Power of the Temporary: Social Art in Spaces of Transitional Living

This communication paper addresses the role of ephemeral and temporary artistic interventions into the systemic problem of homelessness and the question of sustainability in social art practice. I approach these issues through my work with homeless service agencies that are shaped by rules and procedures intended to increase predictability, whereas, as an artist, my work resists such rigidity by carving out space for spontaneity, vulnerability, and renewal. The dilemma of sustaining socially engaged art long-term raises particular questions within the context of institutions such as these. Can a project be successful as a temporary intervention within systems of predictability? If a project does become sustainable in the long-term, is there a way it can retain a level of energy incited by newness and unexpectedness? I discuss these issues in the context of two of my long-term projects, Beauty in Transition (2013–2016) and Choreographing Care (2016–2021), both working within homeless service agencies. Beauty in Transition was a pop-up mobile hair salon offering free haircare for transitional housing residents. Choreographing Care, a project supporting homeless service staff, started as a socially engaged art project and was adopted into an emergency shelter in Charlotte, North Carolina, U.S.A as an organizational initiative. The ideas I discuss in this paper are supported and inspired by disciplines of research including care ethics of Gilligan, social behavioral science of Goffman, and approaches to participation discussed by Helguera and Kaprow.

Analysis of causes of early dropout of students higher education

The purpose of this document is to analyze the causes and effects of early dropout in higher education students in Ecuador, especially in those students who entered the university for the career leveling course. The work was based on a mixed approach, a longitudinal retrospective non-experimental design and with this information relevant to the results was investigated in reference to the final certificates and historical records of qualifications corresponding to the career leveling courses of the engineering areas from the Technical University of Ambato, between 2011 and 2017. The results date that, of the total enrolled, there was a considerable dropout percentage of approximately 39%, additionally dropout is more frequent in subjects such as mathematics, physics or chemistry, figures that They do not agree with the report of the National Exam for Higher Education released in 2018, especially in Mathematics. Keywords: Leveling, Mathematics, Academic dropout. References [1]M. Araujo and D. Bramwell, «Cambios en la política educativa en Ecuador desde el año 2000,» Education for All Global Monitoring Report 2015, pp. 1-23, 2015. [2]LOES, «Ley Orgánica de Educación Superior,» Registro Oficial Suplemento 298, Quito, 2010. [3]Secretaría de Educación Superior, Ciencia, Tecnología e Innovación, «El Examen Nacional para la Educación Superior (ENES) es universal y obligatorio,» 03 febrero 2014. [Online]. Available: https://www.educacionsuperior.gob.ec/el-examen-nacional-para-la-educacion-superior-enes-es-universal-y-obligatorio/. [4]O. Mejía-Flores, C. Méndez-Medrano, S. Camatón-Arízabal and M. Torres-Gangotena, «Prueba ser bachiller, el inicio para la educación superior en el Ecuador.,» Dominio de las ciencias, vol. 4, nº 3, pp. 110-122, 31 Julio 2018.[5]EC, «Transformar Nuevo sistema de acceso a la educación Superior,» 2021. [Online]. Available: https://ecuadoravisos.com/transformar-acceso-a-la-educacion-superior/. [6]LOES, «Reforma a la Ley Orgánica de Educación Superior,» Registro Oficial 298, Quito, 2018. [7]Consejo de Aseguramiento de la Calidad de la Educación Superior (CACES), «Evaluación externa con fines de acreditación de universidades y escuelas politécnicas,» 2019. [Online]. Available: https://www.caces.gob.ec/institucional/. [8]Consejo de Evaluación Acreditación y Aseguramiento de la Educación Superior (CEAACES), «CES, CEAACES Y SENESCYT trabajan en ejes de igualdad,» 2014. [Online]. Available: https://www.ces.gob.ec/?te_announcements=-ces-ceaaces-y-senescyt-trabajan-en-ejes-de-igualdad. [9]CACES, «Modelo de evaluación institucional para los institutos superiores técnicos y tecnológicos en proceso de acreditación 2020.,» febrero 2020. [Online]. Available: https://www.caces.gob.ec/wp-content/uploads/2020/03/MODELO-DE-EVALUACI%C3%93N-INSTITUCIONAL-PARA-LOS-INSTITUTOS-UPERIORES-T%-C3%89CNICOS-Y-TECNOL%C3%93GICOS-2020.pdf. [10]Asamblea, «Constitución de la República del Ecuador,» Registro oficial 449, Quito, 2011. [11]SENESCYT, «Reglamento General a la Ley Orgánica de Educación Superior,» Registro Oficial Suplemento 526, Quito, 2011. [12]SENESCYT, «Reglamrento del Sistema de Nivelación y Admisión,» Quito, 2014. [13]Presidencia, «Ley Orgánica de Educación Intercultural,» Registro Oficial 417, Quito, 2011. [14]SENESCYT, «Guía de acceso a la educación superior ecuatoriana.,» Quito, 2015. [15]MEC, «Sitio WEn oficial del MEC,» 2018. [Online]. Available: https://educacion.gob.ec/bachillerato-general-unificado/. [16]H. Sánchez, «El bachillerato como eje transformador de la educación,» UNIVERSIDAD URGENTE para una siciedad emancipada, pp. 115-130, 2016. [17]I. López, G. Marín and M. García, «Deserción escolar en el primer año de la carrera de Medicina.,» Educación Médica Superior, vol. 26, nº 1, pp. 45-52, 2012. [18]A. Canales and D. de los Ríos, «Factores de la deserción universitaria,» Revista Calidad en la Educación, vol. 26, pp.173-197, 2007. [19]R. Pineda, G. Moreno and G. Moreno, «Deserción universitaria en la universidad de las fuerzas armadas.,» Revista Científica Hallazgos21, vol. 5, pp. 1-10, 2020. [20]Y. Moya, Artist, Licenciada en Trabajo Social.. [Art]. Universidad Técnica de Ambato, 2019. [21]eltelégrafo, «eltelégrafo,» 03 Noviembre 2021. [Online]. Available: https://www.eltelegrafo.com.ec/noticias/sociedad/4/la-desercion-universitaria-bordea-el-40. [22]I. Poveda, «Los factores que influyen sobre la deserción universitaria. Estudio en la UMRPSFXCh – Bolivia,análisis con ecuaciones estructurales.,» Revista Investigación & Negocios., vol. 12, nº 20, pp. 2521-2737, 2019. [23]S. Tisalema, P. Torres, J. Cuchiparte and B. Moreno, «Análisis de la calidad del servicio de las operadoras de telefonía móvil en la ciudad de Ambato.,» Ciencia Digital, pp. 59 - 76, Septiembre 2019. [24]SENESCYT, «Cupos aceptados en instituciones de educación superior 2012-2018.,» 2018. [Online]. Available: https://www.educacionsuperior.gob.ec/cuadros-estadisticos-indice-de-tabulados-sobre-los-datos-historicos-de-educacion-superior-a-nivel-nacional-incluye-registro-de-titulos-oferta-academica-matriculados-docentes-becas-y-cupos/. [25]M. Torres, «Los malos resultados de las pruebas ser bachiller 2013-2017 en ecuador.,» 2018. [Online]. Available: https://lalineadefuego.info/2018/09/06/los-malos-resultados-de-las-pruebas-ser-bachiller-2013-2017-en-ecuadorpor-rosa-maria-torres/. [26]SENESCYT, «Reglamento General a la Ley Orgánica de Educación Superior,» Registro Oficial Suplemento 526, Quito, 2011. [27]Senescyt, «Informe sobre la metodología de distribución de recursos destinado§ anualmente por parte del estado a favor de las universidades y escuelas politécnicas públicas,de posgrado y particulares que reciben rentas y asignaciones del estado.,» Senescyt, Quito, 2020. [28]E. Granda, Artist, LA EDUCACIÓN SUPERIOR EN ECUADOR ANÁLISIS CRÍTICO.. [Art]. Univerdidad de los Hemisferios., 2016.

Art Galleries in Transformation: Is COVID-19 Driving Digitisation?

Compared to other consumer goods markets, art galleries have long been reluctant to innovate through digitisation. However, the global outbreak of COVID-19 forces art galleries to reconsider the role of digital channels. This study aims to provide a better understanding of the art gallery business model and its related difficulties of integrating digital channels into marketing, communication, and sales. Twenty interviews with gallery owners and managers in Vienna and Salzburg were conducted. They were asked about their attitudes towards, opinions on, and experiences with digital channels, and how they reacted to the restrictions caused by COVID-19. The findings verify that COVID-19 has led galleries of any type to reconsider their digital strategy. We identified limitations with respect to digital channels: plain presentation of information online; lacking or distanced personal interaction; online anonymity that disconnects from the social art environment; increased information and price transparency; a more commercial appearance; limited resources for digital adaptations. Galleries striving to integrate digital channels into their business model should pay attention to ensuring that analogue, as well as digital, channels are integrated into a coherent system where personal contact and the physical location remain the core of the business.

Inkluzywny potencjał sztuki społecznej

One of the most interesting phenomena in contemporary art is the interpenetration of art and social practice. The artist’s search for new forms of expression and finding himself on the contemporary art market are intertwined with social activism and attempts to contest the existing order. By presenting the variety and ambiguity of activities classified as social art, the authors attempt to interpret them critically. By situating the analysed phenomenon in the context of overcoming social exclusion and social rehabilitation interactions, they also try to determine whether, and if so, to what extent it can enrich the current pedagogical practice. Two questions become key here. One of them is the question of the essence of social art. The second one is to define the significance of including the role of the Artist and Participant of artistic activities in the repertoire of the social roles of the excluded subject to date.

Organisation of Social Art in Performance Art Organisations

Art as a social action in the public space is becoming more popular in various forms, especially in the digital space, and especially after the recent events that have had an effect on the whole world. However, theatre as art is changing its forms of accessibility not only due to global events but also due to the changing society from various aspects, i.e., psychological, social, economic, political, etc. The article provides a comparative analysis of the concepts of social art actions and performance art, presents the features of social art actions organisation in performance art organisations in Lithuania and abroad, determines the impact of social art action on human health from the psychosocial and spiritual point of view as well as in a community; it also provides a discussion of similarities and differences of performance as not only theatre but also performance art and social art, social art actions as performance art. Moreover, the article analyses how performance is compared to social art performance, how spectator and participant audiences manifest, what inclusion of performance art as a social art action into human spiritual-psychological space provides. The article provides an analysis of how performance art cooperates with performance art organisations.

Using Creative Genograms in Family Social Work to Integrate Subjective and Objective Knowledge About the Family: A Participatory Study

Genograms are widely used in family therapy as a way of visually mapping out systems and recurring family patterns. Creative genograms enable families to phenomenologically self-define recurring themes and issues, thus combining both historical, but also, experiential data on the same page. This participatory research gathers the self-defined, phenomenological experience of family social workers who experienced creative genograms firstly on themselves and then administered it with their clients: Examples are analyzed within the text. The findings point to the usefulness of including creative genograms in family social work contexts to intensify information, engagement, and stimulation and to re-perceive calcified problems through new visual terms. Challenges were the unfamiliarity of art language and fear of being “diagnosed” through art. Ways to overcome these challenges and to utilize the benefits were discussed. A theoretical understanding of social versus psychological art is outlined. The specific tool of the creative genogram enabled us not only to provide a clear directive tool for family social workers but also to demonstrate the ways that social art corresponds to and can enhance the aims of family social workers in more detail.