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- 2. How do you know when your work is successful?
- 3. The Ladder of Participation Shelley Arnstein
- 4. Roger Hart
- 6. Participants / Collaborators ? Who are they? ? How many of them will there be? ? What are they getting out of it? ?What is their role? ?What are their needs? Physical/Learning/Emotional ?What barriers would make it difficult? ?How can you reduce them?
- 7. Nathan Jurgenson The Social Photo: On Photography and Social Media “The social photo finds its purpose not in the image object itself but in the transmission of the moment as it presents itself. Circulation is the content and experience is what is offered and shared. By diminishing the importance of the media object, by making it close to or literally disposable, social photos recentre communication itself. By removing some of the heavy conceptual baggage from the term photography, we can better think of images as speech, as gesture, as breath. Better than thinking of social photography as something that involves photographers exchanging their work, we might instead describe it simply as talking or hanging out. The social photo’s central cultural importance is the degree to which the images frame, the media object itself, has dissolved away, leaving behind the substance of life and experience.”
- 8. Claire Bishop – The Social Turn: Collaboration + its Discontents Artforum 2006 “For …supporters of socially engaged art, the creative energy of participatory practices rehumanizes—or at least de-alienates—a society rendered numb and fragmented by the repressive instrumentality of capitalism. But the urgency of this political task has led to a situation in which such collaborative practices are automatically perceived to be equally important artistic gestures of resistance: There can be no failed, unsuccessful, unresolved, or boring works of collaborative art because all are equally essential to the task of strengthening the social bond. While I am broadly sympathetic to that ambition, I would argue that it is also crucial to discuss, analyse, and compare such work critically as art.”
- 9. Can art be useful? (and should)
- 10. ? Manifesto de Arte Util Written by Argentine artist Eduardo Costa in 1969 in collaboration with Scott Burton They proposed that art would have a direct social impact and utility by improving city living conditions In the first ‘Useful Art’ work they bought metal street signs and placed them on the NY streets where they were missing
- 12. ? Useful Art Association ‘useful art is about transforming people’s lives, even on a small scale. It is art as activism and activism as art’ Tania Brugera
- 15. ?Should museums and galleries feed people?
- 19. The sharingeconomyis a peer-to-peereconomicmodel where peopleshareaccesstogoodsand services oftenvia technology can also be thought of as a socio-economic ecosystem built around the sharing of human, physical and intellectual resources
- 20. the commons
- 21. a social practice of governing a resource not by state or market but by a community of users that self-governs the resource through self defined structures
- 22. howdoes this relate to collaborative Arts Practice?
- 24. ? What resources do you have that could be shared? physical space / skills / knowledge / transportation / other ? What do you need and how might you access it? ? Is there anyone else that might need what you need? How could you share space, equipment or training to reduce your costs? ? What about an external partner outside the sector? ? How do you talk about this sharing? How does it further your ideas?
- 29. Led by Donkeys
- 33. Alfredo Jaar