001448969 000__ 04900cam\a2200553Mi\4500
001448969 001__ 1448969
001448969 003__ OCoLC
001448969 005__ 20230310004336.0
001448969 006__ m\\\\\o\\d\\\\\\\\
001448969 007__ cr\cn\nnnunnun
001448969 008__ 220828s2022\\\\sz\\\\\\o\\\\\000\0\eng\d
001448969 019__ $$a1343248583
001448969 020__ $$a9783031056949$$q(electronic bk.)
001448969 020__ $$a3031056949$$q(electronic bk.)
001448969 020__ $$z3031056930
001448969 020__ $$z9783031056932
001448969 0247_ $$a10.1007/978-3-031-05694-9$$2doi
001448969 035__ $$aSP(OCoLC)1342489747
001448969 040__ $$aYDX$$beng$$erda$$cYDX$$dEBLCP$$dGW5XE$$dYDX$$dN$T$$dOCLCF$$dUKAHL$$dOCLCQ
001448969 049__ $$aISEA
001448969 050_4 $$aCC135$$b.P37 2022
001448969 08204 $$a306$$223/eng/20220907
001448969 24500 $$aParticipatory practices in art and cultural heritage :$$blearning through and from collaboration /$$cChristoph Rausch, Ruth Benschop, Emilie Sitzia, Vivian van Saaze, editors.
001448969 264_1 $$aCham, Switzerland :$$bSpringer$$c[2022]
001448969 300__ $$a1 online resource.
001448969 336__ $$atext$$btxt$$2rdacontent
001448969 337__ $$acomputer$$bc$$2rdamedia
001448969 338__ $$aonline resource$$bcr$$2rdacarrier
001448969 4901_ $$aStudies in Art, Heritage, Law and the Market ;$$vvolume 5
001448969 5050_ $$aIntroduction -- Crowdsourcing cultural heritage as democratic practice -- Participatory and Discursive Place Making in Augmented Reality (AR) Public Art -- Documenting the Participants Point of View: Rethinking the Epistemology of Participation -- Displaying Co-Creation: An Enquiry into Participatory Engagement at the University Museum -- Affirming Change in Participatory Practice of Cultural Conservation -- Getting out of the Groove: On Calibrating Roles in Collaborative Artistic Research -- The Social Potential of Interactive Walking -- Beethoven as Dialogue: Doing Participation Differently in Symphonic Music -- Online Participatory Design of Heritage Projects -- Effecting Social Change Through Participative Mediation -- The Peoples Salon: A Pragmatist Approach to Audience Participation in Symphonic Music -- Performing Collaboration: Lecturing on the Lecture .
001448969 506__ $$aAccess limited to authorized users.
001448969 520__ $$aThis edited volume analyzes participatory practices in art and cultural heritage in order to determine what can be learned through and from collaboration across disciplinary borders. Following recent developments in museology, museum policies and practices have tended to prioritize community engagement over a traditional focus on collecting and preserving museal objects. At many museal institutions, a shift from a focus on objects to a focus on audiences has taken place. Artistic practices in the visual arts, music, and theater are also increasingly taking on participatory forms. The world of cultural heritage has seen an upsurge in participatory governance models favoring the expertise of local communities over that of trained professionals. While museal institutions, artists, and policy makers consider participation as a tool for implementing diversity policy, a solution to social disjunction, and a form of cultural activism, such participation has also sparked a debate on definitions, and on issues concerning the distribution of authority, power, expertise, agency, and representation. While new forms of audience and community engagement and corresponding models for "co-creation" are flourishing, fundamental but paralyzing critique abounds and the formulation of ethical frameworks and practical guidelines, not to mention theoretical reflection and critical assessment of practices, are lagging. This book offers a space for critically reflecting on participatory practices with the aim of asking and answering the question: How can we learn to better participate? To do so, it focuses on the emergence of new norms and forms of collaboration as participation, and on actual lessons learned from participatory practices. If collaboration is the interdependent formulation of problems and entails the common definition of a shared problem space, how can we best learn to collaborate across disciplinary borders and what exactly can be learned from such collaboration?
001448969 588__ $$aDescription based on online resource; title from digital title page (viewed on September 29, 2022).
001448969 650_0 $$aCultural property.
001448969 650_0 $$aCultural policy.
001448969 650_0 $$aInteractive art.
001448969 655_0 $$aElectronic books.
001448969 7001_ $$aRausch, Christoph,$$eeditor.
001448969 7001_ $$aBenschop, Ruth,$$eeditor.
001448969 7001_ $$aSitzia, Emilie,$$eeditor.
001448969 7001_ $$aSaaze, Vivian van,$$d1975-$$eeditor.
001448969 77608 $$iPrint version:$$z3031056930$$z9783031056932$$w(OCoLC)1310621790
001448969 830_0 $$aStudies in art, heritage, law and the market ;$$vv. 5.
001448969 852__ $$bebk
001448969 85640 $$3Springer Nature$$uhttps://univsouthin.idm.oclc.org/login?url=https://link.springer.com/10.1007/978-3-031-05694-9$$zOnline Access$$91397441.1
001448969 909CO $$ooai:library.usi.edu:1448969$$pGLOBAL_SET
001448969 980__ $$aBIB
001448969 980__ $$aEBOOK
001448969 982__ $$aEbook
001448969 983__ $$aOnline
001448969 994__ $$a92$$bISE