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In 2014, the city of São Paulo began to implement the public policy “WiFi Livre SP.” This policy created the infrastructure for a WiFi network providing unrestricted internet connectivity in a 120 public squares, distributed in 5 geographical regions of the city (center, south, north, east, and west). In order to monitor the effectiveness of this public policy, a series of surveys were administered to users. The survey ascertained their views about the quality and frequency of the signal in the public squares.

To carry out analysis of this service a survey was used. The researchers camped out in the squares and flagged people down asking whether they could participate in the survey. Data was collected between August and October 2015, using an application for tablets developed by the research team.

The data showed that the networks functioned effectively and provided good service to the users. Another positive factor is the good signal evaluation in the public squares, since it was an initial concern of the project makers. Further, access to these networks made it possible for residents to use several platforms to communicate in an intensive fashion.

The findings show that a connectivity policy should be geared toward promoting the right of all citizens to access the internet regardless of their ability to pay. Free and full access without any sacrifices of privacy should be guiding principles in policy implementation.

This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada n^º 5.

This work aims to identify the characteristics of the coproduction of the common good, or public services, from the models of public administration found in projects awarded by the United Nations, specifically in the 2014 United Nations Public Service Award (UNPSA) category of “encouraging participation in public policy decisions through innovative mechanisms.” This multicase documentary analysis uses a typology of coproduction adapted from Salm and Menegasso (2010), which integrates several typologies of public participation. The revised typology includes five models of coproduction – community-led coproduction, state-led coproduction, self-interested coproduction, symbolic coproduction, and manipulative coproduction. The typology is used in the analysis of two United Nations award-winning projects in 2014: a community participation project for the effective management of malaria at Tha Song Yang in Thailand and the Intercouncil Forum in Brazil. This first case displays a preponderance of the self-interested coproduction ideal type, due to its focus on efficiency and delivery effectiveness of the service. The second case displays a preponderance of the symbolic coproduction ideal type due to its use of consultation practices to give the impression that there is direct participation in the decision-making, without substantive effect on the outcomes. Based on this analysis, recommendations are made for revising the criteria used by the UNPSA to ensure that projects with similar participation to those in the state-led and community-led coproduction models are awarded in the future.