Participatory Works Research Articles

How does participatory research work: protocol for a realist synthesis

IntroductionParticipatory research science deals with partnerships underlying research, governance and ownership of research products. It is concerned with relationships behind research objectives and methods. Participatory research has gained significant traction...

Enacting care: Feminist interventions and social activism in the work of Hong Kong artist Jaffa Lam

This article focuses on the intersectionality of feminist interventions and social activism in the works by Hong Kong artist Jaffa Lam (b. 1973). Using the dialogical aesthetics approach, Lam engages with people of disenfranchised groups and collaborates with them to produce installations and public participatory works. While the works aim to build relations between art and local communities, they also consider the profound social-cultural changes in Hong Kong and reflect on the city’s identity through exploring the notions of gender, class, migration and language. Through interacting with collaborators and audience participants of various regions, generations and social-economic backgrounds, Lam creates space for dialogues, enacting care, building valuable relations and questioning the hierarchies of value attributions in neo-liberal society.

PERAN KOMUNITAS BASIS GEREJAWI BAGI EFEKTIVITAS PELAKSANAAN KARYA PASTORAL PARTISIPATIF DAN KONTEKSTUAL

The development of the Church as an organism demands active participation and cooperation between clergy and laity. The purpose of this article is to introduce Basic Ecclesiastical Community (KBG) as a model of church life which is a place for the involvement of the laity in collaboration with the clergy. This article was written using qualitative research methods with a focus on literature studies in the form of books and scientific journal articles according to the themes reviewed. The results of the literature study in this article confirm several important things. First, the model of church life through KBG empowerment can minimize the tendency of clerical feudalism. Pastoral officers (clergy) must act as facilitators, not rulers who authoritatively regulate church life. Second, KBG makes the implementation of participatory and contextual pastoral works effective. Participatory pastoral work means involving as many people as possible in planning, implementing, and evaluating pastoral activities, while contextual pastoral work means pastoral work that departs from a particular context and must respond to the context. Third, the spirit of a shepherd's life smelling of sheep plays an important role for the realization of participatory and contextual pastoral work.

Participatory censorship: How online fandom community facilitates authoritarian rule

Following a burgeoning literature on private actors under digital authoritarianism, this study aims to understand the role played by social media users in sustaining authoritarian rule. It examines a subcultural community—the queer-fantasy community—on Chinese social media to expound how members of this community interpreted China’s censorship policy, interacted based on the interpretation, and participated in censorship. Integrating structural topic modeling and emergent coding, this study finds that a political environment of uncertainty fostered divergent imaginaries about censorship. These imaginaries encouraged participatory censorship within the online community, which strengthened the political control of the Internet in the absence of the state. This study illuminates how participatory censorship works, especially in non-professional and non-politically mobilized online communities. With a focus on social media users, it also offers a lens for future research to compare peer-based surveillance and content moderation in authoritarian and democratic contexts.

The Politics of Aesthetic Preference in Participatory Music

Bringing together an array of interdisciplinary subjects, this article seeks to proffer a theory of political aesthetic preference emergent within participatory musical works. Beginning with an overview of imitation in music and then recapping the critical work advanced by Kofi Agawu and Jean-Jacques Nattiez on musical semiology, this article first delves into how musical signs are interpreted and propagated within participatory settings. Subsequently, using Jürgen Habermas’s influential theory on the public sphere as well as the critical revisions to said theory proposed by Nancy Fraser and Michael Warner, participatory musics are conceptualised as constituting the formal space of a public in which the aesthetic direction of a participatory music work is negotiated among participants. Based on an analysis of Luke Dahl, Jorge Herrera and Carr Wilkerson’s multi-user instrument and participatory work TweetDreams, this article discusses the ways in which participant inputs and choices impact the poietic process of the work due to the clear rules that are set up within its interactive and algorithmic protocols for sonification. It concludes by pointing towards other recent research on participatory works, where the framing of participatory musics as a political–aesthetic space leads to broader questions about audience power and how the latter is negotiated and shared, then poses questions for future research on the audience’s choice in refusal and dissensus.

Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development

The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.

Editorial

This third issue of Airea presents a second round of articles in response to our call for contributions 'Revisiting interdisciplinarity within collaborative and participatory creative practice', announced in June 2019. Following the second issue that showcased contributions from sound-related areas, the present collection focuses on the breadth of practices in art and design. The contributions in this issue surface knowledge about the way interdisciplinary methodologies and approaches influence and shape spaces and bodies within collaborative and participatory works.

Participation som kunst-værk

The article asks whether participatory art radically alters the character of the work of art. This question is first explored through the concept of the aesthetic work of art that emerged during the aestheticism of the 19th century, and that is characterized by a stable and innately complete composition, before that concept is argued against with the opposing thesis that participatory works of art ‘need’ to construct a system or function frame that allows for participant agency in the concrete unfolding of the work. This framing must be able to, first, distinguish between elements (actions, objects, expressions, etc.) that either belong or not to a particular work of art and, second, support the participant’s perceptual interplay between material (inter)action and reflective observation.

Современные цифровые арт-практики и «более- чем-человеческое» восприятие

The article analyzes the concept of “more-than-human” perception, the features of which are constructed in the networks of relations, as a result of the interaction and relationships of heterogeneous forces (human activities, animals, bacteria, objects, technologies, etc.). This is not a subjective human perception, personal judgment of individual taste or social “distribution of sensitive”, but the collaborative process of configuring affective “field of the possible things” (define perception) as a result of the participation of multiple actants in the creation of life events, situations, processes, and conflicts. Based on the philosophical ideas of A. Bergson, W. Whitehead, J. Simondon, J. Deleuze, and F. Guattari, the author examines the affective nature of the interaction between the works of contemporary artists and the audience-participants. It is argued that creativity and artistic practice can be reinterpreted as processes of co-creation with the movements of matter formation. It is a way to think of art not as a form, but as a process open to a continuous interval of renewal and invention, which is revealed through the material relations of matter-energy, duration, transitions, and intuition. Through affective attunement techniques, participants organize the movements of matter-en- ergy flows, and each individual perception by the subject-actant becomes a joint “more-than- human” perception. Interactive and participatory works do not reflect reality in aesthetic forms, but instead create new processes, new places of creativity (manifestations of chance), in which the aesthetic is performatively realized before it is understood and reflected by the participants themselves. The text clarifies what constitutes “more-than-human” perception, how it relates to the usual understanding of the sphere of human sensory experience, and how it is implemented when working with modern interactive and participatory art projects.

Celebrating Bowery: Radical costume parties as queer heterotopia in Brisbane

This visual essay explores the creative practice of The Stitchery Collective, which uses costume as a strategy in their participatory works. Inspired by performance artist, queer icon and costume lover Leigh Bowery, The Stitchery Collective has created The Bowery Party, a series of events encouraging radical dress up. These immersive occasions emphasize the significance of costume as enabling joy, community and extravagant social performance. The essay discusses the importance of Bowery as a figure in designing the party in terms of the nature of participant responses, as his legacy provides a subversive approach to costuming the self. The analysis focuses on strategies for and the importance of making and holding space, both physical and virtual, for alternate visions of the body – an empowering ethic that celebrates diversity and inclusivity. The costumes created by the attending public are challenging, often both to wear and to social, gender and body norms. This essay offers a brief example of the costumes created by participants in direct response to Bowery as a radical, slippery and chaotic aesthetic target.

Martina Tanga, Arte Ambientale, Urban Space, and Participatory Art

Martina Tanga’s Arte Ambientale, Urban Space, and Participatory Art is a thorough and carefully researched account of Arte Ambientale (Environmental Art), the term given to describe the interventions into cityscapes made by certain Italian artists in the 1970s through a diverse set of practices which included sculptural, conceptual and participatory works, all of which sought to address the social relations at play in often peripheral and marginalized urban locations. Hitherto neglected in It...

Performance design as mnemonic device for critical engagement with the spatial politics of urban change: the ARCADE project

ABSTRACTIn this article I consider a broad history of relations between theatre (architecture) and urban planning alongside what architectural theorist Anthony Vidler describes as ‘the double role’ of urban space and theatrical space, exploring performance design as a mnemonic device for critical engagement with the spatial politics of urban change. Inspired by recent writings on contemporary performance design and scenographic practices that ask us to consider how the field has expanded or is moving ‘beyond scenography’, I take as a case study the ARCADE project. Conceived by Montreal based artists 2boys.tv, the ARCADE project is a retail outlet that holds a special collection of shoes and shoeboxes that contain miniature theatrical scenes and fictional realities. The project takes its inspiration from the urban environment in which it is crafted. The scenes contained within the shoeboxes all together make up one larger urban imaginary, a fictional narrative of the city, or a particular urban location or neighbourhood. The miniature visions inside the shoeboxes are revealed using a variety of methods, from simple static maquettes or tableaux, to more technically involved stereographic 3D video and audio works, to participatory works (i.e. chapbooks or maps).

Kunstiliste maailmade kehastamine Karl Ristikivi „Hingede öö” näitel [Embodiment of Artistic Worlds on the Basis of Karl Ristikivi’s Novel "Night of Souls"

Artikkel lahtub teatriteaduses populaarsest ja kirjandusteaduses marginaalsest kehastamise ( embodiment, embodied experience ) moistest ning vaatleb kirjandusliku maailma kehastamist kui taju-, tolgendus- ja koosloomeprotsessi kahel tasandil: lavastaja-etendaja ja vastuvotja (lugeja/vaataja/osaleja) vaatepunktist. Naiteteosteks on Karl Ristikivi eesti kirjanduse klassikasse kuuluv romaan „Hingede oo“ (1953) ja Laburintteatriuhenduse G9 samanimeline osavotuteatri lavastus (2018), mida vastuvotjad pidasid romaani kongeniaalseks tolgenduseks. Vordleme romaani ja lavastust ning etenduse vastuvotjate tajukogemusi romaani lahilugemisel sundivate meeleliste kogemustega. Analuus toetub nimetatud teostele ning lavastuse trupi ja 20 vastuvotjaga labi viidud fookusgrupi intervjuudele. Votmesonad: eesti kirjandus, kehastamine, osavotuteater, retseptsioon ----------- The article explores embodiment as a process of perception, interpretation and co-creation of a literary world from the point of view of producer (director/performer) and receiver (reader/spectator/participant). Estonian classic novel Night of Souls by Karl Ristikivi and the participatory theatre project of the same title by Labyrinth Theatre Group G9 serve as the empirical material of the research. The article compares the literary work with the production and the perceptions of the novel and the production. The analysis relies on a close reading of the novel and on interviews with the producers and 20 spectators. Three forms of embodiment were detected. First, embodiment as a sensuous concretisation of a literary work, through which storyteller’s or main character’s bodily experiences are taken on by the reader/spectator, i.e. gradual immersion into a fictional world and identification with a character takes place. The second form is related to the embodiment of a textual/ fictional world on stage. In theatre theory, embodiment usually only depicts a relationship between a performer and his/her role, but in this article the term denotes materialisation of the whole fictional world. Thus staging is a specific process of perception, interpretation and co-creation that transforms a script into a stage production. The third form of embodiment is characteristic for participatory theatre, where spectators have the possibility to perform somebody in a fictional world or theatre game. The reception research of Night of Souls demonstrated that predominantly the spectators embodied themselves, i.e. a performation of individual existence was realised. Since open participatory theatre works enable receivers to fill gaps with their personal mental and psychical material, spectators interpreted the production either as an artistic environment/world, an exciting role play, a psychotherapeutic trip into personal worlds, or a metaphor for life pilgrimage. Embodiment as a research instrument highlights the embeddedness of body and soul in perception and cognition of an environment/the world. The main character of Night of Souls realises that analysis of singular objects is not reliable, especially when caught by a memory or existential space. Embodiment leads both the character and the reader or spectator to a holistic perception and cognition of the (fictional) world. Keywords: Estonian literature, embodiment, interactive theatre, reception

Extensión y práctica pedagógica en arquitectura

The pedagogical practices developed in articulation with the extension office called "architectural consulting" attached to the architecture program of Caribbean University Corporation in Sincelejo, Colombia, are presented in order to reflect on the exercises developed in the light of one of the functions inherent in the university in the 21st century: innovation, specifically speaking of recent trends in social sustainability and its relationship with pedagogical practice in architecture. The adopted methodology, with a participatory approach, was developed in 4 phases: problem identification, work criteria, conceptualization, and implementation. Examples of the participatory works developed by students of the architecture program are shown, which generate alternatives for local development in the city, in places where the municipal administration and its planning structures do not reach to arrive in an effective way. Changes are identified in the role of pedagogical practices focused on social innovation and the new functions they assume, students, teachers and communities involved in the critical construction of the new citizenship.

Map Making: Mobilizing Local Knowledge and Fostering Collaboration

Participatory mapping – the production of maps in a collective way – is a common activity used for planning and decision making in urban studies. It started as a way to empower men and women, usually from rural vulnerable communities threatened by climate change, degradation of their landfills or any other conflict related to access to their land. It has been considered a fundamental instrument to help marginal groups represent and communicate their needs within the territory and augment their capacity to protect their rights. (FIDA, 2011). Why is it that in some cases participatory mapping works and in others fails? Why do these initiatives not trigger local action? Or even end up being counterproductive, when authorities use the map made by locals, to validate their points, causing conflict instead of negotiation?As a research team of designers and social scientists involved in the creation of participatory mapping workshops, our goal was to analyze the process and resources and different outcomes of some participatory cartographic projects, including one developed by us for three small communities of the original settlements of the West Mountain Region of Mexico City.Our findings outline three main principles to consider when pursuing a community mapping project whether using low‐end or state of the art technology, in order to involve a community, validate their knowledge acquired from the mapping practice, and foster collaboration and organized action.

Bell Bronzes: Reflections on a Blind Visual Arts Practice

In this article, I reflect upon the issues of beholding participatory multisensory works within the ocularcentric world of the art gallery. The sonic and haptic engagement demanded by my pieces confronts conventions of behaviour in the reception of so-called 'visual art', particularly the kind of aesthetic distancing expected of the autonomous artwork. While such notions of autonomy have been challenged since the 1960s, the curatorial challenges posed by my work reminds us of how far we have to go to cater for a truly inclusive and embodied experience of art.

Exhibition and preservation of non-fiction interactive and transmedia forms of expression

PurposeThe constant updating and unstoppable advance of technologies, mixing of platforms, programs and codes and the new trends in funding, among other factors, have led us to a present-future full of interactive, collaborative, participatory and co-creative digital artefacts and works. Games, experimental projects, short films and interactive video clips, in relation to fictional and non-fictional narrative, like documentary and journalism mainly, generate a complex body of works that depend on a series of compatibilities between technologies and languages to work properly and keep up with the times. The main purpose of this article is to analyse how the expression forms of interactive nonfiction narrative can be exhibited and preserved, looking at four main genres: documentary, journalism, museums and education.Design/methodology/approachAt the methodological level, a study of analogue and digital forms in the proposed areas was performed, and a series of projects as case studies were analysed. In addition, a series of initiatives and institutions developing preservation methods are listed and ten effective strategies have been proposed to preserve interactive and transmedia nonfiction works.FindingsThe results make it possible to propose new ways of exhibiting and preserving valuable digital non-fiction works that need to be catalogued and safeguarded for the future.Originality/valueFor non-digital artistic forms of expression, copies were the main way of ensuring their preservation, but how does this process work for digital art forms? This area is a virgin field that urgently needs to be studied to determine and generate structures for preserving these types of works.

Participatory Pre Extension Demonstration of Maize (Zea Mays L.) Varieties with its Full Packages in South Ethiopia

Participatory pre extension demonstration works of three variety (BH-546, BH-547 and BH-661) were conducted in 2016 at two FTC and 11 beneficiary farmers field by the main objective of enhancing the adoption and diffusion of the technology, to collect feedback information from the farmers and to study cost benefit analysis. All data were collected from 100 m2 demonstration plots and the collected data were analyzed through Genstat Software, Simple descriptive statistics and matrix rankings. Farmers were evaluate the demonstration plots three times i.e., at sowing, knee height and maturity stages. Average yield performances that were obtained from farmers field were 49 Quintal/ hectare, 53 Quintal/hectare and 43.5 Quintal/hectare of BH-546, BH-547 and BH-661 respectively and Yield that obtained from FTCs were 54 Quintal/hectare, 55 Quintal/hectare and 48 Quintal/hectare of BH-546, BH-547 and BH-661 respectively. BH-547 variety shows better yield performance than other variety. The net benefit that were obtained from BH-546, BH-547 and BH-661 were 23,750 ETB, 24,280 ETB and 20,400 ETB respectively. Finally, the demonstration sites were visited by organized farmer’s field day and farmers select those varieties by different criteria and rank at first BH-547 by its ability to tolerate drought, earliness, resistance to pest and disease and resistance to lodging. Secondly they select as best BH-546 by criteria of good seed emergency rate, earliness, resistance to disease and pest and ability to tolerate drought. Finally it is better to scale up both BH-547 and BH-546 in larger scale to enhance adoption and diffusion of variety.

Estructuras transmatriarcales: Emancipación y empoderamiento feminista a través de la práctica artística.

Los trabajos participativos y colaborativos emergen como prácticas micropolíticas y emancipatorias que visibilizan nuevas funciones sociales en la práctica artística. Son exploraciones colaborativas y transfeministas que enfocan nuevamente las inquietudes del arte en la construcción política, la creación colectiva, el trabajo en red, la cohesión social, etc. poniendo en valor aquello que es intangible como la comunicación, las dinámicas grupales, los procesos colaborativos, o el ejercicio de la política. Generando nuevas formas comunitarias de producción, nuevos lenguajes creativos, nuevas vías de diseminación de trabajo artístico así como nuevos objetivos estéticos, ligados al quehacer social y político. En este artículo analizamos las prácticas artísticas participativas y colaborativas como estructuras de relación social híbridas e interdisciplinares que promueven la flexibilización y feminización del espacio público, del que hacer político y la producción cultural e identitaria. Estableciendo nuevos universos simbólicos y metodológicos que transforman la función social del arte y el artista.

Bowel Health and Screening: A resource for people with Learning Disabilities and their carers

Introduction: A resource for people with learning disabilities (LD) designed using co-production and engagement approaches with key stakeholders and people with LD to inform them of the Scottish bowel screening programme and how to look after their digestive health. An accompanying training programme delivered to statutory and voluntary agencies, on how to use the resource to ensure patient centred care. Aim: The aim of this project was to increase uptake of bowel screening in a population that had shown an inequality in access to the programme. How we did it January 2011: Bowel Cancer UK and NHS Greater Glasgow and Clyde (GGC) Health Improvement identified need for an adapted resource through training of LD service providers (carers) September 2011: Multidisciplinary Project Group established, representation from Voluntary Sector, NHS, local authorities and people with LD September 2011-May 2012: Project Group work together to develop resource and accompanying training June 2012: Training session for carers piloted July 2012: NHS Health Scotland support publication of resource September 2012: Launched by Director of Public Health NHS GGC and people with LD April 2013: Evaluation report published May 2013: Project presented at European Commission colorectal screening conference May 2013: Project finalist for UK Care Integration Award April 2014: Project presented at the International Royal College of Nursing Conference September 2014: Resource wins British Medical Association Patient Information Award Highlights: The project group worked with carers and people with LD and harnessed their needs using engagement methods including focus groups, patient advocacy group, commissioning a local drama group of people with LD to write and perform a play and quantitative research with LD 15th International Conference on Integrated Care, Edinburgh, UK, March 25-27, 2015 1 International Journal of Integrated Care – Volume 15, 27 May – URN:NBN:NL:UI:10-1-117084– http://www.ijic.org/ staff from statutory and voluntary agencies. The result of this work is a quality resource that puts the patient at the centre of their care. The training for carers of people with LD was designed to: provide attendees with the basic facts about bowel cancer and screening, and increase confidence in talking about good bowel health. This has been delivered across NHS GGC and has helped ensure that the resource is used to maximum effect. Since the launch in September 2012, the uptake of bowel screening in people with LD has risen by 5% in NHS GGC. This surpasses the 2% increase in the general population. Sustainability & Transferability: The resource’s sustainability relies on ongoing funding to continue development. Additional trainers would also benefit the project, allowing more carers to be informed of the resource and how to use it. The project model of working collaboratively and in a participatory approach works, and could be transferred to other services. Lessons Learned: Agree time commitment at outset of project as it improves engagement On-going evaluation works and helps a project move forward constructively learning and developing as it goes rather than at the end when it’s too late to change Involve the people most affected by the project from the start Involve senior management from the start