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We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings. Chapter 3 develops the idea that contingent encounters are rooted in diversely transnational aesthetics of contingency, but also that this art invents new combinations or strategies specifically to exceed iconic visions. It focuses on work that generates contingency by involving local or regional traditions of weaving and ceramics, as Encounters amateurs as artisans themselves.

This chapter also addresses art that engages spectators through recent transnational practices, including interactions characteristic of uses of social media. I show that this work diverges from conventional understandings of chance aesthetics and participatory art.

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I also argue that participatory works exhibited in physical and virtual public spaces, as well as in galleries, blur the boundaries between sites which are conventionally viewed as separate and as associated with either art or activism. your librarian or administrator to recommend adding this book to your organisation's collection.

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Unfortunately you do not have access to this title, please use the Get access link below for information on how to access this content. Art and the Arab Spring. Search within full text. Bookmark added. Go to My to manage bookmarked content. Get access Check if you have access via personal or institutional. Log in Register. Export citation. Summary Chapter 3 develops the idea that contingent encounters are rooted in diversely transnational aesthetics of contingency, but also that this art invents new combinations or strategies specifically to exceed iconic visions.

Recommend this book.

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Siobhan Shilton. Online ISBN: Optional message.

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