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Formulation of the problem. Due to the relevance of civic education for young people, in particular high school students, an integrated course of Civic Education was included in the main curriculum. However, there is a problem of lack of a holistic approach, a system of motivation to study the subject, and formal education’s limited resources. There is currently a need to intensify civic education through the involvement of the students in practice. The performance of the course and the level of civic education will increase significantly if it is implemented in addition to formal education, in a non-formal one. The article answers the question of how to make the process of training an active citizen more integral and more efficient. Materials and methods. The experience of Ukrainian public organizations in the implementation of civic education projects through participatory artistic practices is used. The analysis of pedagogical, sociological, and scientific-methodological literature on the education of civic position of youth in the system of formal and non-formal education is applied. Results. The model of participatory artistic practices is described as a modern tool of civic education and civic action in terms of their multi-agent structure, which includes the cooperation of students, educators, artists, school administration, local government representatives, the general community. The methods and approaches to civic education programs are presented. The organizational algorithm of the participatory art practice with elements of civic education is specified. Conclusions. The existing integrated curriculum for Civic Education, implemented in the tenth grade, needs practical support through the field of non-formal education. This possibility is provided by the algorithms of civic education projects through participatory artistic practices that are implemented in extracurricular time. The introduced cases show the high efficiency of such practices in ensuring the civic competencies of young people. Participation in such practices provides students with the formation of cross-cutting competencies, which are revealed through social activity, social responsibility, tolerance, the ability to advocate their thoughts and positions, the ability to interact both horizontally and vertically.

Atès l'increment de les teories participatives, sorprèn que els projectes pioners d'art i tecnologia i de nous mitjans s'hagin exclòs generalment de les principals trajectòries de la història de l'art que han descrit l'emergència de les formes d'art compromeses socialment amb l'espectador. Aquests projectes han tendit a associar-se més amb teories d'interacció que no pas amb la influent teoria de l'estètica relacional de Nicolas Bourriaud. Aquesta separació és indicadora d'una divisòria històrica molt més profunda entre els nous mitjans i l'art contemporani. Analitzant les respostes crítiques a exposicions del final de la dècada del 1960 i el començament de la del 1970, el meu objectiu és identificar els principals criteris utilitzats per a avaluar les col·laboracions entre artistes, enginyers i institucions artístiques. Alguns d'aquests criteris van subratllar la separació contínua entre humanitat i tecnologia, entre contemplació i participació, entre percepció i pensament. Argumento que els intensos desacords respecte al valor dels primers projectes d'art i tecnologia van prefigurar els debats actuals respecte a les implicacions socials dels nous mitjans. Given the rise in participatory theories, it is surprising to note that early art and technology projects and new media have been generally excluded from the major art historical trajectories delineating the emergence of socially engaged forms of art spectatorship. They have been mainly associated with theories of interaction rather than with Nicolas Bourriaud's influential theory of relational aesthetics. This separation is a sign of a much larger historical divide between new media and contemporary art. By analyzing critical responses to exhibitions from the late 1960s and early 1970s, I aim to identify the main criteria employed in the evaluation of collaborations between artists, engineers, and art institutions. Some of these criteria highlighted the persistent separation between humanity and technology, contemplation and participation, perception and thought. I argue that the heated discords over the value of early art and technology projects foreshadowed current debates over the social implications of new media. Dado el incremento de las teorías participativas, sorprende que los proyectos pioneros de arte y tecnología y de nuevos medios se hayan excluido generalmente de las principales trayectorias de la historia del arte que han descrito la emergencia de las formas de arte comprometidas socialmente con el espectador. Estos proyectos han tendido a asociarse con teorías de interacción más que con la influyente teoría de la estética relacional de Nicolas Bourriaud. Esta separación resulta indicativa de una brecha histórica mucho más profunda entre los nuevos medios y el arte contemporáneo. Al analizar las respuestas críticas a exposiciones de finales de la década de 1960 y principios de la de 1970, mi objetivo es identificar los principales criterios empleados para evaluar las colaboraciones entre artistas, ingenieros e instituciones artísticas. Algunos de estos criterios subrayaron la separación continua entre humanidad y tecnología, entre contemplación y participación, entre percepción y pensamiento. Argumento que los intensos desacuerdos respecto al valor de los primeros proyectos de arte y tecnología prefiguraron los debates actuales respecto a las implicaciones sociales de los nuevos medios.