Suchergebnisse

A exposição de arte contemporânea, desde o seu aparecimento no contexto museológico e curatorial, tem sofrido diversas alterações de carácter social, político e económico, influenciadas pelo período histórico e artístico onde se inserem. A figura do curador, igualmente em constante transformação, tem vindo a assumir um papel de mediador que estabelece e fortalece as relações entre os artistas, o público, os profissionais dos museus e outras instituições culturais. Recentemente, este conjunto de mudanças contribuiu para um diluir de fronteiras institucionais entre profissões, departamentos e disciplinas, que resultou na elaboração de projectos curatoriais baseados no trabalho colaborativo e em rede. É enquanto efeito destas inovações que a presente dissertação pretende estudar a exposição como produção de conhecimento. A análise dos projectos Academy (2004-2006), The New Model: An Inquiry (2011-2015) e Under the Clouds: From Paranoia to the Digital Sublime (2015), que tiveram lugar no contexto europeu dos últimos quinze anos, é o ponto de partida para uma reflexão sobre a exposição e a dimensão curatorial enquanto instrumentos de comunicação, colaboração e mediação. ; The exhibition of contemporary art, since its emergence within the museological and curatorial context, has experienced social, political and economic changes influenced by the historical and artistic in which they are inserted. The figure of the curator, equally in constant transformation, has come to play a mediating role that establishes and reinforces the relationships between artists, audience, museum professionals and other cultural institutions. Recently, this set of changes contributed to the dilution of institutional boundaries between professions, departments and subjects, which resulted in the elaboration of curatorial projects based on collaboration and networking. It is as an effect of these innovations that the present dissertation intends to study the exhibition as knowledge production. The analysis of the curatorial projects Academy (2004-2006), The New Model: An Inquiry (2011-2015) and Under the Clouds: From Paranoia to the Digital Sublime (2015), which took place in the European context of the last fifteen years, is the starting point for the study of the exhibition and the curatorial as instruments of communication, collaboration and mediation

In the article we look at relational processes of engagement, negotiation and articulation of digital heritage knowledge production. By looking at creative reuse and remix of digital cultural heritage we focus on how those processes manifest at the intersection of established cultural institutions and people outside of these institutions. Two experimental arrangements are described that seek to understand how Human-Computer Interaction and design interventions might contribute to new forms of heritage knowledge production and collective memory-making by mobilizing infrastructuring interventions to question knowledge production, politics and ownership. We conclude by proposing that HCI can contribute to infrastructuring for collective knowledge production by supporting arrangements that open access to digital cultural heritage, open heritage knowledge and its practices, and reimagine authorship and ownership of contributions to heritage.

This is an article about the struggle for control of knowledge in a divided society. It starts off by describing Belgium as a consociational democracy — that is, a society organized around integrated pillars of society (Catholic, secular), each of which provides a wide range of services (educational, training, health, health insurance, social care, family planning, leisure) to 'its' people. This special politico-institutional arrangement inherited from the past, though it has evolved, still has profound implications for the way knowledge circulates (or not) and for the way it is used (or not) and perceived both within pillars and across the policy realm: the co-existence of distinct communities requires a form of discretion. The article then goes on to describe the specific incidents that occurred in the course of a recent research project: the authors' written reports produced unexpected effects. They try to make sense of these events by reflecting on how the specific Belgian context can affect and be affected by the production of knowledge about itself. Finally, they extend their reflection to other contexts by emphasizing the general process behind their observation: the transformative effect of knowledge. Knowledge needs to be understood as an act (of construction) that can affect its very object of analysis.

This is an article about the struggle for control of knowledge in a divided society. It starts off by describing Belgium as a consociational democracy — that is, a society organized around integrated pillars of society (Catholic, secular), each of which provides a wide range of services (educational, training, health, health insurance, social care, family planning, leisure) to 'its' people. This special politico-institutional arrangement inherited from the past, though it has evolved, still has profound implications for the way knowledge circulates (or not) and for the way it is used (or not) and perceived both within pillars and across the policy realm: the co-existence of distinct communities requires a form of discretion. The article then goes on to describe the specific incidents that occurred in the course of a recent research project: the authors' written reports produced unexpected effects. They try to make sense of these events by reflecting on how the specific Belgian context can affect and be affected by the production of knowledge about itself. Finally, they extend their reflection to other contexts by emphasizing the general process behind their observation: the transformative effect of knowledge. Knowledge needs to be understood as an act (of construction) that can affect its very object of analysis.

Abstract
Inequality is the pervasive structural characteristic of academic knowledge production. To dismantle this inequality, the challenge raised by prefigurative politics which is based on an ethos of congruence between means and ends must be taken up by the International Journal of the Sociology of Language. The IJSL's peer review process, its academic conventions and its access model can potentially be spaces for concrete practices that prefigure parity in academic knowledge production.