Suchergebnisse

El artículo describe el contexto artístico, social y cultural del teatro bogotano de los años 1960 y 1970, a partir de cinco casos centrales (la Casa de la Cultura, los teatros La Candelaria, La Mama y Libre, y la Corporación Colombiana de Teatro). Se muestra que el teatro fue una práctica cultural que produjo una intensa refl exión sobre el arte moderno y temas álgidos de la historia colombiana contemporánea como la violencia o la exclusión política y social. Se ahonda en las tensiones entre artistas de teatro e instituciones, en las conexiones entre estos grupos y en los vínculos del teatro con grupos de izquierda. Se insiste en que hubo una dialéctica entre elementos nacionales y transnacionales, y una confusión de lo artístico y lo político. Se usaron archivos públicos y privados ubicados en Nueva York, ciudad de México y Bogotá. ; The article describes the artistic, social and cultural context of Bogota's theatre in the 1960's and 1970's, based on four main cases (la Casa de la Cultura, La Candelaria, La Mama, Teatro Libre, and la Corporación Colombiana de Teatro). This shows that theatre was a cultural practice that brought about a strong concern on modern art and difficult issues of the colombian contemporary history such Violence or political and social exclusion. At the same time, the article gets a deep inside on the tensions between theatre artists and institutions, the connections among these troupes and the ties between theaters and left groups. It insists on the dialectic between national and transnational elements and points out the confusion of art and politics. It were employed public and private archives located in New York, Mexico City and Bogota.

The article describes the artistic, social and cultural context of Bogota's theatre in the 1960's and 1970's, based on four main cases (la Casa de la Cultura, La Candelaria, La Mama, Teatro Libre, and la Corporación Colombiana de Teatro). This shows that theatre was a cultural practice that brought about a strong concern on modern art and difficult issues of the colombian contemporary history such Violence or political and social exclusion. At the same time, the article gets a deep inside on the tensions between theatre artists and institutions, the connections among these troupes and the ties between theaters and left groups. It insists on the dialectic between national and transnational elements and points out the confusion of art and politics. It were employed public and private archives located in New York, Mexico City and Bogota. ; El artículo describe el contexto artístico, social y cultural del teatro bogotano de los años 1960 y 1970, a partir de cinco casos centrales (la Casa de la Cultura, los teatros La Candelaria, La Mama y Libre, y la Corporación Colombiana de Teatro). Se muestra que el teatro fue una práctica cultural que produjo una intensa reflexión sobre el arte moderno y temas álgidos de la historia colombiana contemporánea como la violencia o la exclusión política y social. Se ahonda en las tensiones entre artistas de teatro e instituciones, en las conexiones entre estos grupos y en los vínculos del teatro con grupos de izquierda. Se insiste en que hubo una dialéctica entre elementos nacionales y transnacionales, y una confusión de lo artístico y lo político. Se usaron archivos públicos y privados ubicados en Nueva York, ciudad de México y Bogotá.

El artículo describe el contexto artístico, social y cultural del teatro bogotano de los años 1960 y 1970, a partir de cinco casos centrales (la Casa de la Cultura, los teatros La Candelaria, La Mama y Libre, y la Corporación Colombiana de Teatro). Se muestra que el teatro fue una práctica cultural que produjo una intensa reflexión sobre el arte moderno y temas álgidos de la historia colombiana contemporánea como la violencia o la exclusión política y social. Se ahonda en las tensiones entre artistas de teatro e instituciones, en las conexiones entre estos grupos y en los vínculos del teatro con grupos de izquierda. Se insiste en que hubo una dialéctica entre elementos nacionales y transnacionales, y una confusión de lo artístico y lo político. Se usaron archivos públicos y privados ubicados en Nueva York, ciudad de México y Bogotá. ; The article describes the artistic, social and cultural context of Bogota's theatre in the 1960's and 1970's, based on four main cases (la Casa de la Cultura, La Candelaria, La Mama, Teatro Libre, and la Corporación Colombiana de Teatro). This shows that theatre was a cultural practice that brought about a strong concern on modern art and difficult issues of the colombian contemporary history such Violence or political and social exclusion. At the same time, the article gets a deep inside on the tensions between theatre artists and institutions, the connections among these troupes and the ties between theaters and left groups. It insists on the dialectic between national and transnational elements and points out the confusion of art and politics. It were employed public and private archives located in New York, Mexico City and Bogota.

The purpose of this paper is to contribute to the elaboration of the transcultural perspective on arts education. My aim is to derive an agenda of transcultural education (aims) by the reflection on artworks, departing from `othering´ as pedagogical concept. In the recent decades, the digital revolution, the flow of capital, combined with waves of migration and with the establishment of powerful transnational communities - such as multinational companies, huge providers of social media, transfer business, etc. - has led to the rise of multiple and hybrid governance, practices and identities (cp. Kontopodis et al. 2017). Hereby, traditional structures of community and local government, for example law, neighborhoods, tax, housing, etc., erode; so for example, entire residential districts are empty as being bought up as yield object by foreign firms, neither subject to national law, nor contributing to neighborhood and taxes. These processes of society of erosion hardly discusses in governmental terms. When it comes to globalization, the focus of public media moreover lies foremost on everyday social interaction, for example in the area of pedagogy. There, the modes of communicating norms and values, the experience of familiarity and unfamiliarity, and social belonging and exclusion are grasped as being undergoing steady change. Culture thus does not anymore only refer to static structures, but it becomes increasingly fractured and contested, leading to diverse forms of heterogeneity and `othering´ (Spivak 1983; Eisenstadt 2000; Waldenfels 2011). The term `othering´ has been introduced by Gayatri Spivak in 1985 for signifying the processes by which an imperial discourse produces its subject others. In my paper, I´ll apply this term moreover to the practices of the subordinated. ; Tacit Dimensions of Pedagogy

This volume on nonverbal communication studies, the most multi- and interdisciplinary contribution to this field in almost twenty years, offers numerous suggestions for further research in many hitherto unexplored areas. The twenty contributions include the most recent theoretical and empirical crosscultural studies of gestures from historical, communicative and sociopsychological perspectives. In addition the volume presents novel psychological and clinical studies of nonverbal behaviors in connection with, for instance, aphasias and children's experience of artificial limbs. A whole section

En este artículo analizamos las dimensiones de la significación que puede asumir el arte, y su experiencia, para la formación de la subjetividad democrática. A partir de algunos resultados de estudios de sociología empírica, indagamos el modo en que la teoría social crítica de Adorno interpreta la actitud de rechazo a la experiencia estética que se observa en algunas ideologías vigentes en el mundo contemporáneo. Si, según esta perspectiva, los individuos "carentes de musa" son también aquellos que suelen expresar afirmaciones de agresividad ante la diferencias culturales y una actitud de sumisión irreflexiva a la autoridad moral, de eso puede desprenderse no solamente la pregunta acerca de la afinidad entre experiencia estética y cultura política, sino también si la experiencia estética carga con una fuerza capaz de "educar" a la subjetividad democrática en el sentido de la emancipación. Para responder a esta pregunta, diferenciamos distintos modos de interpretar los efectos en el sujeto práctico que suscita la experiencia del arte. Finalmente, presentamos algunas conclusiones relativas al interés ético-político del arte en la indagación acerca de los prejuicios que ordenan nuestras valoraciones morales, económicas y políticas. ; In this paper we analyze the dimensions of the meaning that Art and its experience can assume to configure the democratic subjectivity. Based on some results of empirical sociology studies, we question how Adorno`s Social Critical Theory understands the attitude of rejection of the esthetical experience, which is observed in some of the current ideologies of the contemporary world. If, according to this perspective, individuals "lacking Muse" are also those who express statements of aggressiveness in front of cultural differences and an attitude of a non-reflective submission facing moral authority, then it is possible to deduce not only the question about the affinity between esthetical experience and political culture, but also the question if esthetical experience carries a force capable of "educating" subjectivity in the sense of Democracy. In order to answer these questions, we differentiate ways of interpreting the effects on the subject of praxis of the aesthetical experience. Finally, we present some conclusions related to the ethical-political interest of art in the inquiry on the prejudices that organize our moral, economic and political valuations. ; Fil: Prestifilippo, Agustín Lucas. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad de Buenos Aires; Argentina

ABSTRACTBackgroundPrimary surgical repair of the bilateral cleft lip and palate (BCLP) deformity is challenging. Infant Orthopedic (IO) procedures are often used to assist surgical reconstruction of normal anatomy. Nasoalveolar molding (NAM) is a presurgical infant orthopedic procedure that attempts to reduce the cleft nasal deformity, in addition to the lip and alveolus, leading to an esthetic primary surgical repair.ObjectiveNAM provides the surgical team with a better foundation for an easier and more esthetic single stage repair at the level of nose in addition to the lip and alveolus.MethodInfant nasal cartilages are amenable to correction with NAM in the first few weeks of infancy when they retain their plasticity. NAM‐assisted surgical repair of a complete BCLP infant is discussed. Postoperatively nasal stents were used to retain results and minimize relapse.ResultsNAM helped correct premaxillary deviation and protrusion, reduce alveolar cleft width and improve the nasal morphology prior to surgery in the BCLP infant.ConclusionsNAM helped reduce the severity of the cleft deformity in the BCLP infant and facilitated an easier and esthetic single stage primary surgical repair.

Aestheticization surely there is important trend of modern culture techniques of forming of bodies including, personalities and manners of visions and reasoning of cultural-socially reality. Full endures existing between art distribution life daily earlier aestheticization but daily life. Mass media, consumption, promote new pattern (sample) advertising homo aestheticus. Homo aestheticus, it certain kind matrix, which (who) defines modern unit impermanence characterizing, imperfection, improvisation, as well as have to create. Esthetic experience includes various areas of our lives be determinant getting (reach) conversion and more and more matrix of modern culture significant.

Can the historian bring his presumably hard-headed and objective analytical devices to bear upon so impalpable a subject as man's art? At both ends of esthetic experience there is an elusive subjectivity: the artist (his "style" and "expressive content") and the beholder (his "taste" and "feeling") seem to take part in the experience on the basis of no rigidly determinable criteria. Yet here, as in the other gossamer realms of religion, philosophy, personal psychology or "national character", the historian has never let mere impalpability daunt him. He may be aware of a caveat or two, but up into the rarefied heights he soars determined to transmit the historian's-eye view of the whole of human experience.

PurposeTraditionally, Task–Technology Fit (TTF) theory has been applied to examine the usefulness of technology in the work environment. Can the same approach (based on experience rather than tasks) be applied to non-work, cultural heritage environments? This is the question the authors ask in this study. This study proposes a new variation of TTF based on the experience economy model, namely Experience–Technology Fit (ETF), for the non-work environment, in particular, in the context of cultural heritage, where visitor experience is enhanced by extended reality technology, which combines immersive technologies and artificial intelligence.Design/methodology/approachEmploying a quantitative survey method, the empirical analysis seeks to determine the influence of Mixed Reality (MR) characteristics (interactivity, vividness), Voice User Interface (VUI) characteristics (speech recognition, speech synthesis) and experience economy factors (education, entertainment, esthetic, escape) on satisfaction, revisit intention and actual purchase to propose a new ETF model.FindingsVUI, MR, and experience factors were significantly associated with ETF; when combined with MR-based experience, ETF was significantly associated with satisfaction. This study's findings further demonstrate the relationship between users' satisfaction when engaging with MR-based experience and revisit intention, while purchase intention was significantly associated with the actual purchase.Originality/valueThe novel contribution of this study is the proposal of the EFT model, a new variation of TTF based on the experience economy model. Overall, this study expands the applications of TTF to an experience-oriented business, thereby broadening the authors' understanding of technological success with a specific focus on the technology fit of Extended Reality (XR) in the context of cultural heritage.

In this chapter an analysis is proposed about the means of communication and the youthful experiences in the actual context. For this, in the first part it deals with the characteristics of means of communications and the way they build a great part of social reality in order to reach classical sceneries like the family and the school. In the second part some arguments are exposed in which the young people use the means of communication and some social relationships. On the whole, the esthetic dimensions of the young people experiences are emphasized in order to give a meaning their social life ; En este artículo se propone un análisis sobre las relaciones existentes entre los medios de comunicación y las experiencias juveniles en el contexto actual. Para ello se abordan en la primera parte las características de los medios de comunicación y la forma como estos construyen parte de la realidad social, copando el terreno de escenarios clásicos como la familia y la escuela. En la segunda parte se exponen algunos argumentos relacionados con la manera en que los jóvenes usan los medios de comunicación y el tipo de vínculos sociales que se generan a partir de dichos usos. En términos generales, se destaca la dimensión estética de la experiencia de los jóvenes para dar significado a su vida social.

Es propósito del presente artículo expresar las ideas más propias posibles en torno al problema del hombre y el surgimiento y desarrollo del HUMANISMO como una clave para analizar y comprender la crisis que hoy afecta teleológicamente nuestra educación. Para esto, mi condición de Docente Universitario y la de alguien ligado a la música a través del canto, me hacen referirme al tema-problema escogido, considerándolo en el ámbito de la educación superior, a través de las acuciosas reflexiones de uno de los representantes más conspicuo del pensamiento educativo venezolano como lo es el MAESTRO DE MAESTROS Don Luis Beltrán Prieto Figueroa y revisando someramente lo que nos dejó el pensamiento helénico al respecto. Para así poder arribar con certeza conceptual a la sugerencia de incorporar en los diseños curriculares de los distintos Planes de Estudios de Formación Profesional de las universidades y de los demás institutos del Sub-sistema de Educación Superior del país, la FORMACIÓN ESTÉTICA, y en particular por medio de la música, como elemento para la formación integral y equilibrada del nuevo hombre que los nuevos tiempos por venir requerirán. ; The purpose of the present article is to express my own ideas about man's problem and the development of HUMANISM as a key to analyze and understand the crisis that currently affects our education teleologically. The issue is examined at the college level and is approached from my own experience as a college teacher and singer and from my insightful reflections on Luis Beltran Prieto Figueroa, one of the most conspicuous representatives of the Venezuelan educational thought, and on a review of the Hellenic thought on the issue. This provides conceptual certainty that allows me to suggest the incorporation of an AESTHETIC COMPONENT in general, and of music, in particular, in the curriculum of the different study plans at the college level to accomplish the integral development of the new citizen that the future will demand. ; 39-49 ; edjozuro@hotmail.com ; semestral

Intro -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Contributors -- Chapter 1: Introduction -- Part I: Interpretations -- Chapter 2: From Affect to Action to Interpretation: On Michel Henry's Theoria of Immanent Praxis -- Chapter 3: Affective Labor and the Henry-Ricoeur Debate over Marx -- Chapter 4: Spiritual Life and Cultural Discernment: Renewing Spirituality through Henry -- Chapter 5: Working in the "World of Life": Michel Henry's Philosophy of Subjective Labor -- Chapter 6: Freud after Henry -- Chapter 7: The World or Life's Fragility: A New Critical Reading of Henry's Phenomenology of Life -- Part II: Applications -- Chapter 8: The Liberal Subject: The Politics of Life in Michel Henry -- Chapter 9: Michel Henry's Barbarism and the Practices of Education -- Chapter 10: Abstract Color and Esthetic Experience: Michel Henry Reading Kandinsky -- Chapter 11: Affectivity and Its Effects: Social Prospects for the Pathetic Community -- Index.