This blog is dedicated to a variety of social art practices including: urban interventions, utopian proposals, guerrilla architecture, new genre, public art, social sculpture, project-based community practice, interactive media, service dispersals, service design, activism and street performance. The primary material of social practice is person-to-person exchange, interaction, or participation. These situations, organizations and events can involve various media including photography, video, drawing, text, sound, sculpture,, political art, design, eco-art and performance art.
Around the world, legal systems and legal professionals, as well as social entrepreneurs are challenged with delivering more justice, to more people but with fewer resources. Innovations in the ready-made garment industry are helping global supply chains with the growing pressure of providing stable and fair conditions to its workers. We need more innovators who are up to the task. Governments, corporations and NGOs also need to learn how to work with them to strengthen their effectiveness, impact and return on investment.
This is the second part of a three part discussion series on new topics and trends in the public art field. Participants will hear from Jules Rochielle, Founder, Researcher, and Curator of the Social Practices Art Network (SPAN), a resource for individuals, organizations, community groups, and institutions that are interested in new genre art forms and practices. In 2014, SPAN launched an international research project focused on the needs of socially and community engaged artists.
I'm excited about attending this next week: Non-Event and the Goethe-Institut Boston present JAN ST. WERNER (Fiepblatter, Lithops, Mouse on Mars) ANDY GRAYDON Goethe-Institut Boston 170 Beacon Street Boston, MA 02116 Doors: 7:30pm | Music: 8pm Suggested donation: $15 Cologne producer and sound artist JAN ST. WERNER is perhaps best known for his work in Mouse on Mars, which he formed with Andi Toma in the early 90s. Over two decades, the duo has charted a perpetual course of reinvention, indulging in complex, heavily hybridized forms that synthesize everything from ambient, techno, and dub to post-rock and next-level electronics and releasing via labels like Too Pure, Domino, and their own Sonig imprint. In the mid-90s, Werner began releasing music as Lithops and as one half of Microstoria with Markus Popp of pioneering electronic/glitch unit Oval. His output as Lithops — said to rub the outer edges of inferential electronics, and often sounding as though they began their lives as studio accidents, all fumbly, peripatetic rhythms emerging from a haze of muffled bass and overdriven synth textures — continued well into the 2000s, published by labels such as Moikai, Sonig, and Thrill Jockey. In 2013, St. Werner began producing records under his own name with Blaze Colour Burn, the first in a run of experimental albums called Fiepblatter on Thrill Jockey. The most recent installment in the series, Miscontinuum Album, saw release on the label in late 2014 and was originally created for a live opera performance in Munich; Popp composed the libretto. It is part of a larger project that encompasses visual works, installations, writings, software, and lectures. - See more at: http://www.nonevent.org/upcoming/jan_st_werner_at_the_goetheins/#sthash.6t09NgTD.dpuf
Debating Through the Arts presents Hidden in Plain Site: Creative Referendums to Human Trafficking, a series of exhibitions and public programs inspired by the United Nations (UN), which address the phenomenon of human trafficking....
Organized by Klaus Biesenbach and Margaret Aldredge, Zero Tolerance brings together an international ensemble of artists who investigate conflicts of freedom and control by documenting protests, demonstrations, civil disobedience and other well-established...
Art + Practice embraces a twofold mission: to empower foster youth and to transform its community through the inspirational power of art. For youth, A+P offers opportunities for connection through interactions with art and technology. For its community, A+P provides spaces for critical reflection — environments in which art can transform viewers into active agents of social change.
Every year at the Creative Time Summit, the most innovative artists, activists, critics, writers, and curators come together in New York to engage with one another, and a global audience, about how they are attempting to change our world in...
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