{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":2,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":45,"n_cols":5,"rows_kept":45,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[3,2,3,3],[4,2,4,3],[6,2,6,3],[7,2,7,3],[8,2,8,3],[11,2,11,3],[11,4,11,5],[12,2,12,3],[12,4,12,5],[13,2,13,3],[14,4,14,5],[15,2,15,3],[16,2,16,3],[17,2,17,3],[18,2,18,3],[19,2,19,3],[20,2,20,3],[21,2,21,3],[35,2,35,3],[36,2,36,3],[39,2,39,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910894630603321"]
[null,null,"Titolo",null,"CU : Chemie, Uni Hamburg ; die Mitarbeiterzeitung"]
[null,null,"Pubbl/distr/stampa",null,"Hamburg, 2006-"]
[null,null,"Descrizione fisica",null,"Online-Ressource"]
[null,null,"Disciplina",null,"540"]
[{"$nulls":4},"360"]
[null,null,"Soggetti",null,"Zeitschrift"]
[null,null,"Lingua di pubblicazione",null,"Tedesco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Periodico"]
[null,null,null,"Note generali","Gesehen am 13.10.20"]
[null,"2.","Record Nr.",null,"UNINA9911046694703321"]
[null,null,"Autore",null,"Kok Annemarie <p>Annemarie Kok, Rijksuniversiteit Groningen, Niederlande </p>"]
[null,null,"Titolo"]
[{"$nulls":4},"Pioneering Participatory Art Practices : Tracing Actors, Associations and Interactions across the Long Sixties / Annemarie Kok"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld, : transcript Verlag, 2024"]
[null,null,"ISBN",null,"3-8394-7219-9"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (485 pages)"]
[null,null,"Collana",null,"Image"]
[null,null,"Disciplina",null,"700.28"]
[null,null,"Soggetti",null,"Participatory Art"]
[{"$nulls":4},"John Dugger"]
[{"$nulls":4},"David Medalla"]
[{"$nulls":4},"Piotr Kowalski"]
[{"$nulls":4},"Telewissen"]
[{"$nulls":4},"Documenta 5"]
[{"$nulls":4},"Long Sixties"]
[{"$nulls":4},"Europe"]
[{"$nulls":4},"Art"]
[{"$nulls":4},"Cultural History"]
[{"$nulls":4},"Art History of the 20th Century"]
[{"$nulls":4},"Art History"]
[{"$nulls":4},"Sociology of Culture"]
[{"$nulls":4},"Fine Arts"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Nota di bibliografia","Includes bibliographical references."]
[null,null,"Nota di contenuto",null,"Cover -- Contents -- Acknowledgements -- 1 Introduction -- 1.1 Nothing new under the sun -- 1.2 Three cases of participatory art -- 1.3 Research questions and aims -- 1.4 Structure of the book -- 2 It is all about co‑creation. Where the history of participatory art and ANT link up -- A Tracing participatory art -- 2.1 An 'open' definition of participatory art -- 2.2 A genealogy of participatory art -- 2.3 The swinging sixties -- 2.4 Mapping the field of research -- 2.5 Participation and the notions of freedom and control: a theoretical perspective -- Participation as a tool for liberation -- Ladders of participation -- Participation as a tool for control -- The interplay of freedom and control -- From theory to practice -- B Tracing "]
[{"$nulls":4},"associations -- 2.6 Thinking with actor‐network theory -- 2.7 The journey of ANT -- 2.8 ANT and the study of art -- 2.9 Three steps towards a 'risky account' of participatory art -- Choose a starting point -- Following actors -- Writing a report -- 2.10 The challenges and limitations of the ANT toolbox -- 2.11 In conclusion -- 3 Participation at documenta 5. Illusions, plans and reality -- 3.1 A fifth documenta and the appointment of Szeemann -- Early conversations and clashes -- Szeemann's reputation -- Szeemann's request for freedom -- 3.2 The first concept plan -- The 100‐Day Event -- The idea of participation in the first concept plan for d5 -- The material event‐structure designed by Archigram -- The Street -- Playful and activating exhibition models -- A heavenly Jerusalem -- 3.3 The situation in the autumn of 1970 -- 3.4 The second concept plan -- Reality check -- The executive team and the association between Bode and Szeemann -- Echoes of the first concept plan -- A section devoted to participation and play -- Eight artists and their participatory works -- The Parisian art scene."]
[{"$nulls":4},"Additional plans for three other sections at the Friedrichsplatz -- Participation in connection to the second concept plan for d5 -- \"Opfer des Rotstifts\" -- The constraints of official positions -- 3.5 Participatory art at d5 -- 3.6 In conclusion -- 4 \"Please take off your shoes\". In and around Dugger and Medalla's People's Participation Pavillion -- 4.1 A pavilion in the garden -- 4.2 Two comrades -- 4.3 Harald Szeemann and the invitation to participate in d5 -- 4.4 The d5 catalogue -- 4.5 Communism and \"participatory Maoism\" -- Growing politicisation -- Orientation towards China and Mao -- A communist pavilion -- \"[Y]ou can't make revolution unless you are in it\" -- Rectification -- 4.6 Artists Liberation Front -- 4.7 Popa at Moma -- 4.8 \"The 'Random' show\" -- 4.9 Kinetic connections -- 4.10 The Exploding Galaxy -- 4.11 Eastern philosophy and art -- 4.12 Travel -- 4.13 The institutional framework -- 4.14 In conclusion -- 5 Enlightening. Piotr Kowalski's participatory tools for the people -- 5.1 Carrying light in Kassel -- 5.2 Fluorescent tubes in Paris, Amsterdam and Stockholm -- 5.3 A family of manipulators -- 5.4 The art scene in Paris in the long sixties -- 5.5 Science for the people -- From science, via architecture, to the visual arts -- Bridging art and science -- The viewer as experimenter -- 5.6 Learning by doing -- 5.7 Instruments in Florence -- 5.8 Energy and matter -- 5.9 Cybernetic principles -- 5.10 Making art burst -- 5.11 The spirit of 1968 -- 5.12 Fieldwork -- 5.13 In conclusion -- 6 Make your own 'television'. On tour with the telewissen video bus -- 6.1 A red van in front of the Museum Fridericianum -- 6.2 A five‐day film programme -- 6.3 A new participatory medium -- 6.4 The telewissen network -- 6.5 From viewing and presenting yourself, to sharing your opinion, to producing your own video: a trajectory of participation."]
[{"$nulls":4},"A magic mirror in Darmstadt -- Public debate in Kassel -- DIY TV -- 6.6 Alternative media practice and theory -- 6.7 American media 'freaks' -- 6.8 Experimental music in Darmstadt -- 6.9 Do it yourself! -- 6.10 Hippies and Yippies -- 6.11 Pedagogy and education -- 6.12 The art world -- 6.13 In conclusion -- 7 Concluding remarks -- Bibliography."]
[null,null,null,"Sommario/riassunto","Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by "]
[{"$nulls":4},"John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972)."]