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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.

Atentando aos estudos em torno da relação entre os conceitos de arte e participação no campo cultural, a presente dissertação propõe uma análise de como indivíduos de diferentes gerações refletem sobre sua experiência em práticas artísticas participativas. Para estudar o fenómeno é utilizado o projeto "Meio no Meio" como estudo de caso. Este projeto, promovido pela Artemrede, decorreu entre 2019 e 2021 e envolveu participantes de diferentes idades e concelhos de Lisboa e Vale do Tejo em ações de formação e produção artística. São analisadas as dimensões individual e geracional nas práticas artísticas participativas através de métodos de pesquisa sociológica, como observação participante e entrevistas semiestruturadas. O objetivo é entender como pessoas de diferentes idades refletem sobre si mesmas a partir da experiência de participar no projeto "Meio no Meio". Given the studies around the relationship between art and participation in the cultural field, the present dissertation proposes an analysis of how individuals from different generations reflect on their experience in participatory art practices. To study the phenomenon is used "Meio no Meio" project as a case study. This project, promoted by Artemrede, took place between 2019 and 2021 and involved participants of different ages and municipalities of Lisbon and Vale do Tejo in training and artistic production initiatives. Are analyzed the individual and generational dimensions in participatory art practices through sociological research methods, such as participant observation and semi-structured interviews. The goal is to understand how people of different ages reflect on themselves from the experience of participating in the "Meio no Meio" project.

De positie van kunst en kunstenaars in de westerse samenleving is de afgelopen decennia sterk veranderd. Veel kunstenaars voelen zich maatschappelijk betrokken en zoeken naar aansluiting bij de samenleving. Participatieve kunstpraktijken zijn daarvan een goed voorbeeld. Bij deze kunstvorm werken kunstenaars samen met burgers in hun eigen leefomgeving. De kunstpraktijken zijn gericht op maatschappelijke vraagstukken. Burgers worden met inzet van verbeeldingskracht geactiveerd om te reflecteren op hun eigen situatie en zo tot een andere visie te komen. Het werkterrein van de participatieve kunstenaar wordt daarmee van atelier, theater of concertzaal naar de samenleving verplaatst. Participatieve kunstpraktijken zijn zowel sociaal-maatschappelijk als kunst gericht. Door deze nieuwe manier van werken komt de kunstwereld en de kunstenaar in een ander daglicht te staan. Om deze veranderingen nader te kunnen vaststellen, zijn vijf participatieve kunstpraktijken in de Randstad onderzocht. Uit het onderzoek blijkt dat ook de artistieke identiteit van de kunstenaar van invloed is op de inhoud en vorm van de kunstpraktijk. Sommige kunstenaars zijn gericht op het kunstwerk als eindresultaat. Anderen vinden het sociale proces van de deelnemers belangrijker. Ook de invulling van de deelnemersparticipatie blijkt daarmee samen te hangen. Participatieve kunstenaars vervullen een nieuwe rol in de samenleving,namelijk die van netwerkkunstenaar.

Hoy en día el concepto de “tecnología” se identifica de manera naturalizada con las tecnologías duras (aquellas que desde las ciencias físicas y naturales se ocupan de aspectos tangibles de la realidad) dejando de lado las tecnologías blandas (entroncadas con las ciencias humanas y sociales, y que atienden a aspectos más intangibles). Dentro de las segundas estarían las tecnologías relacionales que son mecánicas que estructuran nuestras relaciones sociales. Conseguir entenderlas y utilizarlas de manera empoderada desde las artes, facilitaría que las creaciones artísticas generaran interacciones más relevantes en la sociedad y que los artistas aportaran visiones y maneras de proceder alternativas dentro del magma social de poderes intangibles en el que nos movemos. Este artículo define qué son las tecnologías blandas, sitúa en ellas las tecnologías relacionales (en su tres vertientes comportamental, comunicacional y organizacional) y extrae las mecánicas y estrategias que operan en cinco proyectos artísticos participativos concretos, mecánicas con las que ir construyendo una caja de herramientas relacionales que poder utilizar en proyectos artísticos de manera sofisticada y en un equilibrio de fuerzas más acorde a cómo operan estas tecnologías sobre nosotras. Nowadays the concept of "technology" is identified in a naturalized way with hard-technologies (those coming from the knowledge of the physical and natural sciences that take on tangible aspects of reality), leaving aside soft-technologies (related to the human and social sciences, and that deal with more intangible aspects). Relational technologies would be inside the second ones, which are mechanics that structure our social relations. Getting to understand and use them in the art field in an empowered way, would facilitate that artistic creations generating more relevant interactions in society and that artists would contribute with visions and alternative ways of living inside the social magma of intangible powers we move in. This article defines soft-technologies, locates relational technologies inside them (with their three typologies: behavioural, communicational and organizational technologies), and extracts the mechanics and strategies that operate in five concrete participatory art projects, for getting to construct a tool-kit of relational tools feasible to use in artistic projects in a sophisticated way and in an equilibrium of forces more in accordance with how these technologies operate upon ourselves.

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.