This study examines how philanthropic foundations develop innovative approaches to grant-making by collaborating with social entrepreneurs who are embedded in marginalized communities. Traditionally, foundations award grants that meet predetermined strategic objectives that support their theories of change. However, this study explores an alternative approach known as participatory grant-making, in which philanthropic foundations cede control over strategy and finance by adopting an innovative approach that is based more on trust and collaboration. By analyzing in-depth interviews from 16 executives, directors, and social entrepreneurs in the United States, we demonstrate how participatory grant-making constitutes a social innovation that inverts traditional power dynamics in the philanthropic field by enhancing legitimacy, and thereby facilitating a more interconnected, inclusive, and equitable approach to solving social problems. This article demonstrates how the implementation of participatory grant-making programs can help to counter the increasing criticisms levied at traditional approaches to grant-making.
The road to science for the arts therapies requires research on the full breadths of the spectrum, from systematic case studies to RCTs. It is important that arts therapists and arts therapeutic researchers reflect on the typical characteristics of each research paradigm, research type and research method and select what is appropriate with regard to the particular research question. Questions rather differ. Finding out whether a certain intervention has a particular effect with a large group of clients differs from wanting to know which change occurs at which moment by which interventions in the treatment of an individual client. Research in practice remains close to questions encountered by arts therapists in their daily practice. It concerns questions arts therapists have about their lived experience of acting due to the complexity and variability of practice. By carrying out research in practice that links up with those questions, evidence evolves; evidence that enables the professional to proceed and that makes explicit what often remains implicit and unsaid. What is explicit can be communicated, can be criticised and tested. The professional himself does the road to science of the profession. The investment in professionals’ research in practice is the motor of knowledge-productivity that bridges the theory-practice gap. Research in the arts therapies should lead to ‘knowledge’ in which the ‘art’, nor the ‘subject’ of therapist and client have been lost.
Welcome to the fourth special issue of the Pervasive Labour Union zine, Urgent Publishing Debris. In May 2019, the Making Public: Urgent Publishing Conference took place. Among others, it asked the following questions:-"How to realize sustainable, high-quality alternatives within this domain of post-digital publishing?"-"How can designers, developers, artists, writers and publishers intervene in the public debate and counter misinformation in a meaningful and relevant way?"-"What are new publishing strategies for our current media landscape?"-"How to design for urgency without succumbing to an accelerated hype cycle?"The presentations, debates and conversations have all been officially documented in blogposts on the Institute of Network Cultures website, videos and pictures. But what about the notes, the pictures, the recordings and the tweets of the conference's visitors? What do they have to tell us about how each person experienced the conference? This special issue aims to provide new readings of the event by creating remixes of the official archival sources with the 'unofficial' debris circulating around it.In order to facilitate the navigation between articles, making connections visible where they might have only been implicit, the editors have decided to define eleven overarching topics (Social/Community, Activism, Post-truth, New forms, Authorship/Makers, Speed, Positioning, Locality, Relationality, Authoritarianism, Parasite). Each of the topics was attributed a colour and the source material is highlighted accordingly.Furthermore, each remix has a dispersed editors' note, wherein each editor reflects in more detail on the program, how it connects to the conference's topic and how it might answer any of the aforementioned questions.
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