its employees, customers, suppliers, societies and the environment. This view underlines the need for organisations to, not only provide value, but do so in a sustainable and socially responsible manner.

In considering the stakeholder value perspective of contemporary business practice, the authors proffer that undertaking an ethical perspective in corporate business practices will result in long term sustainable and socially responsible performance that delivers superior stakeholder value. In order to operationalise this concept a model is developed based on five, separate but interconnected, elements: (i) Foundation, (ii) Communication, (iii) Guidance, (iv) Outcome, and (v) Reconnection. The authors emphasise that the model is iterative and acknowledge its elementary state, suggesting further development and refinement in the field of sustainable business practices from an ethical perspective.

Framing everyday experience

This practice-based research involved two blogs created within different contexts: one in the small Western Australian town of Kellerberrin, the other in the Sydney suburb of Petersham. Blogging was developed as an artform: to deepen social connection within small geographical areas; to reveal new knowledge about these specific localities; and to extend and critique traditions of socially-engaged and "relational" art practice.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

The place of place-based education in the Australian primary geography curriculum

The idea for this paper emerged from a recent qualitative investigation which examined the ways in which six Australian primary teachers conceptualised geography and geography teaching (Preston, 2014b). A finding of this research was a strong correlation between the breadth of geographical understandings and the years of experience and age of participants. For early career teachers, conceptions of geography were narrowly confined to information-oriented perceptions. Whereas, the two teachers, with more than 30 years in primary schools, portrayed much more complex understandings. Their conceptions depicted geography as process-oriented and in relational terms, that is, understandings of geography that recognise the interactions and interdependence of people and environments (Bradbeer, Healey, & Kneale, 2004). Both these experienced teachers were also committed to place-based, inquiry approaches to geography teaching and had been using placebased methodologies long before it became a new movement in education (Morgan, 2009, p. 521 ). This prompted me to question why geography education seldom features in discourses of place-based education and to contemplate the oft-cited argument (at least in the United States) that the recent focus on curriculum standards is incompatible with locally responsive curriculum (Jennings, Swidler, & Koliba, 2005).
In order to answer these questions, I explore the intersections and divergences between place-based education and geography education in the Australian context. Drawing on Smith's (2002) and Gruenewald's (2003) conception of place-based education, and the new. Australian geography curriculum document, I argue that primary geography education has strong synergies with place-based education methodologies and aims. I further suggest that a geographical perspective can augment placebased education to enrich and broaden students' understandings of the complex interactions between and within places. This argument is balanced with a critical examination of the practice of geography education acknowledging that the tradition of fieldwork might benefit from placebased education approaches that enable more embodied, socially engaged interactions with places. Thus, I contend, place-based education and geography education are mutually supportive and each can extend the other. The paper concludes with a reflection on the challenges in Australia in preparing primary teachers for the implementation of the new (place-based) geography curriculum.

Programa de responsabilidade social na Valesul Alumínio: uma receita de sucesso

O objetivo deste trabalho é analisar e comprovar que um programa de responsabilidade social, quando estabelecido com critério e adequação emum ambiente empresarial, traz benefícios evidentes para a organização e ajuda efetivamente a comunidade atingida. Para concretizar esseargumento, foi selecionada a empresa Valesul Alumínio, que viveu uma experiência singular no seu processo de implantação de ações sociais.Inicialmente, são explicitados alguns conceitos teóricos sobre o assunto para entender o que o mercado e o meio acadêmico pensam a respeito daatuação socialmente responsável no mundo corporativo. Em um segundo momento, são apresentados o histórico da empresa citadae relatados os estágios de implementação do programa social denominado Valesul Voluntária.Por último, o argumento que deu origem ao trabalho é comprovado com fatos e dados, tendo como pano de fundo o programa social da empresa e oseu desenvolvimento nos quatro anos de existência.

Psicoterapia breve gestaltica para homens com HIV/AIDS em contexto de clinica ampliada

O presente trabalho visou investigar qual a importância da Psicoterapia em homens doentes de aids marcados pela proximidade com a morte ou a finitude existencial internados em uma enfermaria hospitalar. A intervenção psicológica, na área da saúde e da clínica psicológica, foi procedimento interventivo que permitiu efetivar a escuta socialmente engajada visando superar a premissa acerca da doença enquanto centro do tratamento, transmitida ao longo da história e veiculando a concepção de um sujeito patológico. Nesta perspectiva, o objetivo deste trabalho foi incentivar os participantes da pesquisa a vivenciar a atenção à própria saúde reconhecendo-a enquanto um direito de cidadania básico a todos os homens. Sobre os procedimentos a psicoterapia breve gestáltica e os cuidados paliativos foram as estratégias utilizadas nos atendimentos realizados no Hospital Universitário João de Barros Barreto em Belém do Pará-Brasil. Os participantes da pesquisa foram quatro homens adultos, com faixa etária entre 18 e 49 anos de idade. A seleção iniciou com a pesquisa documental dos relatórios e documentos elaborados pelos profissionais que atendem na enfermaria da clinica infecto-parasitária (DIP) como fichas de identificação, prontuários de identificação dos casos, onde estava descrita o diagnóstico, o histórico de saúde. Tratou-se de uma pesquisa clínico-qualitativa, que utilizou o método fenomenológico e concepções existencialistas, e referencial teórico da Gestalt-terapia. Para a análise do discurso dos informantes se valeu da Hermenêutica da linguagem proposta em Paul Ricouer, que propõe a compreensão da dimensão linguística (sentido) e dimensão extralinguística (referência), partindo da análise gramatical da frase do locutor, perpassando pela análise semântica da fala, com atenção às funções e atos da linguagem. Nas analises nos atentamos unicamente à assimilação da função Expressiva ou Emotiva, em que o sujeito que se destacou foi o EU, e aos atos do discurso: locucionários (ato de dizer; expressão verbal), ilocucionários (aquilo que fazemos ao dizer; recursos não verbais que acompanham a fala) e atos perlocucionários (reflexo da linguagem no outro). Os resultados mostraram que os homens são responsáveis por suas próprias habilidades, e que podem ampliar as possibilidades em suas vidas, mesmo em situação de fragilidade e sem possibilidade de cura, identificando os meios a sua disposição, que permitiram lidar com uma situação de dificuldade. Quanto à psicoterapia ela foi um facilitador, e proporcionou a possibilidade de se compreender alguns modos de vinculação, subjetivação e relação dos homens atendidos no hospital.

Conceptualism/feminism/cultural activism

As part of a debate amongst a multi-generational group of artists, art historians and cultural workers exploring the ‘political turn’ in British Conceptual Art, Loraine Leeson spoke on the connections between conceptualism, feminism and socially engaged art practice.

The art of careful listening : children as co-artists in the making of live performance

Since 2007 Kite Arts Education Program (KITE), based at Queensland Performing Arts Centre (QPAC), has been engaged in delivering a series of theatre-based experiences for children in low socio-economic primary schools in Queensland. The twelve-week workshop experience culminates in a performance developed by the children with the assistance of the teacher artists from KITE for their community and parents/carers in a peak community cultural institution. Using Wartella’s notion of the socially competent child this analysis interrogates the performance product Precious, child participation modes, the intersection between the professional artists, teacher artists and child artists and outcomes in terms of building capacities for the development of social competencies in children.

A customisable dashboard display for environmental performance visualisations

We conducted an exploratory study of a mobile energy monitoring tool: The Dashboard. Our point of departure from prior work was the emphasis of end-user customisation and social sharing. Applying extensive feedback, we deployed the Dashboard in real-world conditions to socially linked research participants for a period of five weeks. Participants were encouraged to devise, construct, place, and view various data feeds. The aim of our study was to test the assumption that participants, having control over their Dashboard configuration, would engage, and remain engaged, with their energy feedback throughout the trial. Our research points to a set of design issues surrounding the adoption and continued use of such tools. A novel finding of our study is the impact of social links between participants and their continued engagement with the Dashboard. Our results also illustrate the emergence of energy-voyeurism, a form of social energy monitoring by peers.

The financial performance of socially responsible investments: insights from the intertemporal CAPM

© 2015 Springer Science+Business Media Dordrecht This study formulates a two-factor empirical model under the intertemporal CAPM framework to evaluate the cross-sectional implications of socially responsible investments in the US equity market. Our results show that socially responsible investments have no asset pricing impact on the US market. We argue that this ‘no financial impact’ finding indicates that investors will not be disadvantaged financially by investing in socially responsible funds or corporations.