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Since the 1960s, participatory discourses and techniques have been at the core of decision making processes in a variety of sectors around the world – a phenomenon often referred to as the participatory turn. Over the years, this participatory turn has given birth to a large array of heterogeneous participatory practices developed by a wide variety of organizations and groups, as well as by governments. Among the best-known practices of citizen participation are participatory budgeting, citizen councils, public consultations, etc. However, these experiences are sometimes far from the original 1960s’ radical conception of participatory democracy, which had a transformative dimension and aimed to overcome unequal relationships between the state and society and emancipate and empower citizens in their daily lives. This book addresses four sets of questions: what do participatory practices mean today?; what does it mean to participate for participants, from the perspective of citizenship building?; how the processes created by the participatory turn have affected the way political representation functions?; and does the participatory turn also mean changing relationships and dynamics among civil servants, political representatives, and citizens? Overall, the contributions in this book illustrate and grasp the complexity of the so-called participatory turn. It shows that the participatory turn now includes several participatory democracy projects, which have different effects on the overall system depending on the principles that they advocate. This book was originally published as a special issue of the Journal of Civil Society.
At first glance, participation appears to be a constant goal throughout the history of cultural policies, adapting itself to very diverse configurations in time and space. However, some see it as a lever for social and cultural innovation that marks a breakthrough in several areas of public policy. Authors: Félix Dupin-Meynard, Emmanuel Négrier, Lluís Bonet, Giada Calvano, Luisella Carnelli, Elettra Zuliani. Coédité par Occitanie en scène Avec le partenariat de : CEPEL, Université de Montpellier, Universistat de Barcelona, Creative Europe, BeSpectACTive!, Fondazione Fitzcarraldo, Ministère de la Culture.
Just what is the “participatory condition”? It is the situation in which taking part in something with others has become both environmental and normative. The fact that we have always participated does not mean we have always lived under the participatory condition. What is distinctive about the present is the extent to which the everyday social, economic, cultural, and political activities that comprise simply being in the world have been thematized and organized around the priority of participation. Structured along four axes investigating the relations between participation and politics, surveillance, openness, and aesthetics, The Participatory Condition in the Digital Age comprises fifteen essays that explore the promises, possibilities, and failures of contemporary participatory media practices as related to power, Occupy Wall Street, the Arab Spring uprisings, worker-owned cooperatives for the post-Internet age; paradoxes of participation, media activism, open source projects; participatory civic life; commercial surveillance; contemporary art and design; and education. This book represents the most comprehensive and transdisciplinary endeavor to date to examine the nature, place, and value of participation in the digital age. Just as in 1979, when Jean-François Lyotard proposed that “the postmodern condition” was characterized by the questioning of historical grand narratives, The Participatory Condition in the Digital Age investigates how participation has become a central preoccupation of our time. Contributors: Mark Andrejevic, Pomona College; Bart Cammaerts, London School of Economics and Political Science (LSE); Nico Carpentier, Vrije Universiteit Brussel (VUB – Free University of Brussels) and Charles University in Prague; Julie E. Cohen, Georgetown University; Kate Crawford, MIT; Alessandro Delfanti, University of Toronto; Christina Dunbar-Hester, University of Southern California; Rudolf Frieling, California College of Arts and the San Francisco Art Institute; Salvatore Iaconesi, La Sapienza University of Rome and ISIA Design Florence; Jason Edward Lewis, Concordia University; Rafael Lozano-Hemmer; Graham Pullin, University of Dundee; Trebor Scholz, The New School in New York City; Cayley Sorochan, McGill University; Bernard Stiegler, Institute for Research and Innovation in Paris; Krzysztof Wodiczko, Harvard Graduate School of Design; Jillian C. York.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Building on the groundbreaking research of the MacArthur Foundation's Digital Media and Learning initiative, this book crosses the divide between digital literacies and traditional print culture to engage a generation of students who can read with a book in one hand and a mouse in the other. Reading in a Participatory Culture tells the story of an innovative experiment that brought together playwright and director Ricardo Pitts-Wiley, Melville scholar Wyn Kelley, and new media scholar Henry Jenkins to develop an exciting new curriculum to reshape the middle- and high-school English language arts classroom. This book offers highlights from the resources developed for teaching Herman Melvilles Moby-Dick and outlines basic principles of design, implementation, and assessment that can be applied to any text.
Traversing disciplines, A History of Participation in Museums and Archives provides a framework for understanding how participatory modes in natural, cultural, and scientific heritage institutions intersect with practices in citizen science and citizen humanities. Drawing on perspectives in cultural history, science and technology studies, and media and communication theory, the book explores how museums and archives make science and cultural heritage relevant to people’s everyday lives, while soliciting their assistance and participation in research and citizen projects. More specifically, the book critically examines how different forms of engagement are constructed, how concepts of democratization are framed and enacted, and how epistemic practices in science and the humanities are transformed through socio-technological infrastructures. Tracking these central themes across disciplines and research from Europe, Canada, Australia and the United States, the book simultaneously considers their relevance for museum and heritage studies. A History of Participation in Museums and Archives should be essential reading for a broad academic audience, including scholars and students in museum and heritage studies, digital humanities, and the public communication of science and technology. It should also be of great interest to museum professionals working to foster public engagement through collaboration with networks and local community groups.
THE WILEY-BLACKWELL HANDBOOK OF Transpersonal Psychology “The new Handbook of Transpersonal Psychology is a necessity today. Many transpersonal psychologists and psychotherapists have been waiting for such a comprehensive work. Congratulations to Harris Friedman and Glenn Hartelius. May this book contribute to an increasingly adventurous, creative, and vibrant universe.” Ingo B. Jahrsetz, President, The European Transpersonal Association “The Handbook of Transpersonal Psychology is an outstanding, comprehensive overview of the field. It is a valuable resource for professional transpersonal practitioners, and an excellent introduction for those who are new to this wide-ranging discipline.” Frances Vaughan, PhD. Psychologist, author of Shadows of the Sacred: Seeing Through Spiritual Illusions “Finally, the vast literature on transpersonal psychology has been collected in what is clearly the essential handbook for psychologists and others who have either too apologetically endorsed or too critically rejected what undoubtedly will define psychology in the future. If you are not a transpersonal psychologist now, you will be after exploring this handbook. No longer can one dismiss the range of topics confronted by transpersonal psychologists nor demand methodological restraints that refuse to confront the realities transpersonal psychologists explore. This is a marvelous handbook—critical, expansive, and like much of what transpersonal psychologists study, sublime.” Ralph W. Hood Jr., University of Tennessee, Chattanooga With contributions from more than fifty scholars, this is the most inclusive resource yet published on transpersonal psychology, which advocates a rounded approach to human well-being, integrating ancient beliefs and modern knowledge. Proponents view the field as encompassing Jungian principles, psychotherapeutic techniques such as Holotropic Breathwork, and the meditative practices found in Hinduism and Buddhism. Alongside the core commentary on transpersonal theories—including holotropic states; science, with chapters on neurobiology and psychometrics; and relevance to feminism or concepts of social justice—the volume includes sections describing transpersonal experiences, accounts of differing approaches to healing, wellness, and personal development, and material addressing the emerging field of transpersonal studies. Chapters on shamanism and psychedelic therapies evoke the multifarious interests of the transpersonal psychology community. The result is a richly flavored distillation of the underlying principles and active ingredients in the field.
The Laurence and Lynne Brown Democracy Medal recognizes outstanding individuals, groups, and organizations that produce exceptional innovations to further democracy in the United States or around the world. The inaugural medal winner, the Participatory Budgeting Project (PBP), is an innovative not-for-profit organization that promotes "participatory budgeting," an inclusive process that empowers community members to make informed decisions about public spending. More than 46,000 people in communities across the United States have decided how to spend $45 million through programs that PBP helped spark over the last five years. In Everyone Counts, PBP co-founder and executive director Josh Lerner provides a concise history of the organization's origins and its vision, highlighting its real-world successes in fostering grassroots budgeting campaigns in such cities as New York, Boston, and Chicago. As more and more communities turn to participatory budgeting as a means of engaging citizens, prioritizing civic projects, and allocating local, state, and federal funding, this cogent volume will offer guidance and inspiration to others who want to transform democracy in the United States and elsewhere. “The Participatory Budgeting Project exemplifies the essential features the award committee was looking for in its inaugural recipient. Political and economic inequality is part of the American national discussion, and participatory budgeting helps empower marginalized groups that do not normally take part in a process that is so critical for democratic life.”— John Gastil, Director of the McCourtney Institute for Democracy
