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Ethnografische Perspektiven auf Genesungsbegleitung
Professionalität, Körperlichkeit und Anerkennung in brasilianischen Waxing Studios Berlins
Gespräche zur Ethnografie, Primatografie und Reiseliteratur

276 TRANSFERRED THE HOURGLASS PRINCIPLE The artistic process as innovation pool Here the essence of artistic processes is concentrated. Workshops are conceived on the basis of each of the recognizable artistic strategies. - Non-linear problem-solving - Efficiency through detours - Guerrilla skills - Spontaneous professionalism - Improvisation skills - Authentic positioning - Visual thinking: negotiating complexity - Participation skills Individual workshops could be dedicated to different exercises/formats, depending on goals and participants. 277 artistic

found in large numbers in the arts, since this is a sector that moves on the edge of tradi­ tional professionalism by taking in alternative (non­monetary) forms of value­added production and questioning conventional socio­economic roles and objectives (VOSSE/HASELBACH 2012: 145). 1 The concept of social innovation used in this article is that of a sum of creative ideas and drivers that aim to change, update and improve interaction in society. Those changes can refer to schemes of social participation, production, dissemination and learning as they appear in

Fotojournalisten die Berichterstattung übernahmen. Die finnische Medienwissenschaftlerin Jenni Mäenpää zeigte 2014 in ihrem Aufsatz »Rethinking Photojournalism. The Changing Work Practices and Professionalism of Photojournalists in the Di- gital Age«, veröffentlicht in »Nordicom Review«, dass es zu lange dauert, bis Profifotografen vor Ort sind: Diese berichten in der Regel über die Folgen von Katastrophen und weniger unmittelbar über das Ereignis. Administratoren oder Nicht-Regierungsorganisationen sammeln in Flickr- Fotopools Aufnahmen zu bestimmten Ereignissen

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gratitude to all those who assisted us in copy editing, especially Sandrine Gukelberger and Mary Kenney. Karin Werner, Roswitha Gost and our project manager Alexander Masch at Transcript believed in this project from the very beginning and guided us with great professionalism and friendship.

. It worked to a large extent in Australia. But it also revealed the challenges of closed intellectualism and professionalism of the museum leaders. As part of the process, I convened two national symposia with senior museum leaders, directors, and curators. A two-day event entitled Issues in Multicultural Heritage Management focussed on diversifying collec- tions; developing collaborative exhibitions and educational programs; and the praxis of community engagement. However, Australia did not have a national museums policy at that time. So, a third day was con

intensely with the artworks afterwards and discovered aspects that had gone unnoticed earlier, beforehand they had not really been able to access the work”). They appreciate the interest companies show in the arts and the way the managers and employees became in- volved in the process, understanding the arts and the artists as such and not simply as decoration. (“The company was really interested in art and the works hung for two months in the office space. A catalogue was also prepared for the exhibition.” “The level of professionalism and that my work was

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different working and communication styles entail and confronted authors with various degrees of annoying editorial interference. This book is indeed the result of the patience, intercultural tolerance, and scientific professionalism of all contributors to this volume. It is the product of an international collabo- rative knowledge production process and of the manifold abilities inter- national collaboration requires from everybody. In fact, the history of this joint venture would easily provide scientific material for another book. After all is now done we would