Foundation Bricks
To address the intellectual output IO2, Bricks Foundation, we have combined:
1. Reflection on the intellectual output IO1, Best Practices,
2. Collecting and cross-readings of thesaurus on collaborative artistic practices regarding social diversity,
3. The experience of active listening and discourse analysis of interviews and focus groups conducted specifically for the purposes of the project, with leading experts in art and diversity in museums and the city.
Simultaneously to the selection and preparation of good practice based on indicators allowing to pointing out the quality and effectiveness of the same, we address the existing theory and literature developed in recent years in Europe and internationally in order to analyze its usefulness to society and their ability to shift towards a psychosocial improvement.1
There are many authors who have addressed art and diversity stressing on thematic areas of social and artistic interest, deconstructing classical terms and analyzing terminology close to the issue (as community art, social art, public art or collaborative art).
Thus, we have addressed the usefulness of creative development in artistic processes (the "usefulness of art") but also the meaning, scope and limitations of the concept "community"; analysis and possibilities of the city as a device for social change; "contextual" art and its characteristics; the relationship and effectiveness of these practices in social inclusion as well as the difficulties in assessing artistic practices related to diversity and criteria of transferability.
On the other hand, we have worked with bibliography of leading experts in the analysis of indicators: theorists like Matarasso, Jermyn and Williams, who have completed and enriched the points of view in dealing with quality criteria on artistic practices at the service of social improvement. Over the past ten years, an important work of detection and evaluation has been developed that should be incorporated into existing methodologies, by adapting it previously to the specific context.
Once the theoretical and methodological framework was established, we proceeded with the implementation of a pilot qualitative methodology that would allow reflection "in situ" in each of the geographical areas where currently the project is carried out, in order to rethink the frames, general methodologies, objectives, processes, participation and evaluation of the same.
The collection of these data was performed using semi-structured interviews with key informants- experts in social art, staff in Institutions with a long history and prestige - in each of the geographic areas, as well as focus groups and group discussions. In total, we have collected information from about 50 European experts.
The next step consisted in discourse analysis of the transcribed interviews in relation to the indicators and the semantic fields, enriching and updating, thus, the general theoretical contributions and setting the minimum basis for a practical approach to diversity through art in museums and the city.
This qualitative methodology supposed extra work for the research team, however, was particularly relevant in this Intellectual Output because of connecting existing literature with the protagonists, in the here and now of the major developments in art and diversity, making theory something alive and tangible, with immediate effects on our environment and finally, making reflection and a new theory based on the experience of the own protagonists.
The detailed report you can find here!
To address the intellectual output IO2, Bricks Foundation, we have combined:
1. Reflection on the intellectual output IO1, Best Practices,
2. Collecting and cross-readings of thesaurus on collaborative artistic practices regarding social diversity,
3. The experience of active listening and discourse analysis of interviews and focus groups conducted specifically for the purposes of the project, with leading experts in art and diversity in museums and the city.
Simultaneously to the selection and preparation of good practice based on indicators allowing to pointing out the quality and effectiveness of the same, we address the existing theory and literature developed in recent years in Europe and internationally in order to analyze its usefulness to society and their ability to shift towards a psychosocial improvement.1
There are many authors who have addressed art and diversity stressing on thematic areas of social and artistic interest, deconstructing classical terms and analyzing terminology close to the issue (as community art, social art, public art or collaborative art).
Thus, we have addressed the usefulness of creative development in artistic processes (the "usefulness of art") but also the meaning, scope and limitations of the concept "community"; analysis and possibilities of the city as a device for social change; "contextual" art and its characteristics; the relationship and effectiveness of these practices in social inclusion as well as the difficulties in assessing artistic practices related to diversity and criteria of transferability.
On the other hand, we have worked with bibliography of leading experts in the analysis of indicators: theorists like Matarasso, Jermyn and Williams, who have completed and enriched the points of view in dealing with quality criteria on artistic practices at the service of social improvement. Over the past ten years, an important work of detection and evaluation has been developed that should be incorporated into existing methodologies, by adapting it previously to the specific context.
Once the theoretical and methodological framework was established, we proceeded with the implementation of a pilot qualitative methodology that would allow reflection "in situ" in each of the geographical areas where currently the project is carried out, in order to rethink the frames, general methodologies, objectives, processes, participation and evaluation of the same.
The collection of these data was performed using semi-structured interviews with key informants- experts in social art, staff in Institutions with a long history and prestige - in each of the geographic areas, as well as focus groups and group discussions. In total, we have collected information from about 50 European experts.
The next step consisted in discourse analysis of the transcribed interviews in relation to the indicators and the semantic fields, enriching and updating, thus, the general theoretical contributions and setting the minimum basis for a practical approach to diversity through art in museums and the city.
This qualitative methodology supposed extra work for the research team, however, was particularly relevant in this Intellectual Output because of connecting existing literature with the protagonists, in the here and now of the major developments in art and diversity, making theory something alive and tangible, with immediate effects on our environment and finally, making reflection and a new theory based on the experience of the own protagonists.
The detailed report you can find here!
