Transcript of a lecture during the conference 'Is contemporary art history', Institute of Fine Arts, New York, 28th february 2014.
MULTIFILE
Hoofdstuk in The history of youth work in Europe and its relevance for youth policy today. Youth work in the Netherlands goes back a long way and since the 1970s has taken on a rather strong professional image. During the last decades, it went through some hard times, but recently it has undergone a revival and revaluation. (Griensven & Smeets, 2003). The first section of this paper is about how the characteristics of the Dutch affect social work and youth work concepts. The second part discusses the Dutch framework for youth work: definition, fields of activities, core tasks and the ambiguous relationship between youth work and social work. The third section deals with the history of youth work. The paper concludes with a reflection on the future directions that youth work could take. The article is based on Dutch historical research, some by the author, and the author’s involvement in youth work, both as a youth worker and editor- in- chief of the semi-scientific journal Jeugd en samenleving.
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What options are open for peoplecitizens, politicians, and other nonscientiststo become actively involved in and anticipate new directions in the life sciences? In addressing this question, this article focuses on the start of the Human Genome Project (1985-1990). By contrasting various models of democracy (liberal, republican, deliberative), I examine the democratic potential the models provide for citizens' involvement in setting priorities and funding patterns related to big science projects. To enhance the democratizing of big science projects and give citizens opportunities to reflect, anticipate, and negotiate on newdirections in science and technology at a global level, liberal democracy with its national scope and representative structure does not suffice. Although republican (communicative) and deliberative (associative) democracy models meet the need for greater citizen involvement, the ways to achieve the ideal at a global level still remain to be developed.
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Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
