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"Due to its potential transformative nature, empathy has increasingly received attention in business, psychology, neuroscience, education, medicine, social sciences and design, to mention only a few. During the last two decades, discussions about the role of empathy in design and creative research and practice have developed, with empathy perceived as a key instrument in human-centred design and design thinking. This book revisits the powerful concept of empathy in the new post-pandemic era in which ubiquitous digitalisation presents challenges to retaining human-centredness when developing products and services. The book presents a practical four-step approach to the challenges presented concerning how organisations can turn from merely feeling empathy with or for people, to actions of empathy and compassion that can be implemented with and by communities. A wide range of organisations and organisational settings can benefit from the presented case studies and research methods. Through them, the book explores how to discover, share and act with empathy and compassion in the new digitally driven post-pandemic era to innovate across a wide range of organisations, including for-profit and not-for-profit businesses and those in the public and third sectors. This edited volume will appeal to global researchers in the fields of product and service design and digital, social innovation, as well those interested in organisational development. The practical, interdisciplinary nature of the book and innovative four-step approach will also appeal to upper-level students"--

In an effort to challenge the ways in which colonial power relations and Eurocentric knowledges are reproduced in participatory research, this book explores whether and how it is possible to use arts-based methods for creating more horizontal and democratic research practices. In discussing both the transformative potential and limitations of arts-based methods, the book asks: What can arts-based methods contribute to decolonising participatory research and its processes and practices? The book takes part in ongoing debates related to the need to decolonise research, and investigates practical contributions of arts-based methods in the practice-led research domain. Further, it discusses the role of artistic research in depth, locating it in a decolonising context. The book will be of interest to scholars working in art history, design, fine arts, service design, social sciences and development studies.

The foundations of academic knowledge production are increasingly questioned and contested from a diversity of perspectives. On the one hand, academic research has suffered from a legitimacy crisis in the so-called post-truth era, which has transformed the meaning of 'truth' and shaken the position of scientific knowledge in society. On the other hand, within academia itself, a wide range of epistemological criticisms stemming from various critical approaches have emerged and are challenging conventional forms of academic knowledge production, along with its ethical premises and value base. Calls for more participatory, horizontal and democratic research practices have become widespread.

This chapter discusses the facilitator's role and methods that would embrace decolonial practices. It is based on service design cases with Indigenous San youth communities in South Africa and Namibia. Further, it discusses the uncertainty of the facilitator's role in dealing with practical challenges in sensitive contexts and in trying to develop decolonising practices that service design facilitators and workshop participants could utilise when working with underserved communities. The chapter is related to larger participatory service design research efforts conducted during the 'Participatory Development with Youth' (PARTY) project (2015-2019), funded by the European Union's Horizon 2020 MSCA RISE programme. Service design processes with the communities sought to build on the creative potential and skills of youth from underserved communities. Participatory service design workshops with South African youth communities in Grabouw, Indigenous San youth in Platfontein and youth communities in Windhoek, Namibia, helped in the development of facilitatory practices. The chapter illustrates how arts-based methods (ABMs) can be used while working with youth in participatory service design workshops and, in turn, help facilitators better understand their own role in sensitising processes when dealing with marginalised communities. The desired impact of the arts-based methods for the youth lies in local empowerment, stakeholder dialogue and increased local democracy.

This article is asking how service design can be used for development and improving livelihoods in the margin? The margin can be geographical but is can also be created around complex wicked problems that have resulted from historical or societal reasons. The article presents two cases studies where the margin is constructed around two different situations. The first case is looking at the arctic context of Lapland where geography causes marginalization and isolation. This case study is connected with "IKÄEHYT" project focusing on designing services with the elderly. The project was run in 14 Lappish communities to increase accessibility, inclusion and wellbeing. The second case is looking at indigenous San communities in South Africa where historical and societal context is creating a challenging situation for the local youth. The second case study is presenting "PARTY" project (Participatory Development) with youth where service design is used to increase the youth participation in open democratic society and in designing their services. The article has a strong social design ethos. The article gives a brief overview on social design debates and uses that as a framework to analyze the case studies. Both case studies contribute to the rethinking of the marginal, how it is constructed and how service design can be used to create new solutions to overcome the challenges.

In October 2016, the Margin to Margin research group carried out two art and storytelling workshops with the Anangu Aboriginal communities of South and Western Australia and the Fibrespace Incorporated textile artist group of South Australia. Women artists and craft-makers from the various communities predominantly participated in two intensive art-making and data collection workshops of less than one week each with an emphasis on narrative processes as service design tools. Challenging roles, such as being single mothers, primary household income generators and family caregivers, became apparent in both groups, whether they were remote or regionally based. The women resorted to art and craft-making as a means to cope with hardship, gain empowerment and improve self-realization. The remotely based Anangu Aboriginal communities face additional challenges as a legacy of Australia's colonial past, resulting in complex political entanglements. The workshops aimed to build empathy with the participants by presenting a platform for dialogue to render audible the stories and artistic processes from outback Australia.

As a response to increasing social tensions, arts-based interventions have been performed in Europe for decades, to address burning issues, strengthen identities and create communities. AMASS projects target similar objectives, so the identification of good practice from the last decade was important to construct a solid foundation for the development of new interventions. With resources and publications included in the information collected, this database provides an authentic knowledge repository for researchers. Using the data, they can identify motivations, philosophies, modes of engagement and impact of arts-based social interventions from a comparative, geographically balanced and multidisciplinary perspective. We invited AMASS partners from seven countries to identify relevant past and ongoing projects and evaluate them in their own sociocultural setting. The research database that we built, consists of 133 standardised project descriptions. Regrettably, not all of the significant interventions had been fully documented by their promoters, so for this deliverable, we selected 10 good practices per country, 70 in all. After a discussion with prospective informants (AMASS partners) about data collection methodology and topics of importance, we employed a survey method through template that included the following themes: 1. Descriptive data of the projects: country of execution, title, website, financing institution and grant type, project co-ordinator and the co-ordinating institution. 2. Project features: time frame, target population (age, educational level or employment type, special needs etc.); developmental objectives (development of attitudes, skills, values, increase of well-being, use therapeutic functions of art, targeted policies and type of civic engagement envisioned, social / cultural inclusion etc.). Descriptions also include the nature of intervention, working arrangements, art forms involved, eventual connection to school / higher education curriculum. 3. Innovative character of the project in addressing societal challenges: methodological innovations, prizes and other recognitions won. 4. Assessment of results: methods and results achieved. 5. Sustainability: one of the most important features of an educational intervention is its survival through followers of innovative methods after the supported project had been finished. For ongoing projects, foreseen sustainability or reasons for unsustainability were described. 6. Publications about the project: research reports in journals, teaching aids and learning tools, and other dissemination material. Our database complements Deliverable 1.3: A comprehensive literature review, a state-of-the-art review of research-relevant material regarding the social impact of the arts in the partner countries of the AMASS project. A detailed analysis of information retrieved from the database is provided in D1.2, Comparative policy analysis and evaluation of artistic projects. This introduction gives a summary of findings and explains how stakeholders who intend to support socially challenged communities may utilise the database in the future. ; peer-reviewed