I use my art practice in conjunction with environmental behaviour research and Michel de Certeau’s practice of the everyday, to enable a re-examination of socially engaged art and through art to activate environmental behaviour change. Questions Clarify contemporary debate about demonstrable and desirable aspects and issues of socially engaged art practice and through my own practice identify its key characteristics. Examine the claim for change offered by many socially engaged practitioners. Context The socially engaged artist operates outside of the gallery, in everyday lives and real situations, often engaging in issues of meaning to society at large, where participation and facilitation of dialogue are the common characteristics. I identify participation, the ambition of social change, aesthetic representation and a failure to communicate beyond the participative event as key considerations. (Bishop 2004; Bourriaud 2002; Kester 2004; Kwon 2004) I propose an aesthetic of presence, to recognise community as a creative vernacular and as pooled knowledge. Drawn from Michel de Certeau’s research into everyday life (Michel de Certeau 1985; Michel de Certeau et al. 1998a) this also provides a refocusing on participation through conversation and describes rupture events, which signify change occurring. Method This thesis compares research in an alternative field, environmental behaviour, which investigates the impediments to change (the value-action gap), how change happens and identifies the change agent, as essential to encourage change at a personal level. (Ballard and Associates 2005b; Darnton et al. 2006) I use the value-action gap, the tension point between knowing about climate change and failing to make changes in our own behaviour, (Blake 1999; Darnton 2004b; Kollmus and Agyeman 2002) as a direct impetus to make participative artwork that examines the idea of a sustainable lifestyle. My art practice recognises a three-stage process: an admission of my own environmental behaviour; encouraging reciprocal participation and conversation and enabling personal reflection; representing conversation offering shared vernacular knowledge and enabling others’ engagement with the artwork and behaviour change. Equating the socially engaged artist with the environmental change agent, I synthesised the Model for Change Agents (S. Ballard and Ballard 2005a; Ballard and Associates 2005b) with research on participation in the arts (Matarasso 1997), as a basis for understanding how participation occurs and how change could happen in socially engaged artworks. An analysis of pilot artworks extends this model to identify the conditions for change, which also equate to the aesthetic aspects of the artwork, in a new model for Practice, Participation and Progression. Outcomes I propose key characteristics for socially engaged practice based on analysis of contemporary commentators and the model for practice, participation and progression. The role of the socially engaged artist is identified as comparable to the change agent. Representing conversation, addresses an issue of socially engaged practice to communicate beyond documentation of the event’s provocation and participation. I develop discussion of the discursive site beyond participation itself to a community of common sensibility and pooled knowledge as a demonstration of personal agency that is able to redefine the public ideal and challenge dominant culture. Re-presenting conversation is a means of sharing knowledge, stimulating change and expanding community. Contributing to environmental behaviour research my art practice reveals our ability to abstract behaviour, identifies our main areas of concern within lifestyle, our motivations for making change and the importance of the preservation of personal agency. I also comment on de Certeau, identifying the problems with individual resistance through the everyday, exploring mini-rupture events signaling change and proposing a reversal of the aesthetic of absence to an aesthetic of presence creating a new narrative that utilises personal agency.

The research presents a practice-based examination of the politics and poetics of the manifesto form, drawing on feminist theoretical writing and activism alongside contemporary iterations of socially engaged art. It offers feminist manifestos as a lens through which to reconsider the form and intentions of socially engaged art, which is reframed in the light of these feminist insights as social art practice (Ross, 2000). To draw feminism alongside social art practice the research occupies the metaphorical territory of the manifesto in order to open up a dialogue with, and directly experience, unfolding forms of social art practice. The thesis is structured in the form of an archive, consisting of three distinct but interrelated concepts – the manifesto, hospitality and archives. This structure sets out to highlight the relational and political nature of archives suggesting their potential to be reimagined as manifesto forms. In addition the structure reveals how both manifesto and archive function as explicit, politically radical forms of hospitality. These topics are discretely contained in physical form within three archival boxes, one for each concept, and in an online audio archive ‘giving voice’ to each of the concepts. Taken as a whole the thesis articulates a missing feminist history within current critical discourse around social art practice -­ despite the early presence of important feminist artists like Lacy and Ukeles. This research explores the implications of this absence, seeking to acknowledge the effects it could have not only on feminism as a political and intellectual practice but on the criticality and depth of social art practice. It is possible to encounter the archive as a cartography that can be laid out, navigated and read in any order. This movement between forms of knowledge mirrors the subjects it approaches which are conceived as interstitial forms, negotiating multiple perspectives to produce active subjectivity. Each section juxtaposes knowledge about practice, engaging with history to search for precedents, and knowledge with practice as a generative method, curating events and producing written contributions. Moving between these two methodologies the research sets out to find an appropriate voice to articulate the complexities of social art practice and its feminist histories.

This texts examines the potential of the documentation of socially engaged art to affect change. It looks at how it can extend the goal of political action inherent in much socially engaged artwork, particularly with reference to Corrie Peters thesis exhibition: All the rooming houses on my street have had their front door removed. / October 2015

The dissertation thesis gives a real picture of Czech artistic works from late 1980s to the present day that use the language of Conceptual and Action art for a reflection of current problems in our society. The study is to encompass socially-oriented art or tendencies that want to communicate with the inartistic context and its focus is on the social-political aspect of contemporary art. The first part of the text is focused on basic concepts, moreover, it describes the most important exhibitions, theoretical contexts or considerations associated with the concepts of political or engaged art and it includes a brief reference to examples of older socially oriented art of the 20th century. The thesis strives to give a picture of the main themes through which artists reflect on humanity within a current societal system with its various old or new phenomena. The topics and the particular relevant artworks are described in four main chapters that should reveal the working methods or the development of the artists approach or strategies of artistic groups that have simultaneously reflected changes in the Czech art scene for the past 25 years. The prime motives are classical or newborn topics like reflection on motherhood, transformation of the present-day family, attitudes to the phenomenon of age,...

This dissertation claims that the reciprocal exchange of voice—an element for constructing community and strengthening political recognition—may be fostered in small-scale farming communities by (1) the appropriation and transformation of information and communications technologies, (2) artistic intervention, and (3) cross-community research. This study contributes to participatory research methodologies, particularly those that seek to tackle the diverse challenges faced by small-scale farmers from a broad, complex perspective. The main issue identified in this dissertation is as follows: The hegemony of economic behaviors, which stands as a cornerstone of neoliberal capitalism, constitutes the latest stage of a historical process in which the voices of small-scale farmers seem to have been progressively and systematically silenced, their traditional practices largely invalidated, and their reciprocal forms of social, political, and economic organization marginalized. The purpose of this study was to explore whether an open-ended, sociotechnical methodology could be designed and applied in small-scale farming communities with the aim of strengthening their reciprocal practices while amplifying the voices of their members. The author's research addressed the question of how the role of information and communications technologies can contribute to the creation of enabling environments in which subsistence farmers may exercise their own values and make their voices heard. Another goal was to study whether the reciprocal exchange of voice could relate to the construction and dissemination of a knowledge commons and improve the resilience of small-scale farmers in the context of complex and pressing challenges such as anthropogenic climate change. Consequently, the ERV (Enabling Reciprocal Voice) Methodology was developed and applied in small-scale farming communities in order to respond to the questions of this study. The ERV Methodology sought to redefine the modes of usage of information and communications technologies in order to help communities establish a shared communicational praxis and strengthen their reciprocal relations. The ERV Methodology stands in contrast with the technological determinism found in the purely solutionist, short-term initiatives that are generally implemented in small-scale farming communities. Instead of offering rapid solutions to isolated problems, the ERV Methodology sought to consolidate the social networks of farmers through online and offline interaction. The case studies examined in this dissertation were carried out in two small-scale farming communities in Tanzania and Mexico. Following the ERV Methodology, mobile phones and the Internet were used by farmers in those communities as tools for the collaborative creation of a knowledge commons focused on local agriculture. It was found that the ERV Methodology, carried out as artistic intervention, may encourage technological appropriation, induce reciprocity, and amplify voice under certain sociotechnical conditions. These findings suggest that such a methodology might benefit farmers by becoming a significant aid to increase their resilience and their capacity to face complex challenges in the longer term. However, another conclusion was that the ERV Methodology should be applied carefully, with a strong awareness of the local context, and that greater efforts must be made in order to integrate other communities, such as local authorities and scientific researchers, into the reciprocal dynamics enabled by the methodology.

After the fall of communist regime in 1989, in Czech countries many art groups appeared (e.g. Luxsus, Bezhlavý jezdec, Kamera Skura, Pode Bal, Guma Guar, Ládví and others). The art group Rafani was founded in 2000 by former students of the Fine arts academy in Prague. From the beginning its activities were focused on artistic reflection of social problems and phenomena, especially of local character (Nazi holocaust and Sudetenland, the rise of ultraright parties, forming and perception of democracy etc.). Rafani are operating at the background of strong theoretical platform and clearly given methodical and fundamental bases. The group is often called as politically engaged and its actions are perceived as controversial. Today is one of the best known and most respected subjects on Czech artistic scene. This thesis describes monografically the ten years' history of the group Rafani. The introductory chapters are focused on the issues of terms political and engaged art, its breef history and progress in world as in Czech art. Based on the theoretical background of the art group Rafani, the thesis illustrates the principles and methods of its work, such as the ideological basements of its actions. It assesses the progress of the themes and artistic media from he art historian way and attemps to...

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The work provides summarized delineation of the development of Serbian theater and drama from 2nd half of the 20th century till now and still defines the bases of contemporary Serbian dramatic works. It describes its characteristics and specifics based on the analysis of specific dramatic works. The emphasis is both on a breakthrough events theatrical of 80's and 90's of the 20th century also on the major dramatic figures of the period of the late 20th century. The work contains a detailed analysis of the three key texts of modern Serbian dramatic literature.

This is the first study to approach, both historically and theoretically, the emergence and development of performance art in Greece from the 1970s to the 2010s. Drawing on an interdisciplinary framework - including feminist theory, philosophy, sociology, art history, and more - the study aims to address an evident gap in histories of contemporary Greek art. The research begins with the emergence of performative artistic practices in the 1970s, in the conditions set out by the seven-year Dictatorship (1967-1974) and follows, selectively, the complex trajectory of these practices while investigating their connection with wider socio-political and economic developments. The thesis should not be read as a survey, despite being the first book-length analysis of Greek performance art in both English and Greek. The material included here has been selective (drawn out of years of field research) and yet presents, and represents, the spectrum of themes and positions making up the history of performance art in Greece. My contention is that the rise and establishment of performance art in Greece reflected both the political ferment of the time (early 1970s) and an enquiry into the possibility of flight from traditional media. The dual aim of this study is, first, to facilitate and encourage the integration of performance art in a revised Greek art history; and, second, to contribute to an expansion of performance art histories in an international context through the negotiation of hitherto unknown material synthesised in a study of adequate length. This thesis has required large-scale in situ research and overcoming the major obstacle of the absence of relevant publicly held archives. This was one reason why even an elementary linear history of performance art had been such an overwhelming task in the past; a second reason is the overall marginalisation of performance art theory in the Greek context. Through the Greek paradigm, the thesis illuminates new aspects not only of performance but also of post-performative participatory practices, engaging new conceptualisations. By identifying fundamental issues in the production, dissemination, and reception of performance art in Greece, I provide a critical analysis not only of its achievements and potential but also of its impasses and failures. My intention in undertaking this research has been to disprove the notion - implied or stated as a matter of fact in histories of contemporary Greek art - that performance art has had only a sporadic and inconsistent presence in this 'periphery' scene. I argue that the artists investigated in this study are conclusively part of the history of performance in the 20th and 21th centuries, thereby setting the terms and calling for further research on the subject.