Collaborative Planning in an Uncollaborative World

The purpose of this paper is to expose the concept of collaborative planning to the reality of planning, thereby assessing its efficacy for informing and explaining what planners 'really' do and can do. In this systematic appraisal, collaborative planning is disaggregated into four elements that can enlighten such conceptual frameworks: ontology, epistemology, ideology and methodology. These four lenses help delimit and clarify collaborative planning's strengths and weaknesses. The conceptual debate is related to an empirical investigation of planning processes, ranging from region-wide to local and from statutory to visionary in an arena where special care has been invested in participatory deliberation processes. The final analysis provides a systematic gauge of collaborative planning in light of the extensive empirical evidence, deploying the four conceptual dimensions introduced in part one. This exposes a range of problems not only with the concept itself but also regarding its affinity with the uncollaborative world within which it has to operate. The former shed light on those aspects where collaborative planning as a conceptual tool for practitioners needs to be renovated, while the latter highlight inconsistencies in a political framework that struggles to accommodate both global competitiveness and local democratic collaboration.

Art as an educative and social tool

Since remote times, certain sectors of society have been exposed to inequality and vulnerability, where adequate intervention processes have become conspicuous because of their absence. Nowadays, current societies have the responsibility of contributing, based on their experience and knowledge, with more efficient policies and programs that improve the life quality of the most disadvantaged. It is here where art and its different tools play a very important role, not only on a physical level, but also as an education tool that allows the development of emotional, mental and communicative skills. The aim of this paper is to make clear the potential of art as an instrument of social and educational intervention. It starts by showing worldwide-collected experience related to education and arts, and then, it acquaints the reader with two parallel intervention projects that worked with youths under social vulnerability conditions. These interventions were developed based on a qualitative research (Grounded theory), using as methodology “The Artistic Mediation” with emphasis on body language. This methodology helped researchers to get close to the participants and to know their experiences and emotions. At the same time, it was possible to evidence the positive effects of educative interventions through art. These workshops were based on an artistic methodology especially focused on body language. Data in this work is qualitative, and as such, it permits a special approach to the personal and emotional experiences of the participants; clearly showing the positive effects of the referenced practice on them.

Funciones de la fotografía en las relaciones interculturales entre familias inmigrantes

En este artículo presentamos los resultados y el análisis de uno de los objetivos del proyecto I+D+i aprobado por el Ministerio de Economía y Competitividad de España titulado Mediaciones audiovisuales en las relaciones entre escuela y familias inmigrantes. Concretamente, el dirigido a conocer las funciones que tienen las imágenes fotográficas en las relaciones de un grupo de padres inmigrantes en el colegio al que asisten sus hijos e hijas. Los datos presentados corresponden a las narraciones biográfico-culturales y visuales iniciadas en las aulas por estas familias junto a la tutora del grupo, y continuadas en sus contextos personal y social. Concluimos que las fotografías en los relatos han tenido las funciones de: fuente de información, soporte de análisis, reflexión y debate y, finalmente, medio para comunicar el conocimiento experiencial generado. Dentro de esta última, se han utilizado tres procedimientos que hemos denominado: denotativo autorreferencial, connotativo texto-visual y secuencial.