El trabajo propone revisar una posible articulación entre memoria, archivo y tecnología. Considera estas nociones a la luz de algunos referentes teóricos canónicos y otros contemporáneos, más cercanos a los desafíos actuales. Reflexiona acerca del valor de uso que las denominadas TIC tienen para la construcción y circulación de archivos culturales, públicos o privados, en tanto artefactos visibles de políticas de memoria. Considera los límites de lo archivable, la condición de posibilidad del desarrollo de archivos en la Era Digitaly las (...) supuestas ventajas con respecto a los archivos analógicos. Esta confrontación ubica en el centro de la discusión la relación paradojal que promete la tecnología actual y futura: al tiempo que abre horizontes deslumbrantes, marca límites entre lo deseable y lo posible, e impone la necesidad de que cada comunidad se apropie de esa tecnología de manera activa y sustentable. (shrink)

RESUMO Em seu livro Cultura e explosão, no qual analisa a dinâmica cultural, Lotman utiliza as figuras do “tonto” e do “louco” como termos paradigmáticos de atitudes humanas que encarnam as formas de mudança social. Imersos no espaço de uma semiosfera, os atos humanos ganham significado em relação à totalidade desse universo. O autor propõe considerar a estrutura ternária tonto/inteligente/louco como um continuum que permite visualizar graus de adequação individual e coletiva à norma. Neste texto, sintetizarei a múltipla descrição de (...) Lotman a ela acrescentando meus comentários e alguns exemplos, em especial da figura do tonto e do louco em diferentes espaços representativos. Estou particularmente interessada em defender a possibilidade de encontrar certas mudanças de paradigma por meio da leitura de textos da cultura contemporânea, ou melhor, certas manifestações complexas da loucura e da estupidez, cuja tradução se torna difícil para mim, sem que seja frequentemente o resultado de um juízo de valor. RESUMEN En el libro Cultura y explosión, en el que Lotman analiza la dinámica cultural, emplea las figuras del “tonto” y del “loco” como paradigmas que encarnan las formas del cambio social. Inmersos en el espacio de una semiosfera, los actos cobran significación en relación con la totalidad de ese universo. Propone considerar la estructura ternaria tonto/inteligente/loco en tanto continuum que permite visibilizar grados de adecuación a la norma en lo individual y en lo colectivo. Sintetizaré la múltiple descripción de Lotman añadiendo mis comentarios y algunos ejemplos, en especial de la figura del tonto y del loco en diferentes espacios representativos. Me interesa plantear la posibilidad de encontrar ciertos cambios de paradigma leyendo textos de la cultura contemporánea o mejor dicho, ciertas manifestaciones complejas de la locura y la estupidez, que hacen difícil para mí su traducción sin que ella sea a menudo el resultado de un juicio de valor. ABSTRACT In his book Culture and Explosion, Lotman studies the dynamics of culture using thefool and the madman as paradigm characters incarnating social change. Immersed in the space of a semiosphere, human acts gain meaning only in the context of the particular universe they take place in, when understood as a whole. Lotman invites us to consider the ternary structure fool/smart/crazy as a continuum where we can gauge individual and collective adequacy to the norm. Here, I summarize Lotman’s multifaceted description through my own lens with the aid of some examples centered on the notion of the fool and the madman in some representative spaces. I am particularly interested in finding paradigm changes through the reading of contemporary texts, or better said, through some complex manifestations of madness and stupidity, which are difficult to translate accurately without a subjective assessment. (shrink)

RESUMO O projeto filosófico concebido por Bakhtin no início do século XX visava fundar uma filosofia moral que modificasse a atuação do homem na vida cotidiana e na cultura. A data em que se presume que o texto foi escrito [1924?] indicaria o rumo que tomava esse pensamento e o modo como ele propunha, quase utopicamente, a transformação cultural em um momento marcado por enormes tensões políticas e a construção social de um sujeito concreto, cuja responsabilidade moral estivesse historicamente situada (...) e se convertesse em um modo de ação participativa. Desde aquele momento histórico, um século se passou, e hoje pode ser oportuno confrontá-lo com o nosso presente, em um planeta governado pela economia capitalista e uma população sofrendo com uma pandemia de grandes proporções. Longe da pretensão de estabelecer uma comparação, oferecemos alguns apontamentos e imagens que estimulam a reflexão sobre essa filosofia ética, a qual não acreditamos poder abarcar em sua complexidade1. (shrink)

ABSTRACT The philosophical project that Bakhtin conceived at the beginning of the 20th century aims to find a moral philosophy that modifies the performance of man in daily life and in culture. The date [1924?] on which its writing is presumed would indicate the direction that Bakhtinian thought was taking, proposing an utopian cultural transformation in a time marked by enormous political tensions, and the social construction of a real subject, whose moral responsibility historically situated would turn into a mode (...) of participatory action. Since that historical moment, a century has passed, and today it may be opportune to confront it with our present, in a planet governed by the capitalist economy with its population living a pandemic of great proportions. Far from establishing a comparison with that ethic project, we will offer some notes and images that encourage reflection on a philosophy that we do not believe we can cover in its complexity.1. (shrink)

Accompanying an exhibition organized by the Whitney Museum of American Art, New York, this book is the most comprehensive catalogue on the work of this internationally recognized architectural firm.

Since the 1960s, many artists have incorporated ecological concerns into their work, an endeavor that has required new strategies in art-making. To explore recent American manifestations of these interests, the David and Alfred Smart Museum commissioned new projects from artists Mark Dion, Peter Fend, and Dan Peterman, each focusing on interrelationships between particular organisms—human beings-and a specific group of sites—a museum building, a river landscape, and a university campus. The results, exhibited at the Smart Museum during the (...) summer of 2000, evoke the varied scales, from the microscopic to the global, at which human actions affect the environment. This catalog documents each of the artists' projects through an array of images and words: Smart Museum Associate Curator Stephanie Smith provides an introduction and brief overviews of the three projects, each of the artists contribute statements, and photographers Susan Anderson and Tom van Eynde document—in over 100 images—the processes and projects that comprise the exhibition. (shrink)

1891. The recovered manuscript of Aristotle's Constitutional History of Athens, now for the first time given to the world from the unique text in the British...

Bhabha, Georges Didi-Huberman, David Morgan and Lee Siegel, as well as a series of focused contributions by Yve-Alain Bois, Wendy Doniger, Kenneth Frampton, Martin E. Marty, John Hallmark Neff, Annemarie Schimmel, and Helen Tworkov consider how rapture resonate's both in a cultural context and within the experience of a single human being.

Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...) make. However, in this article, I argue that niche construction theory enables us to make several illuminating observations about the ways in which art museums are engineered to influence our feelings. To expound on this claim, I single out for discussion the Museum of Non-Objective Painting, which for its entire lifespan (1939–52)—and prior to its evolution into the Solomon R. Guggenheim Museum—was expressly organized to kindle in its visitors a special, spiritual form of aesthetic experience: a liberating feeling of cosmic rhythm and order, no less. -/- The argument will proceed as follows: In Part 1, I introduce the basics of niche construction theory and specify the sense in which I apply it to museums and aesthetic affective experiencing. In Part 2, I outline the origins and ethos of the Museum of Non-Objective Painting, after which I pin down the type of affective experience it fostered by drawing from visitors’ self-reported reactions to the artworks on display. Then, in Part 3, I use niche construction theory to explain how the Museum consciously fashioned itself, by means of various mutually supportive resources and technologies, into a fertile setting for the specified feelings. Finally, in Part 4, I extend beyond the discussed case to assess the implications of niche construction theory for a broader understanding of how art museums make us feel. In other words, by tracing the early steps of the Museum of Non-Objective Painting towards the present-day Guggenheim, I call attention to the general variation in affective niches as regards their structure, technologies, and affective aims. Overall, the article elucidates the functioning of art museums as affective niches and furthers the conceptual development of niche construction theory in aesthetics. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

A marble fragment of a draped female figure came to the University of Oxford as part of the James Dawkins collection of marbles, presented by his brother Henry sometime between the owner's death in 1759 and the publication ofMarmora Oxoniensiain 1763. The collection was formed during Dawkins's expedition to Palmyra with Robert Wood between 1750 and 1753. Of the other seven sculptures in it, three came from Attica, one from Caria, one from Cyzicus and two are of unknown provenance. Our (...) statue seems to have received little attention since Michaelis saw it. It is now mounted on a limestone base bearing the number 63. (shrink)

Journal of Chinese Philosophy, EarlyView.

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

Esta pesquisa objetivou investigar o potencial da região do Pampa Gaúcho para o turismo rural. Realizou-se uma pesquisa qualitativa exploratória sobre o potencial turístico dos municípios compreendidos nesta região. Foi realizada uma pesquisa documental inicial seguida de visitas aos municípios. Com base na pesquisa documental e visita aos municípios selecionou-se as atrações potenciais para o turismo regional. As atrações foram separadas em quatro categorias: a)ambiental-paisagístico; b)histórico-arquitetônico; c)econômico-produtivo e, d)sociocultural. Bagé e Caçapava do Sul tiveram o maior número de atrações (...) selecionadas, embora todos os municípios tenham contribuído com pelo menos uma atração. A região do Pampa Gaúcho apresenta grande potencial turístico. O turismo regional mostra-se, dessa forma, como excelente alternativa de geração de renda, empregos, agregação de valor aos produtos e valorização da identidade do gaúcho, constituindo-se em uma forma inovadora de desenvolvimento regional sustentável. (shrink)

During the past thirty years, museums of all kinds have tried to become more responsive to the interests of a diverse public. With exhibitions becoming people-centered, idea-oriented, and contextualized, the boundaries between museums and the “real” world are eroding. Setting the transition from object-centered to story-centered exhibitions in a philosophical framework, Hilde S. Hein contends that glorifying the museum experience at the expense of objects deflects the museum's educative, ethical, and aesthetic roles. Referring to institutions ranging from art (...) museums to theme parks, she shows how deployment has replaced amassing as a goal and discusses how museums now actively shape and create values. (shrink)

It is a widely accepted trope that museums work for future generations. They often define themselves in relation to heritage: something of the past, which is celebrated in the present and securely preserved for the future. In doing so, museums cloak themselves in a shroud of respectability for appropriately thinking in short and long terms and bravely facing future challenges. But what kind of future is at stake in this imperative to secure a heritage for future generations? Taking on a (...) deliberate speculative tone and a philosophical outlook, this essay attempts to address this question by suggesting that museums organize their work on the basis of three futures, entirely riveted to an economic understanding of temporality. Against these, the essay also proposes a fourth future that not only gives impetus to their existence, but also provides them with the only way out of the economic temporalities that govern their existence. (shrink)