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La ciencia es una actividad compleja y muy diversa que involucra a millones de personas y que tiene impacto en la manera en que pensamos, en que toman decisiones los gobiernos y en que vivimos. Este texto trata de responder por qué la sociedad dedica esfuerzos en investigación científica, cómo se investiga, quién lo hace y dónde se hace. Intenta describir la evolución de la ciencia en la historia, las funciones múltiples que cumple en nuestras sociedades y cuál es su funcionamiento interno. La ciencia actual es un mundo complejo, con normas estrictas que son las que le dan credibilidad ante la sociedad, pero está sufriendo una gran trasformación por efecto de su misma influencia en la propia sociedad actual a causa de la globalización y de la digitalización de sus actividades. Todo ello no deja de plantear conflictos y de desvelar debilidades, inherentes a toda obra humana. A lo largo del libro se presentarán temáticas que son objeto de debates entre especialistas.
This edition contains 27 articles, written by scholars and film makers who are generally acknowledged as the international authorities in the filed. The book covers ethnographic filming and its relations to the cinema and television; applications of filming to anthropological research, the uses of still photography, archives, and videotape; subdisciplinary applications in ethnography, archeology, bio-anthropology, museology and ethnohistory; and overcoming the funding problems of film production.
"Worth had courage and originality enough not to take pictures for granted, but thought and struggled with some of the most difficult problems that cinematographers (and researchers in visual media) are faced with."—Edward T. Hall One of the central figures in the development of the study of visual communication, Sol Worth (1922-1977) was a filmmaker and painter before he turned to academic pursuits. He began with the question of how film could be understood and studied as a medium of communication and from there he moved on to the larger and more profound questions about the nature of visual media in general and the role that visual images play in shaping and constructing reality. Worth's pioneering work with Navajo filmmakers broadened our understanding of visual perception and communication even as it presented anthropologists with a means to achieve one of their most cherished goals: somehow to see the world through the eyes of their informants. The papers in this volume trace the development of Worth's thinking and research as he outlined the problems and issues that must be faced in the study of visual communication. He went further than anyone else in setting the intellectual agenda for the field, drawing upon such diverse disciplines as anthropology, sociology, psychology, linguistics, and semiotics. His broader interests are reflected in several papers that apply to problems and concerns of a more practical nature. Among them is Worth's innovative paper on the use of film in education. Worth's contributions to the serious task of understanding the role and potential of visual media and visual communication extend far beyond the intellectual realms of theory and speculation. Indeed, they speak clearly to issues facing all of us in a world that is so much shaped by visual communication.
This work examines the reasons why anthropologists have not used the camera as a research instrument or film as a means of communicating ethnographic knowledge. It suggests that images and words in this discipline operate on different logical levels; that they are hierarchically related; that whereas writings may encompass the images produced by film, the inverse of this cannot be true. The author argues for this position further by suggesting that the visual is to the written mode as "thin description" (giving a record of the form of behaviour) is to "thick description" (giving an account of meaning).
A key collection of essays that looks at the specific issues related to the documentary form. Questions addressed include `What is documentary?' and `How fictional is nonfiction?'
Like Conrad's Marlow, whose tale of journeying into the "heart of darkness" gives us as much insight into one man's personality as it does into the mysteries of the dark world he explored, so the anthropologist's record of another culture contains more than objective, scientific data about his investigation. Embedded within it are clues to the "personality" of anthropology itself: the attitudes, approaches, even prejudices that at any given stage in history are inextricable from the ideology of the anthropologist. Therefore, the mirror he holds up to show us another culture can never be a perfect one. His own professional attitude toward his subject, as well as his choice of medium, are factors that create "cracks" in the mirror of anthropology through which we believe we view the life of other cultures. Hence, the concept of "reflexivity" and the striving to recognize how it warps in the portrayal of anthropological truth lie at the core of the twelve finely wrought essays collected in this volume. Wide ranging in geography as well as viewpoint, they highlight various methods and media (film, ethnography, text) through which an anthropologist chooses to portray a culture, and the various forms, such as art, theater, and ritual, through which a culture portrays itself. Recognizing the link between these two processes provides the key to cultural and methodological self awareness. Reflexivity is defined and clarified in the introduction and in three of the essays, and the remaining nine essays evince the principle through fieldwork and startling case studies. Essays by Jay Ruby and Eric Michaels shed new light on the enormous potential of film and video, showing how a form generally thought to be "nonscientific" can in fact give fresh insight into the scientific premises underlying the discipline's methodology. Essays by Barbara Babcock and Carol Ann Parssinen focus on the novel and ethnography, examining existing works. Anthropologists, as well as students of film, art, and theater, will find that this intriguing work begins to redefine traditional distinctions between science and the arts and brings to light fresh resources that are utilized in the search for anthropological truth. Contributors: Richard Schechner, Victor Turner, Barbara Myerhoff, Jay Ruby, Eric Michaels, Dennis Tedlock, George Marcus, Paul Rabinow, Barbara Babcock, Carol Ann Parssinen, and Dan Rose.