Visual Participatory Arts Based Research in the City: Ontology, Aesthetics and Ethics (Routledge Studies in Urbanism and the City)

Visual Participatory Arts Based Research in the Cities maps ontological, aesthetic and ethic differences between humanist and posthumanist arts-based research, while providing insight on methodological orientations to develop arts-based research with frameworks based on process-philosophies. Visual Participatory Arts Based Research in the Cities maps ontological, aesthetic and ethic differences between humanist and posthumanist arts-based research, while providing insight on methodological orientations to develop arts-based research with frameworks based on process-philosophies. Cover 1 Half Title 2 Serie Page 3 Title Page 4 Copyright Page 5 Table of Contents 6 List of Figures 8 List of Contributors 10 Acknowledgements 13 Chapter 1: Visual participatory arts-based research in the city: Outlining posthumanist approaches 16 1.1 Introduction 16 1.2 A story to take perspective 17 1.3 For a new materialist posthumanist arts-based research 18 1.4 Conceptual cluster #1: Speculative inquiry 20 1.5 Conceptual cluster #2: Researching with/in force fields and atmospheres 22 1.6 Conceptual cluster #3: Thinking the right to the city through affect and the aesthetics of infrastructures 25 1.7 Book’s organization 28 References 32 Part I: Ontological Reorientations 36 Chapter 2: Relocating the cinema in the city: The case of El Solar de la Puri 38 2.1 Introduction 38 2.2 From motion to location 40 2.3 El Solar de la Puri 42 2.4 The right to infrastructure 45 2.5 A transfilmic envelopment 47 2.6 Conclusions: A relocation 50 Notes 52 References 52 Chapter 3: Fred Herzog’s affective engagements with things in the city of Vancouver 55 3.1 Introduction 55 3.2 Associative analysis and reading 57 3.3 An associative reading of Herzog’s Second Hand Store Boy and Second Hand Shop, Cordova Street 59 3.4 Concluding thoughts 65 Notes 66 References 66 Chapter 4: Black life and aesthetic sociality in the Subúrbio Ferroviário de Salvador, Bahia 68 4.1 Introduction 68 4.2 Black onto-aesthetics 71 4.3 Searching for beauty in an unliveable place 73 4.4 Towards an aesthetics of sociality 77 4.5 A collection to re-materialize the Subúrbio 78 4.6 Inhabiting as a more than one 82 Notes 83 References 83 Part II: Aesthetic Practices 86 Chapter 5: Lively pathways: Finding the aesthetic in everyday practice 88 5.1 Introduction 88 5.2 The city 89 5.3 The thinking 91 5.4 The assignment 92 5.5 The attunement 94 5.6 The aesthetic 94 5.7 The student work 96 5.7.1 Indeterminacy 96 5.7.2 Intimacy 99 Note 102 References 102 Chapter 6: A hauntological enlivening of the Coma Cros archive through pedagogical inquiry and live performance 104 6.1 Introduction 104 6.2 The recent history of Coma Cros 106 6.3 Thinking material performativity through new materialisms and performance theory 108 6.4 Encountering archival silence, discontinuity and intimacy 109 6.5 The class in the street: The archive as an event 110 6.6 Embodied archives as contact zones 114 6.7 Conclusions 117 Notes 118 References 119 Part III: Ethics of Participation 120 Chapter 7: The Lynden Sculpture Garden’s Call and Response Program: To wonder, encounter and emplace through the radical Black imagination 122 7.1 An introduction 122 7.2 Racialization of spaces and a Black sense of place 123 7.3 Utilizing Black geographies 125 7.4 The Call and Response Program as a different space of encounter with nature 127 7.5 The Call and Response Program constructs place through processes and experiences 129 7.6 Relational movements in response to the multisensory and juxtaposed environment 131 7.7 Eliza's Peculiar Cabinet of Curiosit ies reconsidered through wonder 136 References 138 Chapter 8: A poetics of opacity: Towards a new ethics of participation in gallery-based art projects with young people 141 8.1 Introduction 141 8.2 Youth arts in the city 143 8.3 Rethinking participation with Édouard Glissant 144 8.4 Creating new sensing bodies in the gallery 146 8.5 Cultivating the logic of the relay 148 8.6 A durational ethics 151 8.7 Conclusion: Relation in the city 155 References 156 Epilogue: The remaking of collective life in (post)pandemic times 158 References 164 Index 167 aesthetic,practices;,aesthetic,sociality;,black,life;,collective,life;,ethic,differences;,Fred,Herzog's,affective,engagements;,gallery-based,art,projects;,live,performance;,Lynden,sculpture,garden's,call;,pedagogical,inquiry;,political,participation;,radical,Black,imagination;,visual,participatory,arts;,young,people aesthetic practices,aesthetic sociality,black life,collective life,ethic differences,Fred Herzog's affective engagements,gallery-based art projects,live performance,Lynden sculpture garden's call,pedagogical inquiry,political participation,radical Black imagination,visual participatory arts,young people Visual Participatory Arts Based Research in the Cities maps ontological, aesthetic and ethic differences between humanist and posthumanist arts-based research, while providing insight on methodological orientations to develop arts-based research with frameworks based on process-philosophies. It is the first book on arts-based research which focuses on the city, adopting a posthumanist approach to the assembled nature of urban environments, where agency is distributed across infrastructures, technologies, spaces, things, and bodies. Chapters one to seven feature a series of studies, situated in different cities in Europe and the Americas, which outline experiences of movement, inhabitancy, interdependence, collaboration, infrastructuring and sensorial re-calibration informed by art practices in film, photography, digital projection, installation, performance and art as social practice. At the core of this book is the idea that aesthetic ecologies of cities do not depend solely on human activity, relying instead on non-logocentric modalities of collective life. The book is an indispensable tool to researchers, instructors and graduate students in education, the social sciences and the arts aiming to conceive, design and develop projects in arts-based research.