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.

Dissenting Exhibitions by Artists (1968-1998). Reframing Marxist Exhibition Legacy.

The goal of this thesis is to look at the critical and dissenting value of exhibitions through the examination of four cases studies, based on six exhibitions taking place between 1968 and 1998 in Latin and North America. The exhibitions belong to the history of modern and contemporary exhibitions and curating, a field of research and study that has only started to be written about in the last two decades. This investigation contributes to it, in its creation of new genealogies by connecting previously overlooked antecedents, or by proposing new relations within established lineages, at the intersection of a specific historiography; to address exhibitions, a tradition of artists acting as curators and an emerging history of curating. The examined exhibitions were put together by artists or artist collectives and were placed in a liminal position between artistic and curatorial practice. All the cases presented a distinct proposal in relation to art and social change, a fact that connects them, in their aims and modus operandi, to a Marxist and neo-Marxist critical and transformative legacy. The cases address the following connections: exhibition as political site (Tucumán Arde, 1968); exhibition as social space (The People’s Choice (Arroz con Mango), 1981); exhibition as encounter (Rooms with a view, We the People, Art/Artifact, 1987-88); and exhibition as an exchange situation (El Museo de la Calle, 1998-2001). Key to their analysis is the concept of dissensus, as put forward by Jacques Rancière. Within this theoretical framework, these exhibitions put into practice particular cases of dissensus in a given distribution of the sensible. All of them tried to deal with their thematic concerns by performing them as a praxis. They dissent with the way in which reality was formatted in their historical moment and challenge the exhibition medium itself opening new ways of doing and making in the exhibition field. Therefore, in this thesis the dissenting value of exhibitions is closely related to its main features as a medium, namely their temporality, heterogeneity and flexibility, which contribute to their potential for creative analysis and propositioning. In the case of these exhibitions, this capability is brought into play for institutional interrogation, for offering alternative cultural narratives and also for inspiring new imaginary realms.

Digital Debris of Internet Art: An Allegorical and Entropic Resistance to the Epistemology of Search

This Ph.D., by thesis, proposes a speculative lens to read Internet Art via the concept of digital debris. In order to do so, the research explores the idea of digital debris in Internet Art from 1993 to 2011 in a series of nine case studies. Here, digital debris are understood as words typed in search engines and which then disappear; bits of obsolete codes which are lingering on the Internet, abandoned website, broken links or pieces of ephemeral information circulating on the Internet and which are used as a material by practitioners. In this context, the thesis asks what are digital debris? The thesis argues that the digital debris of Internet Art represent an allegorical and entropic resistance to the what Art Historian David Joselit calls the Epistemology of Search. The ambition of the research is to develop a language in-between the agency of the artist and the autonomy of the algorithm, as a way of introducing Internet Art to a pluridisciplinary audience, hence the presence of the comparative studies unfolding throughout the thesis, between Internet Art and pionners in the recycling of waste in art, the use of instructions as a medium and the programming of poetry. While many anthropological and ethnographical studies are concerned with the material object of the computer as debris once it becomes obsolete, very few studies have analysed waste as discarded data. The research shifts the focus from an industrial production of digital debris (such as pieces of hardware) to obsolete pieces of information in art practice. The research demonstrates that illustrations of such considerations can be found, for instance, in Cory Arcangel’s work Data Diaries (2001) where QuickTime files are stolen, disassembled, and then re-used in new displays. The thesis also looks at Jodi’s approach in Jodi.org (1993) and Asdfg (1998), where websites and hyperlinks are detourned, deconstructed, and presented in abstract collages that reveals the architecture of the Internet. The research starts in a typological manner and classifies the pieces of Internet Art according to the structure at play in the work. Indeed if some online works dealing with discarded documents offer a self-contained and closed system, others nurture the idea of openness and unpredictability. The thesis foregrounds the ideas generated through the artworks and interprets how those latter are visually constructed and displayed. Not only does the research questions the status of digital debris once they are incorporated into art practice but it also examine the method according to which they are retrieved, manipulated and displayed to submit that digital debris of Internet Art are the result of both semantic and automated processes, rendering them both an object of discourse and a technical reality. Finally, in order to frame the serendipity and process-based nature of the digital debris, the Ph.D. concludes that digital debris are entropic . In other words that they are items of language to-be, paradoxically locked in a constant state of realisation.

Mediciones in situ de TS para el krill (Euphasia superba) a 120 Khz. Verano austral 1998. Perú antar IX

Se realizaron mediciones de la Fuerza de Blanco (TS) del krill (Euphausia superba) durante los 29 lances efectuados en el Crucero de Evaluación Hidroacústica utilizando la ecosonda SIMRAD EK 500 a bordo del BIC Humboldt entre los días 12 y 24 de enero de 1998 a lo largo del Estrecho de Bransfield y alrededores de la Isla Elefante. Se derivaron los valores de b20 a partir de le ecuación de TS de FOOTE (1990), de las longitudes promedios de los individuos capturados durante cada uno de los lances y de las tablas de TS generadas por la ecosonda, determinándose una ecuación de TS para el krill en un rango de longitud comprendido entre 2,1 y 5,3 cm de la siguiente forma: TS = 20 log L - 89,26. Se discute el posible sesgo de la ecuación debido, entre otros aspectos a que no se consideraron los estadíos sexuales del krill.

Estimados de biomasa y distribución del krill (Euphausia superba), utilizando 38 y 120 kHz. Verano austral 1998. Perú Antar IX

Con el objetivo de evaluar la biomasa y distribución del krill se llevó a cabo un Crucero de Evaluación Hidroacústica a bordo del BIC Humboldt entre los días 12 y 24 de enero de 1998, a largo del Estrecho de Bransfield y alrededores de la Isla Elefante. Previamente se efectuaron calibraciones de la ecosonda SIMRAD EK 500 utilizando blanco estándar. El trayecto utilizado para el muestreo acústico fue sistemático, paralelo con separaciones de 15 y 12 mn (Estrecho Bransfield e Isla Elefante, respectivamente). Se utilizaron frecuencias de 38 y 120 kHz; la frecuencia de 120 kHz se determinó para la detección entre 2 y 150 mn de profundidad y la de 38 kHz entre 150 - 400 m. Para obtener el área de distribución del krill se utilizó un software de interpolación de datos; y para estimados de biomasa, la metodología de estratificación por cuadrantes de 0,5 - de latitud 1,0 - de longitud. Los resultados obtenidos indican que el krill se encontró en gran parte del área evaluada, con las mayores concentraciones cerca de la Isla D 'Urville, al este de la Isla Rey Jorge, sur de la Isla Robert y en áreas cercanas a la Isla Elefante, distribuidas principalmente entre 50 y 100 m de profundidad.

Distribución vertical del krill (Euphasia superba) en función de los parámetros oceanográficos a lo largo del estrecho de Bransfield. Vernao austral 1998. Perú Antar IX

Se ha determinado, mediante un análisis preliminar, que el krill (Euphausia superba) se distribuyó en aguas provenientes del Mar de Wedell y en aquellas procedentes del Paso Drake a lo largo del Estrecho de Bransfield y al sur de la Isla Elefante. En cuanto a sus parámetros preferenciales de distribución se ha determinado que esta especie se distribuyó en aguas con relativamente baja temperatura, pero con altos contenidos de salinidad y oxígeno.

Comportamiento de la red de arrastre pelágica Engel 988/400 para el estudio del Krill (Euphasia superba). Verano Austral 1998. Perú Antar IX

Resultado del comportamiento de la red de arrastre pelágica Engel 988/400 utilizada para la evaluación del recurso krill (Euphausia superba) en el Estrecho de Bransfield durante el Crucero Multidisciplinario 9801 a bordo del BIC Humboldt. Se determinó el área de la boca y el volumen de aguas filtrada por la red en los 29 lances de comprobación, siendo positivos en su totalidad, obteniéndose un buen rendimiento. Se capturó un total de 11.629 kg, correspondiendo para el krill 9.522 kg y para otros recursos 2.107 kg, con un índice de captura por unidad de esfuerzo (CPUE) de 961,9 kg/h. Los valores de otros datos de comportamiento de la red como la abertura horizontal de la boca, abertura vertical, profundidad de la red, distancia entre la relinga inferior al fondo, etc., se obtuvo por medio de una netsonda FS 900 SIMRAD, los arrastres tuvieron en promedio una duración de 20,1 minutos con una velocidad de arrastre promedio de 3,0 nudos.

L'armée d'Orient : drame militaire en cinq ["sic" pour trois] actes et 20 tableaux. [suivi de] Ou passerai-je mes soirées : comédie-vaudeville en un acte. Livr. 144 / par MM. Albert et de Lustières ; par MM. Charles Potier et Gaston de Montheau

Collection : Théâtre contemporain illustré ; 143e et 144e livraisons

L'art de fabriquer le salin et la potasse ; suivi des Expériences sur les moyens de multiplier la fabrication de la potasse ([Reprod.]) / par le citoyen Pertuis, & par le citoyen B. G. Sage...

Collection : Les archives de la Révolution française ; 10.3.38

Developmental patterns of individiuals within a sensory-based learning environment in art education : insights emerging from a case study /

My research permitted me to reexamine my recent evaluations of the Leaf Project given to the Foundation Year students during the fall semester of 1997. My personal description of the drawing curriculum formed part of the matrix of the Foundation Core Studies at the Ontario College of Art and Design. Research was based on the random selection of 1 8 students distributed over six of my teaching groups. The entire process included a representation of all grade levels. The intent of the research was to provide a pattern of alternative insights that could provide a more meaningful method of evaluation for visual learners in an art education setting. Visual methods of learning are indeed complex and involve the interplay of many sensory modalities of input. Using a qualitative method of research analysis, a series of queries were proposed into a structured matrix grid for seeking out possible and emerging patterns of learning. The grid provided for interrelated visual and linguistic analysis with emphasis in reflection and interconnectedness. Sensory-based modes of learning are currently being studied and discussed amongst educators as alternative approaches to learning. As patterns emerged from the research, it became apparent that a paradigm for evaluation would have to be a progressive profile of the learning that would take into account many of the different and evolving learning processes of the individual. A broader review of the student's entire development within the Foundation Year Program would have to have a shared evaluation through a cross section of representative faculty in the program. The results from the research were never intended to be conclusive. We realized from the start that sensory-based learning is a difficult process to evaluate from traditional standards used in education. The potential of such a process of inquiry permits the researcher to ask for a set of queries that might provide for a deeper form of evaluation unique to the students and their related learning environment. Only in this context can qualitative methods be used to profile their learning experiences in an expressive and meaningful manner.

Les représentations de la pluriethnicité québécoise dans le Mouvement Desjardins: analyse du contenu de la Revue Desjardins de 1998 à 2005

Le Mouvement Desjardins, institution phare du Québec moderne caractérisé par un nationalisme civique et une intégration accrue des immigrants à la majorité francophone, demeure encore aujourd'hui, fortement identifié à ce même groupe. Ce mémoire a pour objet les représentations sociales de la pluriethnicité québécoise chez Desjardins. Une analyse du contenu de la Revue Desjardins de 1998 à 2005 permet de saisir le discours ainsi qu'un point de rupture spatio-temporel établi à l'année 2003, année où l'espace du discours s'élargit pour y inclure l'ouest de l'île de Montréal majoritairement anglophone. D'abord axée sur l'intégration au Mouvement et à la société québécoise dans le souci d'une plus grande représentativité de la population, l'institution passe à une orientation davantage pluraliste favorisant son adaptation à des marchés potentiellement lucratifs. Les catégories linguistiques «anglophone» et «allophone» sont alors davantage utilisées pour aborder l'enjeu pluriethnique banalisant ainsi la spécificité des groupes ethniques qui les composent. Alors que la première période est surtout caractérisée par des perceptions et des orientations générales, l'ouverture en 2003 d'un centre de service destiné à la clientèle allophone et anglophone de l'ouest de l'île constitue l'aboutissement d'un processus de représentation sociale ayant pour fonction l'orientation des pratiques. L'ensemble du discours est nuancé par des obstacles à l'adaptation à la pluriethnicité ainsi que des lacunes internes à l'institution. La concept d'ethnicité est peu utilisé et souvent abordé sous le terme «communauté culturelle» qui peut englober des communautés de nature autre qu'ethnique et qui réduit l'ethnicité à sa seule dimension culturelle. Il omet également de considérer les membres d'un groupe ethnique qui ne s'identifient pas à la communauté. En conclusion, l'étude permet de confirmer l'existence d'un discours sur la pluriethnicité québécoise maintenant bien ancré chez Desjardins et davantage orienté vers l'adaptation de l'institution en offrant des services en anglais et dans d'autres langues.

Élaboration d'interventions en enseignement de l'art dramatique fondées sur les concepts de la communication

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.