Download Free Publicos En Transformacion Una Vision Interdisciplinar De Las Funciones Experiencias Y Espacios Del Publico Actual De Los Museos Book in PDF and EPUB Free Download. You can read online Publicos En Transformacion Una Vision Interdisciplinar De Las Funciones Experiencias Y Espacios Del Publico Actual De Los Museos and write the review.

Ensayos sobre la experiencia de ver arte en museos: un análisis desde la sociología cultural se estructura entorno a dos trabajos de investigación sobre las dimensiones emocional y social de la experiencia de visitantes de museos de arte. Las investigaciones se centran en el estudio de experiencias individuales antes, durante y después de la visita al museo para poder obtener una visión holística de la experiencia. El estudio aplica el uso de métodos cualitativos con el objeto de interpretar las narrativas de las experiencias reportadas por nuestros informantes y poder ofrecer una explicación de la experiencia museística vivida por los visitantes de museos de arte. El primer artículo — titulado The unforgettable aesthetic experience: the relationship between the originality of artworks and local culture — se enmarca en el área de la sociología cultural y examina el rol de la cultura en la dimensión estética de la experiencia museística. Concretamente, describimos la experiencia de ver obras de arte en los museos y ofrecemos una explicación de la que hemos denominado una "experiencia estética inolvidable", la cuál se caracteriza por su elevada intensidad emocional y duración en el tiempo. Reconocer e interpretar el valor social atribuido a las obras originales (y no a las copias) dependerá de las habilidades del visitante. Esta teoría tiene implicaciones teóricas y metodológicas para la investigación. En el primer caso, porque la idea de que el componente emocional de la experiencia inolvidable está unido al valor de culto asociado con la obra original da soporte a la proposición de que el capital cultural es contextual y/o local. En el segundo, porque estudiar experiencias de gran intensidad emocional implica el análisis de experiencias pasadas y no sólo las ocurridas en el interior del museo, por lo que las investigaciones deben basarse en diseños que permitan producir teorías fundamentadas en los datos y no sólo en estudios de carácter etnográfico. El segundo artículo — titulado Art museum visitors: interaction strategies for sharing experiences — explora la dimensión social de la experiencia museística desde el marco teórico del interaccionismo simbólico. Más específicamente, estudiamos la dimensión social de las experiencias con museos de arte desde una perspectiva temporal holística que cubre los períodos referentes al antes, durante y después de la visita. Los resultados sugieren que la dimensión social se distribuye a lo largo de los tres períodos de la experiencia museística, con independencia de si el individuo asiste solo o acompañado. Teóricamente esto implica que ir solo o acompañado al museo debe tratarse como una estrategia temporal de visita y no como una categoría universal. La estrategia del visitante dependerá de la facilidad o dificultad para encontrar un acompañante adecuado. Metodológicamente significa que estudiar lo únicamente ocurrido en el museo puede llevar a interpretaciones sesgadas y, por tanto, es necesario estudiar la experiencia de forma holística, atendiendo también al antes y después de la visita.
"Collection of articles on academic feminism, gender relations and history in the Basque Country"--Provided by publisher.
Based on twenty case studies of universities worldwide, and on a survey administered to leaders in 101 universities, this open access book shows that, amidst the significant challenges caused by the COVID-19 pandemic, universities found ways to engage with schools to support them in sustaining educational opportunity. In doing so, they generated considerable innovation, which reinforced the integration of the research and outreach functions of the university. The evidence suggests that universities are indeed open systems, in interaction with their environment, able to discover changes that can influence them and to change in response to those changes. They are also able, in the success of their efforts to mitigate the educational impact of the pandemic, to create better futures, as the result of the innovations they can generate. This challenges the view of universities as "ivory towers" being isolated from the surrounding environment and detached from local problems. As they reached out to schools, universities not only generated clear and valuable innovations to sustain educational opportunity and to improve it, this process also contributed to transform internal university processes in ways that enhanced their own ability to deliver on the third mission of outreach
Since its inception, anthropology's authority has been based on the assumption that it is a unified discipline emanating from the West. In an age of heightened globalization, anthropologists have failed to discuss consistently the current status of their practice and its mutations across the globe. World Anthropologies is the first book to provoke this conversation from various regions of the world in order to assess the diversity of relations between regional or national anthropologies and a contested, power-laden Western discourse. Can a planetary anthropology cope with both the 'provincial cosmopolitanism' of alternative anthropologies and the 'metropolitan provincialism' of hegemonic schools? How might the resulting 'world anthropologies' challenge the current panorama in which certain allegedly national anthropological traditions have more paradigmatic weight - and hence more power - than others? Critically examining the international dissemination of anthropology within and across national power fields, contributors address these questions and provide the outline for a veritable world anthropologies project.
Analyzes the evolution of contemporary art in Chile from 1973 to 2007. This edition reproduces more than 500 color images of works by 74 contemporary artists (selected by editor Mosquera) including names such as: Juan Downey, Carlos Arias, (Santiago, Chile, 1964); Juan Castillo, (Antofagasta, 1952); Eugenio Dittborn, (Santiago, Chile, 1943); Paz Errzuriz, (Santiago, Chile, 1944); Volupsa Jarpa, (Rancagua, 1971); Carlos Leppe, (Santiago, Chile, 1952); and Carolina Ruff, (Santiago, Chile, 1973), as well as younger generation artists. The artists are presented in alphabetical order with brief introductory texts. Each reproduced work is rigorously documented with a caption that, in addition to providing the technical data offers the reader a description of the work for better comprehension. Six essays by noted critics and art historians: Guillermo Machuca, Mar̕a Berr̕os, Justo Pastor Mellado, Catalina Mena, Nelly Richard y Adriana V̀lads (description provided by vendor).
Architecture as imprint, as brand, as the new media of transformation—of places, communities, corporations, and people. In the twenty-first century, we must learn to look at cities not as skylines but as brandscapes and at buildings not as objects but as advertisements and destinations. In the experience economy, experience itself has become the product: we're no longer consuming objects but sensations, even lifestyles. In the new environment of brandscapes, buildings are not about where we work and live but who we imagine ourselves to be. In Brandscapes, Anna Klingmann looks critically at the controversial practice of branding by examining its benefits, and considering the damage it may do. Klingmann argues that architecture can use the concepts and methods of branding—not as a quick-and-easy selling tool for architects but as a strategic tool for economic and cultural transformation. Branding in architecture means the expression of identity, whether of an enterprise or a city; New York, Bilbao, and Shanghai have used architecture to enhance their images, generate economic growth, and elevate their positions in the global village. Klingmann looks at different kinds of brandscaping today, from Disneyland, Las Vegas, and Times Square—prototypes and case studies in branding—to Prada's superstar-architect-designed shopping epicenters and the banalities of Niketown. But beyond outlining the status quo, Klingmann also alerts us to the dangers of brandscapes. By favoring the creation of signature buildings over more comprehensive urban interventions and by severing their identity from the complexity of the social fabric, Klingmann argues, today's brandscapes have, in many cases, resulted in a culture of the copy. As experiences become more and more commodified, and the global landscape progressively more homogenized, it falls to architects to infuse an ever more aseptic landscape with meaningful transformations. How can architects use branding as a means to differentiate places from the inside out—and not, as current development practices seem to dictate, from the outside in? When architecture brings together ecology, economics, and social well-being to help people and places regain self-sufficiency, writes Klingmann, it can be a catalyst for cultural and economic transformation.
The Icon Project argues that the transnational capitalist class mobilizes two forms of iconic architecture--unique icons recognized as works of art, notably designed by global starchitects (such as Frank Gehry and Zaha Hadid); and typical icons copying elements of unique icons--to promote the same ideological message: the culture-ideology of consumerism.
From the Holocaust in Europe to the military dictatorships of Latin America to the enduring violence of settler colonialism around the world, genocide has been a defining experience of far too many societies. In many cases, the damaging legacies of genocide lead to continued violence and social divisions for decades. In others, however, creative responses to this identity-based violence emerge from the grassroots, contributing to widespread social and political transformation. Resonant Violence explores both the enduring impacts of genocidal violence and the varied ways in which states and grassroots collectives respond to and transform this violence through memory practices and grassroots activism. By calling upon lessons from Germany, Poland, Argentina, and the Indigenous United States, Resonant Violence demonstrates how ordinary individuals come together to engage with a violent past to pave the way for a less violent future.