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3How can the teaching of biology contribute to sustainability education? The authors of this article suggest that their approach has the potential to increase the students' level of engagement with the natural environment. The scope of biology teaching can be widened by allowing room for more experience and art-based activities. Such a change may deepen and expand the learners' insights in natural phenomena, which in turn might foster or enhance an attitude of care-taking for the natural environment.
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This booklet is a short reflection on the workshop activities by the research group, Popular culture Sustainability and Innovation (PSI), of the Hanze University in Groningen for the CCC Reloaded: CREALAB project over the last one and half years. Based on a series of explorative workshops this booklet includes reflections on art, design & sustainability. A broad range of different stakeholders share their views on bio based design, the value of waste and the artist as agent of sustainable change. The urgency of the topic and the innovative opportunities it generates are highlighted by contributors like creative entrepreneurs, scientists, teachers and art students that collaborated in the past workshop series. A Sense of Green includes contributions by Han Brezet, Nathalie Beekman, Klaas Pieter Lindeman, Aart van Bezooijen, Anouk Zeeuw van der Laan, Anne Nigten and others.
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This is the second episode of Art in Permacrisis, a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions? We invite speakers with combined backgrounds in art, theory, and organizing to share their insights.
For this episode, we talk to Emanuele Braga. Emanuele is an artist, researcher and activist. Over the past decades, he has been involved in many important grassroots initiatives, including MACAO, a center for art and Culture in Milan, and the Institute of Radical Imagination. This conversation focuses mostly on Art for Universal Basic Income (manifesto), which was produced by the Institute of Radical Imagination in 2022, and which was co-edited by Emanuele, together with Marco Baravalle and Gabriella Riccio.
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This is the third episode of Art in Permacrisis, a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions? We invite speakers with combined backgrounds in art, theory, and organizing to share their insights.
In this episode, we talk to Katja Praznik. Katja is an associate professor at the University at Buffalo’s Arts Management Program and the Department of Global Gender and Sexuality Studies. Our conversation focuses on her book, Art Work: Invisible Labour and the Legacy of Yugoslav Socialism as well as questions of strategy and the future of work in the arts.
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Arts-based environmental education (AEE) denotes an emerging field of pedagogy wherein facilitated art practice intersects with and informs learning about our natural and cultural environments. In it, artmaking is appreciated as a form of coming to knowledge, of making meaning, in its own right, on par with other approaches such as inquiry-based learning in the science classroom. In this article, the author, himself a practitioner, foregrounds two different orientations in learning about nature through art that he considers both as being expressive of AEE. The first one, here called “artful empiricism”, is more established and has its footings in “the Goethean approach”. Participants investigate natural phenomena through direct observation and experience of the world. This is then complemented by intuitive perception. Yet, for the most part, they are absorbed in what Dewey would call a receptive sense of “undergoing”. Aesthetic sensibility is foregrounded, encouraging participants to fine-tune their senses in order to perceive the phenomenon in nature with “fresh eyes”. The second orientation is hardly articulated as an epistemology yet. Here it is called “improvising with emerging properties” and it features an element of working with unforeseen properties that emerge in and through an artmaking process that thematises natural phenomena. It is intrinsically open-ended and an active “acting upon” the world takes centre stage. Through artmaking, participants explore the relationships between themselves and their environs. In his discussion, the author analyses these approaches as two modalities both expressive of a Deweyan cycle of alternating between a receptive undergoing of and active acting upon the world, in different phases of a reflective experience.
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In the game of online visibility; cuddly animals, selfies, houseplants, bro-culture, health mantras, and Fiji water bottles are now strangely powerful tools. It is no coincidence that these images and sub-cultures are also commonly utilized in the rapidly growing category called ‘post-internet art’. There is a definite link between the kinds of images and meme strategies used in many post-internet practices, and the swift proliferation of post-internet art into the gallery and collecting scene.
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Along with establishing a position in relation to the questions listed above, the purpose of this research is to contribute to the growing discussion on the relationship between public art and the public sphere. Given the limits of this paper, the focus is on art works that address the site and the public as social rather than formal. These artistic practices are less concerned with a relational aesthetic then with the collaborative activity resulting from working with existing communities or establishing new ones (Bishop, 2005). Therefore, and yet in asserting their significance here, this paper seeks to better understand the following question: How does socially engaged public art contribute to the public sphere?
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Background: Art therapy (AT) is frequently offered to children and adolescents with psychosocial problems. AT is an experiential form of treatment in which the use of art materials, the process of creation in the presence and guidance of an art therapist, and the resulting artwork are assumed to contribute to the reduction of psychosocial problems. Although previous research reports positive effects, there is a lack of knowledge on which (combination of) art therapeutic components contribute to the reduction of psychosocial problems in children and adolescents. Method: A systematic narrative review was conducted to give an overview of AT interventions for children and adolescents with psychosocial problems. Fourteen databases and four electronic journals up to January 2020 were systematically searched. The applied means and forms of expression, therapist behavior, supposed mechanisms of change, and effects were extracted and coded. Results: Thirty-seven studies out of 1,299 studies met the inclusion criteria. This concerned 16 randomized controlled trials, eight controlled trials, and 13 single-group pre–post design studies. AT interventions for children and adolescents are characterized by a variety of materials/techniques, forms of structure such as giving topics or assignments, and the use of language. Three forms of therapist behavior were seen: non-directive, directive, and eclectic. All three forms of therapist behavior, in combination with a variety of means and forms of expression, showed significant effects on psychosocial problems. Conclusions: The results showed that the use of means and forms of expression and therapist behavior is applied flexibly. This suggests the responsiveness of AT, in which means and forms of expression and therapist behavior are applied to respond to the client's needs and circumstances, thereby giving positive results for psychosocial outcomes. For future studies, presenting detailed information on the potential beneficial effects of used therapeutic perspectives, means, art techniques, and therapist behavior is recommended to get a better insight into (un)successful art therapeutic elements.
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The New Aesthetic and Art: Constellations of the Postdigital is an interdisciplinary analysis focusing on new digital phenomena at the intersections of theory and contemporary art. Asserting the unique character of New Aesthetic objects, Contreras-Koterbay and Mirocha trace the origins of the New Aesthetic in visual arts, design, and software, find its presence resonating in various kinds of digital imagery, and track its agency in everyday effects of the intertwined physical world and the digital realm. Contreras-Koterbay and Mirocha bring to light an original perspective that identifies an autonomous quality in common digital objects and examples of art that are increasingly an important influence for today’s culture and society.
Influenced by a diverse range of figures, ranging from Vilém Flusser, Arthur Schopenhauer, Immanuel Kant, David Berry, Lev Manovich, Olga Goriunova, Ernst Mayr, Bruce Sterling and, of course, James Bridle, The New Aesthetic and Art: Constellations of the Postdigital doesn’t just propose a description of a new set of objects but radically asserts that New Aesthetic objects analogously function as organisms within a broader digital-physical ecosystems of things and agents.
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