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.

The art of being a fan : complicity and criticality in contemporary art and fandom

This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art. The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur. The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.

Places making: participatory construction of scientifi c culture cities

In the framework of the European project Platform of Local Authorities and Communicators Engaged in Science (PLACES), we analyse the articulations between scientifi c communication, public perception of science, processes of citizen participation and apropiation of space, based on a case study of the inhabitants of Teruel city, Autonomous Community of Aragon, Spain. On the interrelationships between these issues, there are a number of contradictions, such as the difference between a high interest for information about science and technology and a low level of recognition and interaction with local institutions involved in those activities, the complex conceptualization of scientifi c space in relation to the “public-private” pair, or an articulation of a claiming civic rethoric and an insuffi cient co-responsibility. We conclude that, in a local context, the dimension of territoriality and, in particular, the identifi cation with the town, is a central mediation for activating citizen participation as part of processes of appropriation of space for setting up cities of scientifi c culture.

Explicit argumentation as a supervisory tool for decision making in child protection cases involving human rights issues

This paper addresses the problems often faced by social workers and their supervisors in decision making where human rights considerations and child protection concerns collide. High profile court cases in the United Kingdom and Europe have consistently called for social workers to convey more clarity when justifying their reasons for interfering with human rights in child protection cases. The themes emerging from these case law decisions imply that social workers need to be better at giving reasons and evidence in more explicit ways to support any actions they propose which cause interference with Convention Rights. Toulmin (1958, 1985) offers a structured approach to argumentation which may have relevance to the supervision of child protection cases when social workers and managers are required to balance these human rights considerations. One of the key challenges in this balancing act is the need for decision makers to feel confident that any interventions resulting in the interference of human rights are both justified and proportionate. Toulmin’s work has already been shown to have relevance for assisting social workers navigate pathways through cases involving competing ethical and moral demands (Osmo and Landau, 2001) and more recently to human rights and decision making in child protection (Duffy et al, 2006). Toulmin’s model takes the practitioner through a series of stages where any argument or proposed recommendation (claim) is subjected to intense critical analysis involving exposition of its strengths and weaknesses. The author therefore proposes that explicit argumentation (Osmo and Landau, 2001) may help supervisors and practitioners towards safer and more confident decision making in child protection cases involving the interference of the human rights of children and parents. In addition to highlighting the broader context of human rights currently permeating child protection decision making, the paper will include case material to practically demonstrate the application of Toulmin’s model of argumentation to the supervision context. In this way the paper adopts a strong practice approach in helping to assist practitioners with the problems and dilemmas they may come up against in decision making in complex cases.

Private rule-making and European governance - issues of legitimacy

Private rule-making is widely discussed as supporting institutional policy making and legislation at EU level. The following argues for a different perspective on private actor rule-making, focusing on the autonomy of social realms within which self-governance may be possible. From this perspective, private actor rule-making is considered as a potential gain in self-determination. Substantive autonomy and enhanced self-determination of all those affected are considered as prerequisites for accepting rules made by private actors. Opening the field for discussion, some manifestations of (envisaged) private rule-making at EU level are explored and discussed as to whether they should be accepted as legitimate forms of self-governance.

Making connections: engineering and language issues in teaching english for specific purposes

Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Línguas, Literaturas e Culturas

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.

Teaching art and design : addressing issues and identifying directions.

Promueve el desarrollo profesional de los profesores especialistas en arte y diseño, tanto de los que se preparan para enseñar, como de los recién titulados o los más experimentados. Así, este recurso surge como respuesta a los debates sobre dos iniciativas de gran alcance promovidas por el gobierno: la introducción del National Currículo y la reforma de la educación y formación del profesorado. Estas medidas llevaron a los profesores de arte y diseño a aplicar, de forma rápida, el plan de estudios para Arte y a prepararse para su nuevo papel en la escuela, a través de cursos iniciales de formación. También, aborda el libro los problemas actuales en la enseñanza del arte y el diseño, e identifica las direcciones que han de seguir el desarrollo de sus futuros programas de estudios, con especial referencia a la fase de secundaria.

Making ecological science policy relevant: issues of scale and disciplinary integration

In this paper, we ask why so much ecological scientific research does not have a greater policy impact in the UK. We argue that there are two potentially important and related reasons for this failing. First, much current ecological science is not being conducted at a scale that is readily meaningful to policy-makers. Second, to make much of this research policy-relevant requires collaborative interdisciplinary research between ecologists and social scientists. However, the challenge of undertaking useful interdisciplinary research only re-emphasises the problems of scale: ecologists and social scientists traditionally frame their research questions at different scales and consider different facets of natural resource management, setting different objectives and using different language. We argue that if applied ecological research is to have greater impact in informing environmental policy, much greater attention needs to be given to the scale of the research efforts as well as to the interaction with social scientists. Such an approach requires an adjustment in existing research and funding infrastructures.

‘The Making of the Book’: Roy Fisher, the Circle Press and the poetics of book art

Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.