Réinventer la pédagogie des opprimé·e·x·s pour développer une approche dialogique de l’art contemporain

Au-delà de la réception bien documentée de l’œuvre de Paulo Freire dans les champs des pédagogies émancipatrices, de l’alphabétisation ou encore des sciences de l’éducation, ses textes ont également connu un destin élargi dans le domaine de l’art – dans les processus de production artistique, l’éducation à l’art et/ou par l’art. Ce texte propose de revenir sur le projet « Réinventer la pédagogie des opprimé·e·x·s pour favoriser la participation culturelle dans les institutions d’art contemporain suisses (janvier 2021-janvier 2023) » (RPO). Cette réinvention a consisté en une relecture de Freire entre les membres de notre équipe de recherche, quatre collectifs ou associations dans quatre institutions artistiques en Suisse francophone, en vue de réengager sa pensée dans un projet d’émancipation. Les quatre groupes ayant collaboré au projet se distinguent par les formes d’engagement et leur taille. Les quatre institutions d’art contemporain se distinguent elles aussi par leur dimension, leur ancrage géographique et leurs modalités de gestion. Projet à géométrie variable, cette expérience révèle différentes inflexions des inédits possibles ouverts par la pensée de Paulo Freire, chaque projet soulignant en effet un point saillant de l’expérience d’émancipation.Para além de receção bem documentada de Paulo Freire no horizonte das pedagogias emancipatórias, da alfabetização e das ciências da educação, os seus textos tiveram um destino alargado no campo da arte – nos processos de produção artística, educação artística e/ou através da arte. Este texto propões revisitar o projeto “Reinventar a pedagogia para os oprimidos para promover a participação cultural nas instituições de arte contemporânea suíças (janeiro de 2021 a janeiro de 2023)” (RPO). Esta reinvenção consistiu numa reinterpretação de Freire entre os membros da nossa equipa de pesquisa, quatro coletivos ou associações em quatro instituições artísticas na Suíça francófona, com o objetivo de reenquadrar o seu pensamento num projeto de emancipação. Os quatro grupos que colaboraram no projeto distinguem-se pelas formas de compromisso e pelo tamanho. As quatro instituições de arte contemporânea também se destacam pela sua dimensão, localização geográfica e modalidades de gestão. Projeto de geometria variável, esta experiência revela diferente inflexões das possibilidades inéditas abertas pelo pensamento de Freire, sendo que cada projeto destaca um ponto saliente da experiência de emancipação.Beyond the well-documented reception of Paolo Freire’s work in the realm of emancipatory pedagogies, literacy, and education sciences, his texts have also found an expanded destiny in the field of art – within processes of artistic production, art education, and/or through art itself. This text aims to revisit the project “Reinventing the Pedagogy of the Oppressed to Foster Cultural Participation in Swiss Contemporary Art Institutions (January 2021-January 2023)” (RPO). This reinvention consisted of a reinterpretation of Freire among the members of our research team, four collectives or associations in four artistic institutions in French-speaking Switzerland, with the aim of reengaging his ideas in a project of emancipation. The four groups that collaborated on the project are distinguished by their forms of commitment and their size. The four contemporary art institutions also distinguish themselves by their size, geographic location, and management methods. A project with variable geometry, this experience reveals different inflections of the possible innovations opened up by Freire’s work, with each highlighting a salient point of the emancipation experience

Public Health Rep

The goal of this study was to evaluate temporal and spatial variations in the reporting of cases of giardiasis and cryptosporidiosis to a passive surveillance system, and to assess the relationship of those variations to source of drinking water, adjusting for socioeconomic variables.|The authors analyzed temporal and spatial patterns for 4,058 cases of giardiasis and 230 cases of cryptosporidiosis reported to the Massachusetts Department of Public Health for 1993-1996. They linked each reported case to a database containing information on source of residential water supply and socioeconomic characteristics and evaluated the association between these factors and reporting rates using regression techniques.|Reports of giardiasis and cryptosporidiosis were highest for the mixed unfiltered drinking water supply category. Reports of giardiasis were associated with income levels. Increases in reporting for both giardiasis and cryptosporidiosis were seen in summer to early fall. During a suspected outbreak of cryptosporidiosis n the city of Worcester in 1995, a significant increase in reported cases was also observed in the Boston metropolitan area. Following the suspected outbreak, weekly giardiasis rates increased slightly in Worcester and the Boston metropolitan area, while reporting of cryptosporidiosis increased dramatically.|Consistently collected passive surveillance data have the potential to provide valuable information on the temporal variation of disease incidence as well as geographic factors. However, passive surveillance data, particularly in the initial period of surveillance, may be highly sensitive to patterns of diagnosis and reporting and should be interpreted with caution.R01 AI 43415/AI/NIAID NIH HHS/United StatesU50/CCU116566/PHS HHS/United States11236016PMCnul

Ambiguïtés de la « ville créative »:néolibéralisation, condition urbaine et puissances politiques de l'art

Art and culture have a renewed role in the contemporary city. Theories relative to the creative class, the creative economy and the creative city are both descriptive and prescriptive; they focus on the role of culture in the urban production process and, as operational programs, prescribe the integration and incorporation of artistic and cultural projects into urban development. The emergence and adoption of these theories by public authorities follows the evacuation of numerous squats and marks an inflection in Geneva: the end of a series of political and counter-culture struggles opened between 1998 and 2007 and the beginning of a double phenomenon of repression and promotion of a horizon of (new) counter-cultural practices. In this light the âcreativeâ city is like a distillation of the ideology that underlies the urban and cultural policies in and of the creative city. In this PhD Dissertation we will look at how the theories of this creative capitalism incorporate artistic and cultural practices into the neo-liberalization process currently underway. While citiesâ role in neo-liberalism is often cited, the creative economyâs integration of art and culture is unprecedented. This integration is nonetheless ambiguous: though art participates in both the urban production process and, more transitively, processes of neo-liberalization, it is nonetheless the breeding ground of criticism in action and urban struggles. This paper identifies the shifting of lines established by artâs role in the urban production process. It aims to show that this âcaptureâ redefines that classic contradictions between institutional art and emerging art. Several studies on the spatializing of art in Geneva (art districts, museums, workshops, demonstrations and street art) will serve as case studies for exploring these ambiguities. Our investigation isbased on direct and participatory observation, interviews and the analysis of archives, and helps us to better understand the urban condition of art in the era of late capitalism